Savannah's Theatre Blog

Reflecting Reflections

Posted in All About Butoh by Savannah on October 24, 2010

The first thing I noticed when looking back on my reflections was how few reflections there actually were up until this month. If I had written more, I would probably be able to write a reflection on those reflections of decent length.

When looking back on April of this year (when I started Theatre) I only had two entries and they were very factual with literally no emotion and although I have been recently writing these reflections in a state of sheer exhaustion, I feel sure they have MUCH more emotion. More importantly, I think I now understand what I was talking about given that, during various rehearsals, performances or workshops, I have implemented the ideas.

Progressing into May, my blog entries show me to be more interesting yet I don’t think anymore insightful; I had not begun to make connections, really think about what I was doing or reflect insightful. I was simply storytelling but without any literary elements. That is to say, that whilst I was saying what happened it lacked any substance or meaning. At the time of our performance, however, it gained more substance and I think this is when I started to make connections though they were definitely not even partially formed. I was actually able to answer why to some things: why was I happy about this? Why was this performance better than the last? etc. Although, I still had a long way to go to become really insightful.

And on to June… I’m shocked at how bad my blog is at this stage. My first entry for the month Theatre in France – the 1600s was factual and useful but brief. I think my bibliography for this post is longer than the actual post.When looking at Finding Madame Pernelle it is clear that I did not ‘(find)’ my character as well as I could have. My analysis of her character is very on the surface and lacks depth as well as detail.

I think my “study” in July of two men and a woman sitting in a cafe was a turning point for me. I started to look at specifics and realising that that is necessary for a successful performance. Seemingly, I have nothing else until August. We looked at Kabuki in August and I can say that I did not find it the most enjoyable topic to study but I know I’m not a particular fan of the style. Still, looking into costumes this time seemed to give me some incentive/interest in doing it again as that is my production role for our Butoh showcase. Another topic we started in August was lighting. I don’t think this month was a shining one for me in that I think I was not very interested in the topics but didn’t try to push past that. Finally though we came to something I’m good at and enjoy: Shakespeare. I think my analysis was quite insightful yet I know I could have gone further and I would have liked more experimentation. By doing this monologue I learnt so much about lighting. I think the difference from studying lighting by itself and lighting as a part of my performance is substantial because when I was designing the lighting for my own performance, I really cared about it adding to it so I strived for something great. In the process I learnt lots and lots! By learning so much I was able to look at everyone elses performances subjectively and see why they had made what choices and how effective they were for whatever reasons.

Then comes the Zen Zen Zo workshop, another real turning point and I feel closer to understanding performance (whilst I have a VERY STRONG grasp I don’t know nearly as much as I want to) and finding connections.



Puppetry – Workshopping!

Posted in All About Butoh by Savannah on October 21, 2010

Today we began by talking about music for the Butoh showcase. There were a huge array of instruments on the tables that had been pushed back in room 88 (we’d been kicked out of Room 46 because of the art exhibition). These included some instruments that I had brought, such as a cow bell and maracas, as well as some that Mel had borrowed from the music hall. Ms Flood also said that she had a toy piano to bring in. What I absolutely know about the music is that we are using tinkling sounds from the toy piano or xylophones for the playground/sandpit to add to the mood and show the simplicity but often extremity of children’s emotions. I’m very excited about the drum; it looks and sounds amazing.

There were a couple of new ideas: one from Taleah which is sooo interesting! I don’t know how she comes up with this stuff. It’s focussing on becoming or progressing into an animal and taking on their characteristics. The music would be the drum (perhaps more than one – creating polyrhythms?) and something else which I can’t remember! Everyone could see the Guppi mask from our Butoh workshop being utilised. There was also the idea of Mel’s which was actually talked about very briefly last lesson. It would involve one person doing the mask, The Scream, and everyone reacting around them – it would be wild and crazy. I saw it in the center circle we plan to have, in the middle of the audience; it would seem so raw and much more personal.

