13

The box

Here are some pictures of the box throughout the whole Common Ground experience:

Overall 'Common Ground' was a great success, the whole experience and journey has taught me a great amount that I hopefully won't forget as it could be useful later in the future.

One thing I will always take with me from this adventure is Sanford Meisner's repetition technique, I've never used Meisner as much as we have these past months, it allows for freedom within a scene which can allow you to build pressure, its about reacting as opposed to acting. in a scene, I think thats where I'm going wrong. In the space of two minutes this Meisner exercise can turn a scene from dull and sluggish to strong and full of life. The energy and pressure is so vital in our play that with out it the play doesn't carry the large and important message across to our audience, the wit is lost and the snappy lines and transitions keep the audience enticed and excited.

I enjoy playing my character 'Alice' at times she is comedic, other times she is sassy and other times she is just a lost young mess. I feel I could have greatly improved my performance of her and chosen more dynamic and distinct character choices but at the end of the day I tried hard, I will always be disappointed and want to try harder.

I am so appreciative of our cast, we all got on well, respected each other and every single person was there to help you if you were down, needed motivating, lost and confused. I am so thankful that this experience had such great people to spend it with as it made 'Common Ground' so worthwhile and joyous for me, thanks for that, Will!

I am also glad that we had such a great play, "13" never got boring and I was always finding out new information and realisations about it. I really admire how much depth the play has, it really scrambles your mind when you think about it. It's not a simple or straight-forward play and I love that, we could be weird, wacky and experimental throughout some of this play. Mike Bartlett is such an intriguing playwright, everything he writes is their for a reason and has a meaning, It will be a challenge to find a play that is similar to this. It broke boundaries and gave the audience a new perception on theatre, especially to those who don't know much about theatre or see much theatre.

Although I have had an amazing time throughout the last few months, their have also been some downsides. At times I put a lot of effort in but at other times I feel I could have pushed a lot more, I think my choices when I'm acting disappoint due to lack of confidence. I need to break from anything thats trapping me to do my best, and to not be afraid for asking for help.

I will take with me a great deal amount, how can you not after weeks and weeks of inspiring and challenging rehearsals. I will miss these times greatly but they have pushed me in a good direction in life, I am overwhelmed with what I have learnt. I have had a cultural, political, ethical and social all at once learning and will take these with me in my satchel of theatre knowledge.

Review of The Frontline

I went to see The Frontline by Che Walker on Wednesday 28th February at 4:30. I was excited to see it as not only had I heard raving reviews from the first show the week before but I really enjoy gritty contemporary plays set in London.

The play was set in the heart of Camden on a saturday night outside the tube station, the set was wonderful, showing a strip bar, two rivalry food stands, the tube entrance and a christian speaker, the set also had two higher levels, the left showing one of the characters view from his bedroom and the right showing a DJ set where during the preset and interval tunes were being played.

I was overwhelmed how many themes the play touched upon including drugs, sex, money, rivalry, death, parenthood, ageing and religion, it was defiantly chaotic but showed the true life of stereotypes in Camden. I felt so many different emotions throughout this play I was sad, content, angry, joyful and sympathetic all in the space of an hour and a bit. This play doesn't only make you laugh with its vibrant brutality of what people from London are like but makes you feel sad and sorry for the hardship that comes along with their lifestyle.

I found a strong similarity in their play and in ours "13", I found that all the characters were similar to ours in a way because none of the audience liked the characters, none of the characters were truly nice people and all wanted something more in their life like in our play.

I thoroughly enjoyed this play but at times especially during the beginning with the montage of scenes it was difficult to catch everything, the play was too pacey in a way I couldn't gather all the relevant information I needed to understand everything, their was also a lack of projection meaning I couldn't hear at times what some of the actors were saying, but I thought everyone made such excellent distinct character choices and portrayals.

Review of Our Country's Good

I went to see Our Country's Good by Timberlake Wertenbaker January 23rd at 7pm. It is a play set in Austrailia 1789, a young married second left tenant wants a promotion asks to put on a play, the first ever play to be staged in that country. The cast are the convicts and the main character might be hanged. This play shows strong themes of punishment and sexuality.

I didn't really enjoy this play, the acting was strong and showed some of the best character choices I've seen, although the movements between characters on stage felt very robotic and not free and human-like. The energy lacked in some areas, I felt exhausted by the end of it but I thought the acting was superb.

3rd and final show

The third and last show of "13" was quite emotional, this would be the last time we were performing this play with this cast and our journey from beginning to end felt never-ending but it had to end some time. I really wanted to go out with a bang on our last performance and make it the best we had ever done, this was difficult due to a high bar to raise from our first show. We all thoroughly warmed up and were ready. I don't think the play went that well, It was the fullest audience we have ever had and I kept over thinking everything due to wanting it to be the best play. I stupidly did a belly flop that I thought looked like the worm dance, It was a "yolo" moment and ruined the rest of the party scene. I have learnt now not to trust my instincts. Our last play wasn't brilliant, I felt like we had lost our passion and just wanted it to be over and done with. I am highly disappointed in myself for not fully committing to my character and the pressure cooker but hopefully the audience enjoyed it.

Run through before our last show.

We ran through "13" before our last ever show, it felt so weird as not only would this be the second to last performance we would do of this, but going back into that small room to perform was unusual. We needed this run through as some of the lines in the play were messy and some of us were not on point with our effort to try and sustain the energy. I really appreciated this time we had to go through the play as I wanted us to go out with a bang on our last show and really perform a powerful play to our audience. The second half of the play was in my eyes the best we had ever done it and some of the characters had really found themselves in this moment. In this run I learnt that my character, Alice is trying to be something she isn't, she aims to be confident as she lacks assurance showing similarities with her boss Mark. Alice is more pretentious than I had assumed, its fun finding new things about your character just before the last show, it seems like a miraculous moment but at the same time a "why didn't I find this out earlier" feeling.

2nd Show

Our second show felt more like a run through rather than a performance, because we hadn't worked on the play for a week, the lines and energy were lost and we went from doing such a great show in our first performance to a performance that wasn't quite good enough. I found that my character was robotic and stiff because I didn't feel as comfortable and confident as I did in the first show due to lack of rehearsals in the week. The audience were very enthusiastic and understood the humour more than the first audience which helped us work harder. Although it wasn't bad I have learnt how important the drive of energy is, if one person drops we all do and the play lacks vitality and passion which is needed to carry this plays message across and this is partially because we are copying what we did last weak and we need to freshen our characters up.

Here are some notes for myself for the last show:

Be snappy with each transition.
Constantly know of your objective.
Use the stage more.
Keep things different and fresh.

1st Show

The flow was good and quick paced, we had an intimate small audience and our energy was sky high, I had never felt so proud of everyone and I, we all trusted each other and listened to not only what everyone is saying but ourselves, the lines felt true and passionate without overacting. This was the best we had ever performed it and the audience loved every single moment of it, none of the scenes felt boring or irrelevant. I felt comfortable and confident with what I was doing. To improve for the next I need to remember these keys notes:

Don't do the next show for the last audience.

We are in control of the show.

Found character and sides of character, my character isn't nice her life is a mess.

Were at a significant peak of finding out actors process. Discovering and learning in rehearsals.

Rehearsing efficiently in our tech as it was so difficult. Worked well as a team.

We found freedom within the show, not to repeat but to feel in the show.

Found a unification in energy, found energy to drive from scene to scene and throughout the scene.

"Not enough Butter on too much bread" now it is a lot of butter on a little bread.

Tech run… more like tech jog.

I wasn't looking forward to teching our show as not only did I know it was our first chance to use the box, but our piece involves lots of difficult sounds and visuals. In the space of four hours we had only accomplished twenty-five pages. I thought we were never going to finish the tech, as we had to keep stopping and starting the play melted, lacking energy and commitment. I felt disappointed about this as we needed to savour any time we had in the theatre, rehearsing this play and being able to work with the box as our first show was fast approaching. We finished teching the show the day before our first performance, but once it was done a large weight was lifted off everyones shoulders and we were now ready to crack on with prepping for our shows.

Dress Rehearsal 1 and 2

Dress 1:

I felt that dress 1 went okay but I felt that the flow of the lines and blocking were uptight and stiff. Overall it was messy but still performable. The acting was a little separated from the lighting and it was us bringing the performance from 415 to the theatre space. This dress wasn't easy, no one was fully confident with the box movements as we had only a limited amount of time with the box before this dress, I think i was concentrating more on what I was doing and what I was doing after rather than living in the moment as my character and hitting key elements to perform successfully. This dress wasn't terrible but seemed more of a run through to revise the play rather than perform it. Luckily we were doing another dress after lunch so we could learn from our mistakes and pep up the energy as the energy wasn't sustained and I wasn't emotionally connecting to any of my movements, I needed to really consider my characters thoughts.

Dress 2:

Dress two felt a lot better in a way, I was carefree and let go of the heavy stiffness that I brought on stage in the first dress. This dress rehearsal made me understand a lot more about Alice, she's young and "hip" and doesn't really care about her actions, I needed to apply this to my portrayal of he and just go for it and not hold back, I think it was more nerves and lack of confidence that trapped me from doing this. Dress two brought back the energy and pressure, I think due to people now knowing what they had to do from the first dress we all knew where we had to be and I felt more comfortable and trusting towards my surroundings which then helped me to project better into others. Having two dresses in one day is tiring but I am so glad we pushed through it and achieved what we did, because I have learnt a lot about myself as an actor.