From there on we (Taleah, Geoff, Cathy and I) workshopped our puppet ‘episode’ whilst Bob and Daniel workshopped there mysterious (yet to be seen by the rest of us) cubby episode, although they are apparently having trouble with the cubby being usable. I think we had some real revelations with our puppetry. We were having difficulties with focussing first period especially with all the xylophone bashing, so at the start of the second period we went outside and, in pairs, did the mirror exercise. We needed to make it slightly harder though, so pair A would do the exercise whilst pair B would attempt to distract them in any way they could. I think Geoff and I were particularly good at distracting Cathy and Taleah with drumming and somersaults. This distraction was actually where we came up with the idea to include a somersault in our puppet dance although, needless to say, it took quite a lot of experimenting. We figured it out though and I plan to video it next week to see how it looks. Cathy also had the idea of backbends and each pair workshopped a way to do it in their own style. Cathy/Taleah’s style is smooth, slow, gentle and kind whilst mine/Geoffrey’s is rougher and definitely not kind. I think both ways are really effective especially because we decided to utilise each one in different parts of the dance. We decided ( and Cathy suggested) that she should do her backbend whilst I am doing my somersault: I think this will be very effective because it shows that we are both working at opposite directions yet together at the same time. We had slightly more difficulty utilising my back bend timing-wise yet with much experimentation we got there! It is a very jagged backbend, if you can have such a thing; Geoff “pulls” me down should by shoulder. We then do this chest pulse sort of thing which we all saw a version of in Step Up 2 and found to be amazingly affecting. They were on the ground however and I’m in a backbend doing it.

I think that I can safely say that our timing and focus is increasing hugely as well as our group awareness because of this performance piece. I think we are also learning to collaborate and communicate effectively.

Ms Flood and Mel came outside to see our puppetry and I think they were really happy with what we’d done! I know it still needs a lot of work but we are definitely on our way!

Child’s Play and Puppets (Experimentation + Production Meeting)

Posted in All About Butoh by Savannah on October 19, 2010


Today we started the lesson by looking at our RI topics. After much confusion I finally have my topic:

What is the ‘alienation effect’ and in what ways could it be utilised in an Epic Theatre production of The Good Woman of Setzuan?

I’m really excited to get started on this. I have a general idea of what it is about from doing Tartuffe earlier this year, yet I don’t feel I know all the details about it that I want to. Furthermore, I know there are a million resources for this. I’m hoping to get down to the State Library to perhaps look at old articles, essays or reviews regarding my question. I’m very happy with this question because it is simple and straightforward; you don’t have to search through the words to find out what it’s really about.

We had a discussion of our upcoming Butoh performance and were discussing any new ideas as well as music for the puppetry. The lack of ideas frustrates me a little bit and I hope I’m justified in saying this; I feel I have put in an average amount. I think there are a couple of people who aren’t really grasping that this is a performance that we are creating and that they shouldn’t rely on others to come up with the ideas. However, there are some people who are obviously putting in a lot of work and are dedicated to this performance which makes me happy again! 🙂 We (well, Taleah) has been struggling to get the lyrics taken out of the song that we all love for the puppetry sequence – I so hope that she can manage it! She is an expert on these things and surely will…. Although we have another plan for it, which is also great, which involves Mel (most likely) playing the really strong beats in the music and humming the melody + a triangle + a glockenspiel.

We showed Ms Flood our puppet sequence later in the lesson. I did feel slightly blocked; not by her or anyone else but by my own focus. We’ve generally been okay without doing the focus exercise at the start of a lesson but I felt this time, I needed it. I think if I’m in the same state next lesson I’ll ask if we can do it. Saying this, I do think that Ms Flood was happy with the idea. We just need to fine tune the choreography and figure out how to link it in as well as how to get to the floor without injuring ourselves.

I think that the showcase is going fairly well, although we definitely need to go back to the beginning and see how it is all linking.


We had our production meeting today focussing on publicity and music. We are putting an “ad” in the school newsletter to make sure that people know about the showcase. When discussing this we came up with a name, or rather, I suggested a name and everyone just agreed (we don’t have much time left until the ad needs to be submitted to Mr Weber) – Butoh Showcase: Child’s Play. I like it because it’s simple and it’s what we focussing on is obvious, what we actually do is not. Cathy’s going to send the ad to Mr Weber and come up with some poster designs for next week. There was more discussion about the music for the puppet section: Taleah is going to keep trying to figuring out a way to remove the lyrics from the song we love and Mel (she’ll organise) and I (I’ll help carry it back) instruments to bring to Thursday’s class so we can workshop with live music. Also, Mel is going to get music from Ms Flood and I think I’ll talk to her about getting that on a USB or CD. A lot of what we do is loosely structured so I think it’s going to be vital to know the music backwards.

On the props side (Daniel’s area) we officially have bubbles! Although they are sadly not edible or in cool shapes. Still, bubbles are bubbles and it’s going to be so much fun to play with them! We are also getting a props box for Thursday because as we continue to collaborate, more props will be added.

Taleah (as stage manager) is going to collaborate a running sheet with a list of entrances, exits, lighting, etc. Ms Flood said it should be so thorough that if she decided to do Child’s Play with a class in years to come, she should be able to replicate the technical side of it almost exactly. I think it will be really helpful and it will be great to see it all together. However, to do this running sheet, we are going to have to actually know the whole piece (everything we are doing) as well as lighting/media, etc. (Bob and Geoff are yet to start their experimentation).

Ms Flood also talked about wings  (!) on Monday and the curious energy level. Can’t wait until Thursday to experiment with that!!

18th, 19th, 22nd October: Butoh and other things…

Posted in All About Butoh by Savannah on October 17, 2010

Monday: Today we were mainly looking through past RIs. There was one that got a rally high mark, a really low mark and then one with a middle range mark. I found looking at the one with the middle range mark to be useless in that I was utterly confused. The question I thought was overly complex which contrasted hugely to the question with the high mark which was very straightforward and basic but still allowed for an extensive amount of research. Looking at the example with the high mark was very useful for the critique of sources and the sources used. They had used an extensive range of sources and their critique was well thought out and justified. The low mark was also useful for this in that I think they had 3 internet websites and no  other sources. I have a good knowledge now of what to do in the way of sources. I plan to read through the entire RI of the highest mark so I can get some ideas of how to organise and structure my own RI.

Geoffrey and I had been working on dance for the upcoming Butoh performance and we showed it to the class today. I was definitely slightly embarrassed because I stumbled… quite a few times but oh well! I know I just need to practice dancing with other people more and it will all work out! I think everyone was fairly happy with this (asides from the stumbling) and I think ‘The Gift’ mask and walk after this will be very effective.

Thursday: Today we were mainly workshopping our Butoh performance. At the start of the lesson however, we had a short talk about our RI questions. I hadn’t actually come up with an question yet (written down at least) and I felt quite bad for this. However, I had/have a style and play: Epic Theatre,  Parables for the Theatre by Brecht. I’ve been reading the play and I think it’s really interesting. It has religion at its core which is a change for me because I haven’t found this with a lot of plays that I’ve read or seen although I know it is there in many.