Mace Spray Research For Protest.

As I get maced in the protest scene, it would be good to increase my knowledge more about mace and fully understand what it's like.

Mace is a brand name of the chemical Mace that is a self defence spray that was invented in 1965. It consists of 1% CN Tear gas in a solvent of 2-butanol, propylene glycol, cyclohexence and dipropylene glycol methyl ether, this concoction of chemicals when sprayed in the face with it can cause swelling of the eyes, nose and throat, nasal discharge, coughing, shortness of breath, dying of the eyes, involuntary eye closure, painful burning of the skin, increase in blood pressure and anxiety.

The difference between Mace and pepper spray is that Mace is a chemical manufactured in a lab whereas pepper spray occurs naturally in a specific type of chilli plant, Mace is extremely painful and can be very dangerous.

This research has helped me understand more about Mace spray and how I can apply this knowledge during the protest scene to my character.

ACTORS PROCESS: THEN AND NOW

Looking back at my acting process at the start of "Common Ground" and looking at it now it has changed a lot due to learning new techniques and ways to find my character through this enlightening journey of my process in "13".

My Acting Process back in early october 2013…

1) Write a profile/mood-board about my character using what I know from the given circumstances.

2) Learn lines.

3) Find out your objectives.

4) Make distinct physical choices.

5) Rehearse and rehearse and rehearse different every single time.

6) Voila :)

My process was clear, quick and concise, looking back on it their isn't much detail and my process lacks depth, even in the space of five months I have learnt that my acting process just doesn't work very in order to find my character to the best of my ability.

So here is my new process, five months on…

1) Learn my lines cold.

2) List the given circumstances, the facts and opinions of your character that you and others say in the play, opinions allow you to make assumptions about your character.

2) Research about what your character is into, what she likes, what she knows about using books, the internet, videos, articles and interview real people.

3) Work out your objectives throughout the play. The text rides on the action so you must play physical objectives as well.

4) Find out how your character achieves their objectives.

5) Live in the world of the play.

6) Do some text de-familarisation exercises such as Laban efforts, punctuation racing, doing your scene in gibberish, Meisner repetition, speed runs and slow motion runs, these exercises help keep the play fresh and energetic.

7) Prepare for your rehearsals, make offers to the play and your character.

8) Warm up the voice, breath, body and emotions.

9) Fully immerse and commit to the character.

10) Have an opinion of the people in your scene.

MORE ABOUT IRAN

After the interval we are straight in with John's passionate political speech. Before he comes on the stage is set to feel slightly like a protest, people are giving flyers out, others are enthusiastically waiting for John. I have to hold a banner up which says on it "Death is not the answer", as the audience come in and gather round the stage we all discuss about Iran with the audience and so I could successfully involve the audience I needed to read a book or two in order so that I could talk about the issues in Iran.

http://www.youtube.com/watch?v=8sSmrLhiDa4

The link above is to a documentary about the Sharia law, the Sharia laws Islam's legal system, taken from the Koran and the word of God. The Sharia law informs every aspect of a Muslim's life. The Sharia law is to help Muslims guide their lives in God's wishes.

This young boy stole some bread from a market, his punishment was for his arm to go under wheel of this vehicle.

A woman receiving her punishment, she is about to be stoned to her death. Horrible facts about Sharia Law: A Muslim who leaves Islam must be killed immediately.
A Muslim will be forgiven for murder of: an apostate, an adulterer, a highway robber. A Muslim will not get the death penalty if he kills a non-Muslim, but will get it for killing a Muslim. Sharia never abolished slavery, sexual slavery and highly regulates it. A master will not be punished for killing his slave. Sharia dictates death by stoning, beheading, amputation of limbs, flogging even for crimes of sin such as adultery. It is a crime for a non-Muslim to sell weapons to someone who will use them against Muslims. Non-Muslims cannot curse a Muslim, say anything derogatory about Allah, the Prophet, or Islam, or expose the weak points of Muslims. But Muslims can curse non-Muslims.
Homosexuality is punishable by death. There is no age limit for marriage of girls. The marriage contract can take place anytime after birth and can be consummated at age 8 or 9. Divorce is only in the hands of the husband and is as easy as saying: "I divorce you" and becomes effective even if the husband did not intend it. A man has the right to have up to 4 wives and none of them have a right to divorce him.
The dowry is given in exchange for the woman's sexual organs. A man is allowed to have sex with slave women and women captured in battle, and if the enslaved woman is married her marriage is annulled. The testimony of a woman in court is half the value of a man. A woman loses custody if she remarries. To prove rape, a woman must have 4 male witnesses. A Muslim woman must cover every inch of her body, which is considered "Awrah," a sexual organ. Not all Sharia schools allow the face of a woman exposed.

http://www.youtube.com/watch?v=R97e6d0CNPk&feature=youtu.be

This is a link to the film Persepolis which is about a young outspoken Iranian girl during the Islamic Revolution. It gave me a different outlook on what was going on in the Iran than I initially thought. This film is based on a comic book series by Marjane Satrapi. This film is very unusual and bold, the truth behind the contrasting animation of the film was brilliant. This film gave me an insight into the issues of Iran in the eyes of a woman, showing the difficulty and challenges faced when being a woman in Iran.

1st Show Notes: 22/01/2014

Spread out more In act 1 scene 7 (first scene with Mark).

Go later on the blow job as I go in too quick.

Slower build on the movements when Jordan does his movements at the end of the play.

What you think makes good acting?

The ability to encase yourself into another character and feel emotions as that character.

To portray something that allures the audience into feeling something towards you.

To not give a fuck what anyone else thinks, confidence.

The ability to interact with other characters.

To use your body as something completely different.

Believing in that world that you are in.

To use all give senses as that character.

Rehearsal: 15/01/2014

The run was 2:04

Be on time, the shows heartbeat is a pacey beat.

Get out of the way when nina comes in, at the protest scene.

Don't mumble in act 1 scene 7.

Keep the energy high.

Find something else to do another than on the phone in park scenes.

Keep pressure with the important of confusion and message of play.

Talk in the john scenes and don't all leave at the same time when departing from the park.

Find a reason to sit down in the end.

Hands go down on knife.

- play the movement and have an emotional response.

Ending of the song was sloppy.

End of song is on John's line "die tonight".

(On the last t of tonight)

Transitions between each scene need to overlap this is an artistic choice.

Rehearsal: 08/01/2014

Stop wandering off, have a reason.

Be further away from josh.

Party scene, keep going for it.

Be a bit more pacey in Edith's scene.

Rehearsal: 08/01/2014

Notes:

- Act one scene three- fill the energy, when it goes silent, sweat your tits off, really push the energy.

- Act 4 scene one, get on stage all chanting and growing the scene.

A wise thing to remember...

If your character is good, find the bad in him/her, if your character is bad, find the good in him/her.

What is my characters attitude on stage ?

Alice can be young and fiery, but can also feel quite weak and unconfident depending on the situation. I think round her boss Mark she can feel like she has more authority than she does so can be quite subtly cheeky, but around others she can feel quite insecure and irrelevant as she realises she's a twenty something woman with an unsatisfactory degree, no sense of style and working for a "underpaid and overqualified" solicitor who snorts cocaine and pays for sex, but her confidence at times undermines her lack of her capability.

How is my character vocally ?

I naturally can be quite loud, Alice doesn't have a distinct accent (not that I know of) and I don't find it difficult with my volume or projecting to the audience, but find it difficult projecting my voice into other characters. Without even noticing I can sometimes devoice and make my character weaker and have less status, although Alice is only an assistant and Mark her boss has more authority and control than her, Alice has a lot of sass and can be quite informal about her attitude even though she is working for him and not vice versa. Once Will had told us to find the bad in our character as no one is "nice" in the play this helped me become a bit more empowered with my character vocally and found strength in what she is saying and how she is saying it. Although vocally I think I'm alright I need to work on my awkward body language.

Are you achieving your goals on stage ?

Goals I am achieving:

- Volume
- Energy
- Understanding the quick transitions.
- Remembering lines.

Goals I am not achieving:

- Confidence in character.
- Using the stage well.
- Making distinct character choices.
- Using my body to help portray my character.

What does my character want on stage ?

Alice wants different things at different times throughout the play.

During her first scene with Mark, Alice is sassy and wants to help organise Mark and do her job as his assistant but constantly makes remarks at Mark, depicting she's not the best assistant.

During when she interrupts Mark with John, Amir and Rachel, Alice wants to get in there and get out quickly, I don't think Alice likes to lie and she finds it difficult but she has to do it as her boss has asked her.

During the party scene Alice wants to have fun and let go, its hard working for Mark who's unorganised and constantly coked up.

During the park scenes she wants to listen to John, she wants more depth and meaning to her life, she wants to feel like a part of something.

During the arrival to Edith's house she wants to leave, she finds it awkward and uncomfortable especially after Edith is rude to her.

During the split scene where she tries to seduce Mark and ends up getting a whack in the face she wants to feel something from him, he is constantly saying "no" yet she pushes more and more.

Tim's Tips 07/01/2014

Tim came to watch a run through of our piece and here is some of his advice.

Trust in what you say and do.

Not fully trusting in serving the story.