  • Throwing energy levels: We played around with this today except we started thinking too much which I know is one of my greatest flaws and I’m sure others struggle with it aswell. We thought we might include the twitching and then progress into energy levels. The problem with this was that we literally couldn’t get started. The progression from twitching to this didn’t work it just didn’t fit or feel right. What we then decided to do was start out with one person (me) and then just throw the energy around until everyone was affected by it or indeed, infected with it. I thought it would be more effective if I started on energy level 5 (curious) and easier aswell because it allowed that ‘insightful creator’ persona. Also, level 6 (huge, strong emotions – best and worst day of your life) would be better to progress as the energy did because it’s such a huge, obvious one. Aesthetically and logically it makes more sense for it to come later. There was still one thing that I found difficult with this, and I think everyone else did aswell, was knowing when the music was coming to an end because we had to be in rough positions by the end so we could start the dance with me, Geoff and Cat. I think when we listen to this more and perhaps get a copy of the music, this will be easier.
  • Child’s Play: We brought in some childhood toys to play around with. We had previously experimented with being children in a sand pit with 2 “normal” children and 1 brat and it was very effective. Today we included everyone but still had only 1 brat (Taleah). It was great fun although I know I can get the simplicity but extremity of the emotions to strike me more. I particularly enjoyed working with Jesse in this because he was very free in his choices and also very childlike. He had me feeling more in character although he did forget the importance of stagecraft a few times. I found it difficult to work with Daniel at this stage because he didn’t feel very aware in that it took him just those few seconds more to catch on to the fact that I was trying to communicate. Taleah wrecks all the joy we have, however, by taking all our toys away (which is of course necessary for the scene). I think one of our best moments is noticing Taleah and then helping each other out. We all knew she was there because of Ms Flood telling us but because of our group awareness we didn’t all look there straight away; it worked as a chain, a couple looking then the others “catching on”. When we noticed a child’s toy been taken away, at least 1 of us would go over there to cheer them up.
  • Puppets! This we didn’t do in class but a few of us workshopped it outside of class. It was my idea and it came from the mirroring we did at the Zen Zen Zo workshop: I found it really fantastic because of the incredible focus, the group and self-awareness it takes as well as the emphasis that can be placed on detail. I liked the idea of a puppeteer giving energy in a way to puppets. Geoff, Cathy, Taleah and I were work-shopping this idea at lunchtime and Taleah had the most  amazing music to go with it. The only problem with this is that it had lyrics and we would need to figure out how to take them off. fortunately, Aiden apparently knows how to do this so it’s now Mel’s task to find out more about that. An idea that Mel had if we can’t get the lyrics taken off is to potentially have Mel or someone playing the drum (there are very strong beats in the music which are needed for the puppeteer) and humming the melody. I think both could be effective. I was really happy with what we came up with although we realised that we needed to choreograph it because the puppet can’t see what the puppeteer is doing. However, there were a couple of problems we found with this:

             1) How long should it go on for? We were trying to be particular mindful of this because we didn’t want it to get to long and repetitive but at the same time we wanted to fit everything in.

             2) Including Jesse and Daniel. This also comes into the timing of it because we don’t want them to be absent whilst we’re doing the puppetry however to have anything else going on would take away from the effectiveness. So what should they be doing? We didn’t come up with an answer.

  • Finale: We also needed to start thinking of ideas for the finale: I thought that it might be an idea to have the puppets in the finale and then incorporating everything else we had done throughout the show case. To me it seemed that this would be chaotic yet perfectly structured; circus-like. It would include the puppets, pencil focus, back dance (but perhaps with more movement), the puppeteer (perhaps they could be controlling aspects of it?), the children and dynamics (not everyone would be moving or still at the same time). I think the finale needs to incorporate all the ideas that we have used so far because we have new and different stages of the performance and we don’t want the finale to seem like another new stage.




Posted in Oh, Just a Heap of Reviews, Uncategorized by Savannah on October 11, 2010

Hairspray is based on a non-musical John Waters comedy (film) from the 1980s. Hairspray the musical ran for 6 and 1/2 years on Broadway starting on July, 2002. In 2007, the internationally succesful film starring John Travolta was released. A London production of Hairspray was also released in 2007.