Think about voice. Journey of the voice.

Believe in your presence in the play

Take those lines and give something back.

Make and trust physical choices.

Commit.

Rehearsal Notes 18/12/2013

For Edith scene, look more curious as I am not talking I need to get more agitated as we are in a rush.

Be more eager really go for marks trouser region, touch him more in other places as I keep doing the same thing. Get more upset when he pushes us off.

Rehearsal Notes 17/12/2014

End of protest needs clarity.

Mark and Alice scene: Use the stage and check the file.

Remind staircase scene.

Rise the energy and sustain the pressure cooker, be zany but controlled.

Talk into each other.

Rehearsal Notes 12/12/2013

Keep the pressure up on stage.

Close the gaps

Stop being merit level

Transitions need to overlap

Talk into each other

The play is about blinding ourselves from the truth of life.

Remember notes that you have been given and comply them to the performance.

Costume Changes

Change hoody for yellow jumper in act one scene 7

Me, Megan, Sacha and Jordan wear black hoodies 32

Change yellow jumper to hoody for party scene, act one scene 18.

Chang hoody for yellow jumper for act two scene 6.

Running through the play.

- Keep it new and fresh, looks boring when something is done over again you can tell.

- Energy, due to the Christmas holiday it lacks energy.

- Raise the pressure.

The importance of "The Pressure Cooking".

When scenes lack pressure and pace, the energy drops, the audience get bored and the play loses all its clarity and meaning. This play has such an important message and story to portray that if the pressure drops this play will lose its defining wit and structure. We don't need to rush the play but adding pauses will not help with carrying this play out successfully.

HOW TO KEEP THE PRESSURE UP:

* NO PAUSES.

* QUCK TRANSITIONS FROM SCENE TO SCENE.

* DON'T LOSE THE ENERGY AND MEANING AT THE END OF SENTENCES.

What worked and didn't work on our after school Wednesday rehearsal.

Last Wednesday we all gathered in the hut after school to run till page 99, due to Will not being at this rehearsal there were a lot of hings that didn't really work during the rehearsal.

Things that worked:

Once we all had realised how important this rehearsal was, most of us buckled down and focused and we got to page 99 by 4 o 'clock.

Because Will wasn't there I think we all were more relaxed and our characters were able to come out more.

Things that didn't worked:

We all lacked focus at the beginning, causing arguments and no one listening or respecting one another.

Because it was after school, many of us lacked motivation and determination because we all wanted to go home.

Evaluating my rehearsal progress.

I feel during rehearsals I am quite useful as our play needs lots of extra people to move set or to be pedestrians in the park and as I am available a lot of the time, I can contribute to this.

I do need to do more character research as I find I haven't found my character yet but slowly throughout rehearsals I find I am finding more of her characteristics and making more outrageous choices.

A few times during rehearsals I haven't been particularly great, not remembering to come on stage when I should be but I have made a plan of exactly when and where I should be on to keep reminding me.

I have turned up to all the rehearsals which I feel proud of.

I find that my biggest let down is my confidence and need to find more self esteem within my character and just go for more distinct choices with Alice.

I would give myself a merit because I do have my on and off days (mostly off) where I come in and I'm a bit all over the place and not completely on it, I also need to remember my notes and apply them to my character.

Alice's costume

Alice has quite a simple and casual costume, what she wears is referenced in the play, Alice gets slated for her clothes by Mark and Edith in separate occasions.

Because she is fun and young she wears a lot of colour and isn't afraid to experiment but still likes to remain comfortable, even when she is working she wears an unusual working outfit.

Interview with a Hypnotherapist (my mother).

http://youtu.be/a3DOeKYOdC8

Breakdown of movements through the text

Act 1

Scene 3

- Protestor

- I am shouting/throwing my arms in the air to the other protestors in the crowd.

- Wearing casual urban comfortable clothes.

- Props: Banners/Posters.

- Come in from side C.

Scene 7

- With Mark

- Assiting him.

- Props: Bag and report.

- Yellow jumper, trainers and leggings.

- Action: I keep trying to leave but have to re enter as Mark keeps talking.

- Come in from side C.

Scene 15

- With Mark, Amir and John.

- Wearing same clothes as in scene 7.

- To inform Mark.

- No props.

- Come in from side C.

- Action: Run in out of breath.

Act 2

Scene 4

- At the end and beginning of the scene come on from side c and place and remove lamp off and on stage.

Scene 6

- Crossing the park as John speakers, I look at him then walk off.

- To observe.

- Wearing normal casual clothes.

- Props: HandBag

Act 3

Scene 2

- With Mark and Edith.

- To inform Edith.
- Props: Handbag

- Bright casual clothes and crazy shoes.

Scene 4

- Watching John in the park.

- Wearing casual bright clothes.

- To listen.
- No props.

Scene 8

- With Mark

- Drunk

- Props:Cigarettes and alcohol.

- Action: Snog and seduce Mark.

Initial set

HOW COOL!!! it includes flaps, doors, tables to use in different scenes.

Given circumstances of Alice (my character)

My characters opinions on herself:

Page 14 "I'm good with words...excellent degree".

Page 14 "So I had a good time".

Page 15 "I'm alternative".

Facts about Alice:

Mark page 14 "Yellow jumpers, trainers, leggings".- Alice's style is flamboyant.

Alice page 72 "I'm Alice. Marks assistant."

Other characters opinions on Alice:

Mark page 15 "You're odd".

Edith page 73 "Maybe you should go out with Alice. She seems a nice girl."

Edith page 74 "Your shoes say I'm a fucking idiot don't take me seriously whatever you do."

Projecting into the soul

At the moment we have been doing certain exercises to help us project our voices into the person we are talking to's soul.

Today we did an exercise where we would got into partners and you and your partner would have to take turns counting numbers up to 10, we had to project our voice into the other person, this is difficult especially when moving and taking in to consideration the perfect volume for a 300 seated audience.

Another challenging factor I found with this exercise is trying no to "act" and be realistic, finding the common ground and not being disconnecting but not being too over the top and fake is harder than I initially thought but is key to portraying your character to the audience and for them to believe your character.

Hypnotherapy 101

What is hypnotherapy?

Hypnotherapy attempts to address an individual's subconscious mind, using the power of suggestion for beneficial change. A hypnotherapist uses hypnosis to give relevant, positive beneficial suggestions to help an individual bring about the change they desire, hypnotherapists often require the individual to be in a deeply relaxed state to enable them to use their imagination fully. It is imperative that the individual feels completely comfortable with their hypnotherapist. Hypnosis is a different state of consciousness from being awake or asleep, and many people compare the deep, relaxed state of hypnosis to daydreaming.

Hypnotherapists will often combine hypnosis with other psychotherapy and counselling techniques to benefit individuals. The techniques used will depend on the issue the individual is seeking help for. There are different types of hypnotherapy:

Suggestion Hypnotherapy

Suggestion hypnotherapy involves the hypnotherapist giving an individuals unconscious mind a series of ‘suggestions’. These suggestions can help an individual to find it easier to do something they want to do (e.g. public speaking) or easier to stop doing something they don’t want to do (e.g. smoking).

Analytical Hypnotherapy

Analytical Hypnotherapy can be effective in dealing with deeper issues and involves psychotherapy using hypnosis. Analytical hypnotherapy seeks to find the root cause of a problem, and deal with the issue. For example, a phobia may be 'masked' using suggestion therapy, however the root cause will still exist. Analytical hypnotherapy seeks to identify the root cause and deal with it; the root cause then becomes powerless.

Cognitive Hypnotherapy

Cognitive Hypnotherapists attempt to get into the mindset of the client to work through any presenting issues, using techniques and language based on the client's unique model of the world. Cognitive Hypnotherapy also uses an analytical approach to clearing away unwanted thoughts and behaviours from the past, but then uses techniques that retrain the brain in the present to ensure that the changes that clients would like to make are fully realised.

What is Neuro-Linguistic Programming?

Neuro-Linguistic Programming explores the relationship between language, behaviour and excellence. It is essentially a model used to identify and analyse the linguistic techniques used subconsciously by successful people, in order to produce a recipe for excellence.

Does everyone respond to hypnotherapy?

According to the British Society of Clinical Hypnosis, it is estimated that 85% of people will respond at some level to clinical hypnotherapy. Some individuals are more likely to respond to hypnotherapy than others and having confidence in the technique helps. Believing change from hypnotherapy is possible is important and if an individual is personally motivated to change, hypnosis is often more likely than if the individual relies completely on their hypnotherapist and doubts whether they have the ability to access their subconscious and make changes happen.

My mother is a hypnotherapist so I thought I would interview her and ask her some questions.

What is your background in hypnotherapy?

What made you decide to become a hypnotherapist?

What was the education process to become a hypnotherapist?

What is your approach to the therapist/client relationship?

What is your philosophy about hypnotherapy and using it as a tool for treating trauma?

What kind of hypnotherapy works on people and doesn't work on people ?

What are the the risks with hypnotherapy ?

What kind of voice do you portray during hypnotherapy ?

Has hypnotherapy ever gotten to the point of danger ?

Has hypnotherapy cured anyone fears for you ?

Have you ever tried self-hypnosis ?

How do you think hypnotherapy works ?

How do you start and finish the hypnosis ?

Have you ever been hypnotised ?

Why do you think hypnosis works ?