The Australian production (2010) is showing at the Princess Theatre. It is directed and produced by David Atkins, tarring Jaz Flowers (Tracy Turnblad) and Trevor Ashley (Edna Turnblad) with choreography by Jason Coleman. It is a fun, high energy rendition of the segregation between blacks and whites in the 1960s. I had the best time watching it was so surprised and amazed that I could see Jason Coleman’s choreography (I go to his dance school) in the routines. The talent that was on the stage was extraordinary and I particularly enjoyed watching my friend Marney McQueen play the evil Velma Von Tussle with sheer malice but supreme restraint. I also loved Jaz Flowers who had extraordinary energy as well as Jack Chambers (Link Larken) and Scott Irwin (Corny Collins) who, to me, captured the era and feel of what I know the 60s to be.

Stylistically, there were a few major aspects that I noticed: costumes, lighting and interactive projection.


For Early 1960s, notice:                                                                                

– the cute little bows at the top of the bodice 🙂                                  

– Patterned, colourful                                                                                    

– Tied in at the waist                                                                                     

– Big puffy skirt                                                                                                 

– Netting underneath skirt for fullness                                                  

* One of the girls costumes of the Corny Collins Show

 For Late 1960s, notice:

– High collar

 – Comes in just above the waist

– Geometric pattern

– Tight fitting

* Penny’s last costume. In a  scene prior to this, there was a dramatic change in costume to one where the whole cast was wearing costumes like this one.

Costumes were made to have a significant role in this musical. Up until Act 2, Scene 4 (I think it was here) the cast had been dressed in predominantly early 1960s attire. There was a change in scene 4 when the costumes resembled that of late 60’s fashion; straight, solid and geometric. They emphasised this change by going for a black and white colour scheme which strayed far from the patterned and colourful costumes there were before.

In the last scene, I noticed there was a mixture of both styles; some wearing early 60’s attire and some, late. If we let the early 1960s style of costuming represent white people and the late, black, we can see the change and then integration of styles as a metaphor. The costumes were predominantly early 60s until the end showing the power and privileges whites had. As the two clothing styles integrate, so do the people. Having Penny in what is definitely late 1960s (blacks) emphasises the message.

I also noticed that the men in the chorus, at one point, were wearing identical suits in different colours. I really liked this effect because it created more diversity and interest (the colours) but showed symmetry which was vital in their dancing.


The checkerboard lights: At one point they had lights that made a checkerboard. It was nearing (or possibly at – I can’t remember!) the time of integration on the Corny Collins Show. The ‘checkerboard’ state was emphasised by Penny’s words in the last scene, ‘I am officially a checkerboard chic’, and of course the checkerboard lights.

I liked this choice because it was not overly complex yet it still meant something.

Spotlights through audience: At certain points, mainly when there were really high energy dance numbers, there were two huge spotlights, standing by themselves on either side of the stage, that would sweep the audience. I really liked this because it added to the energy and excitement of the production. I think it added this for me partially because the spotlights meant ‘performance’ and that excited me! Although, it was an unconscious excitement at the time.

Lights on and off characters: During ‘Mama I’m a Big Girl Now’ there were three pairs (mother and daughter): Amber and Velma, Tracy and Edna, Penny and her mum. Each pair would sing a section of the piece and some was sung together. When pair A sang they would be in the spotlight (literally) whilst pairs B and C were frozen in the pose or situation they ended up in at the end of their section. I thought it made the number more interesting visually because it wasn’t the same lighting all the way through. It also meant that the audience couldn’t get distracted by the pairs not singing.

Stage lit up like a TV: The stage appeared to be lite up like a TV which was, of course, very fitting given the significance of TV in the 60s as well as The Corny Collins Show in Hairspray. The lights seemed like thin, colourful pipes. I liked this because it set the time of the piece despite the technology I’m sure it would have involved.

 Interactive Projection:

In the opening number, ‘Good Morning Baltimore’, the interactive projection was particularly obvious. Tracy came down sleeping in a bed (which was really fun!) which she later walked out of and got her bag from. There was a huge screen behind her which, at this point, digitally showed her bedroom. Jaz was able to actual open the window on the screen as well as the curtains. Birds flew out of the window after she opened it and we heard their chirping.

This interactive projection was also evident in the scene with Tracy’s parents. They appeared to jump into the screen when in actual fact they were jumping behind the screen and their pre-recorded selves appeared on the screen. It was perfectly timed and mainly for this reason, very effective.

I think this interactive projection shows Hairspray for what it is – fun!

Thursday, 7th October: Butoh Performance, Class 2

Posted in All About Butoh by Savannah on October 7, 2010

So today we continued with working on our Butoh performance (which has a rough date set – November 1st!).

We started by working on the back dance that we had done during the workshop and had started doing last class but we were using music that Ms Flood found this time so it was more interesting. I was partnered with Geoffrey at the start wich was difficult in some ways. It should have been difficult given the height different (about a head) but I found that was actually okay. Our 2 workshop leaders hadn’t had a problem with that anyway. However, this time Geoff did crouch down a little bit so he was my height which would have been hard for him when the level (height) was lower. Ms Flood then put us into positions; a pyramid of sorts. I was placed standing whilst their were a few sitting to make it visually more interesting. We were then on opposite sides of the “stage” and had to make our way (slowly) to our positions. The first time I did this I didn’t really use my back much for the walking part, I don’t think I was as self-aware as I should have been. I changed this for the time after. Watching Daniel move to his position was interesting (not watching creepily though!) because he wasn’t grasping the concept of subtle and smooth movements. Ms Flood changed his position a while after as he was at the front and I did wonder whether it was because of this. I’m not sure if he got it a bit better as we went on as I was concentrating on my own movements but I felt that I sensed more awareness as weird as that seems. It was interesting to be put on a lower level and I found that I liked it more in that position because it gave me an option to be on a totally different level from walking without wrecking the balance we  had.

After the back dance we did the pencil/focus exercise. Gosh! It was so exhausting! When our partner went away and we still held that focus I found that going slightly cross-eyed and looking at a make-believe pencil was essential for that focus. At times however, there was no person on the other end holding the pencil and I was balancing it on the tip of my nose like a seal with a beach ball. We split up into two groups and crossed the room, weaving between the other group and then reconnecting with our group. I tried to keep as much focus as humanly possible and I think it payed off because Ms Flood asked me to cross the room by myself (exciting! I’m sure she wouldn’t have asked me to go across by myself if I was terrible or if she wasn’t affected by what I was doing). By the time I got to the other end, I was absolutely exhausted! I was happy though, that I’d been able to maintain that focus.

Our final idea that we work shopped was my idea I am happy to say! It came from the twitching idea (which I can’t take full credit for) as well as the throwing of energy and different people being on different energy levels. We had:

Taleah and I – energy level 6

Geoffrey and Jesse – energy level 7

Cathy and Daniel – energy level 5

Mel (who was absent) – energy level 2/3

I threw my energy to Geoff first and took on his energy level. Various “throwings” continued to happen through the piece of music that Ms Flood had found. It felt so energetic and amazing! I think everyone shared these feelings and I think it will be all the more effective when Mel’s back.

Butoh Performance: Session 1, October 5th, 2010

Posted in All About Butoh by Savannah on October 5, 2010

Today in class we started collaborating ideas about the Butoh performance we plan to put on or rather a ‘showcase’ of what we learnt in the Zen Zen Zo workshop. The class had actually talked about it a bit yesterday but I was at a music excursion and wasn’t there. They had already got some ideas down which mainly consisted of exercises we did in the Zen Zen Zo workshop such as the energy scale and the back dance.

I was really interested in using those exercises of course but I thought that we should incorporate them into other exercises that we had perhaps discovered in previous drama or dance classes. There was a performance (dance) that I saw at VCA on their open day and I think it was about grief. There was one girl who started with a twitch in her hand and it was a recurring movement throughout the piece. There was