Can hypnotherapy cure problems ?

Has hypnotherapy made problems for a person ?

Brown Noise

Today in the lesson we discussed "brown noise".

Brown noise is one of the many colours of noise, which also include white noise, pink noise and blue noise. Brown noise doesn't get its moniker from the colour, it is named after botanist Robert Brown, who discovered Brownian motion in the 1800s.

Brown noise is also known as Brownian noise because its change in sound signal from one moment to the next is random.

Brown noise has more energy at lower frequencies and resembles the sound of a strong waterfall.

My feelings of the noise.

I can be rather gullible and open to really anything, although there is always in the back of my mind that it could be the Placebo effect, I knew what I was going to hear so I could block it out you need to be open to truly gain from the noise and I understand its powers.

Intense sound.

Links to the Coercion techniques- torture without touching the body, getting into someone's mind. It is the practice of forcing a person to act in an involuntary manner by using threats and intimidation including extortion, torture and blackmail.

Japanese water torture encompasses a variety of techniques using water to inflict physical or psychological harm on a victim as a form of torture.

Numbness

Feeling of uncomfort.

Tingling sensation running thought the brain and face.

When eyes are open you immediately reject your instincts.

Fuzzy feeling.

The sound be becomes your world, an allusive feeling.

Tension.

I feel like time had stopped

Whispering beneath the surface of the sound.

We performed some experiments for year twelves and volunteers from Central drama school. we turned the lights off, shut the curtains and made them lie in semi-supine.

Thoughts of year 12

Scared.

Affected the heart.

Paranoid.

Uncomfortable.

Face feels numb.

Thoughts of the visitors

Feel attacked

Fear

Every time the sound changed even more fear.

The repetition drives the fear.

No escape.

No logical thoughts forming.

The sound overpowers your mind.

Lack of function when sound stopped.

Physically increased heartbeat.

Nightmares

Fundamental facts of a nightmare:

Not knowing
Isolation
A personal fear
Death
Evil
Suffocation
Lack of soul
Lack of control
Believability
Illusive
Torture
Fear of closing eyes again.
Something to lose.

We need to:
- Find the reality of doing.
- Find this nightmare evolving on stage.

Feelings about the play:

Trying to enter the audiences subconscious, making the play an experience.
Fight hard to sustain the audiences attention.
Exploit any visual opportunities.

Here is a link to a video I found about what the most common dreams mean.

http://www.youtube.com/watch?v=-GH-inRcedU

Meisner 101!

After todays lesson/rehearsal I've really grown fond of Meisner and his technique.

Some facts about Mr Sanford Meisner:

* Sanford Meisner was gay although did marry two women earlier in his life.

* Meisner died in his sleep at his home in California in 1997.

* Meisner has worked with and taught: Sandra Bullock and Grace Kelly.

* In 1983, Meisner and his life partner James Carville set up the Meisner/Carville School of acting on the Caribbean Island of Bequia.

Meisner Technique:

The Meisner Technique is the teachings of Sanford Meisner who was one of the original members of the Group Theatre in New Work.

Meisner believed that acting was "living truthfully under imaginary circumstances".

The main focus that Meisner's branch of Method Acting emphasised was reacting off of the other person or the environment.

Meisner's technique was created to get actors out of their heads so they won't think but do. Meisner wanted to create the simplest task so that the actors would not have to think and could focus more on the doing of the exercise.

With the word repetition exercise the most important thing is to wait for the natural instinct to change the word, feel the "itch" to do it, don't change the word just because your tired of saying it, wait truthfully even if it consists of you saying that words for hours. You will feel when it is right but until then keep going and pushing forward. (It's okay to mess up). The word repetition is the foundation of the Meisner technique, it makes you listen as an actor which is hard to do but can only come naturally and cannot be taught. As Sanford Meisner said "Don't create change wait for a pinch it's about your instinct". This repetition game keeps the text interesting and new and creates a large change for when you do the scene not using this exercise as a sudden flow comes with doing it.

Rehearsal: 09/10/13 (thoughts)

Today's rehearsal went a lot better than the first, We used the Meisner technique on mine and Josh's first scene together, which really helped mine and Josh's character connect and listen with one another, in our scene there are many interruptions which have to come naturally and cannot be set in stone otherwise the scene lacks spice, fluidity and energy. The text flowed a lot more after we used this technique which brought both of our characters intentions and objectives clear to the audience. I feel a lot more assured and confident with the scene and my character, today's rehearsal taught me a massive lesson between mine and Josh's character, all thanks to Sanford Meisner.

1st Rehearsal thoughts.

We first started off by piecing together the protest scene, this naturally came quite strong and powerful and is an energetic way to open up the play. I felt knackered by the end of it as to become a protestor and fully embody the essence of passion and drive you need to use all the energy you have and keep pushing yourself which can be emotionally and physically draining.

My individual scene with Josh didn't go as well, due to the lack of lines learnt, our relationship wasn't clear, no character or objective work and we weren't projecting to one another, it was a shambles but made me realise I have to work really hard for the next rehearsal to make it better. But it was our first rehearsal so... I have realised I need to listen more to Josh's character and find the rhythm of the text to make this scene work.

Comparing my actors process

I compared my personal actors process to Megan's. Mine I found was very visual and physical based as thats an area I need to focus on as I find using my body with text difficult but the most important and key part to developing my character. I realised I like to map things out before I get started to know a clear structure of what I'm doing. Megan's focus is on the emotion and mentality of her character, her process is structured very well and shows a lot of depth and effort that is put into evolving this character she must become. I have learnt a great deal amount by contrasting my personal acting process with someone else as I take great interest in how other people find their character so I can take their advice and add it to my process.

My personal actors process. (in a nutshell)

1) Write a profile/mood-board about my character using what I know from the given circumstances.

2) Learn lines.

3) Find out your objectives.

4) Make distinct physical choices.

5) Rehearse and rehearse and rehearse different every single time.

6) Voila :)

Acting Process !

1) Work out initial information.
Given Circumstances = Facts, opinions and page number.
Opinions allow you to make assumptions of the character.

2) Books, articles and internet research.
- Find a way in.
- Interview real people.

3) Learn lines.

4) Work out objectives.
"Text rides on the action."
- Preliminary objectives, super objectives and physical objectives.

5) Text deformation=
Finding someone that is not you!
- Punctuation dancing.
- Thought change walk.

6) Work out your tactics.
- What are you trying to do ?

7) Work with a metaphor ALWAYS!
- A metaphor that resonates in you and your character's hearts.

8) Approach the script.

9) Llaben efforts.

10)
-Paraphrase into own words.
-Say in gibberish.
-Say in slow motion and really fast.
-Take away punctuation.
-Run actions without lines.
-Change given circumstances.
-Say objective before line.

11) Prepare for rehearsals.
- Be open and ready.
- Be emotionally available.
- Make offers.
- GIVE A SHIT.
- You have something to lose ALWAYS!
- Immerse yourself.
- Your character doesn't move or breathe like you.

REHEARSAL:

Proper warm-up!
Get in early and get your voice connected, warm up the body and emotions.

Why you should love Iran

As the play shows the political crisis between Iran, America and the UK. I found I needed to know more about Iran as I didn't really know anything about the country or its people.

5 REASONS WHY YOU SHOULD L<3VE IRAN.

1) Iran has one of the only condom factories in the Middle East.

2) The national "soccer" team has won the Asian Cup three times.

3) Iran is known for its beautiful poetry, luxurious rugs and lush gardens.

4) Iran is one of the largest producers of Caviar, Pistachios and Saffron.

5) Iran has the second most popular sex change operations, after Thailand.

Hope you love Iran after reading this, I know I do !!!

First thoughts of the play

After reading "13" by Mike Bartlett I felt very dazed and confused due to being crushed by the hundreds of questions posed in the play, it made me realise how little I am in the world and how I make no difference to the majority of it, how sad.

I felt there was a great sense of subliminal messaging hidden beneath the play with messages constantly popping up about the corruption in our society. I have found a great love for how this play isn't a "nice" play, it depicts the grittiest in certain characters which we can all relate to, "13"definitely picks your brain, forcing you to deeply question dreams and reality.

Each character in the play is distinct but lacks depth and any kind of empathy or compassion from the audience. The play is dark and complex like everyday life.

What does it take to be a good ensemble ?

* Steal each others ideas.

* Be strong!

* Be emotionally available.
- Connect with breath.
- Stretch and open the body.

* Push yourself to the limits.

* Concentrate !

* Respect (SHOW UP TO EVERY REHEARSAL)

* Look after everyone.

* Listen to one another, physically and mentally.

What does it take to do a good read-through?

* Good communication

* Patience

* Energy

* Pump life into the text.

* Respect for one another.

* Confidence

* Focus

* Offer yourself

* Make bold first choices and go with it. (DOESN'T MATTER IF YOU FUCK UP, KEEP GOING!)

* Don't be afraid to be vulnerable.

Will's WISE WORDS !

1) DO NOT RESEARCH ANY OTHER VERSIONS OF THE PLAY !

2) LEARN LINES COLD !

3) LEARN LINES EARLY TO HELP FIND CHARACTER !

4) EVERYONE MUST USE PHYSICAL OBJECTIVES !

5) BULLET POINT YOUR ACTORS PROCESS !

This video helped me understand how painful Mace spray is: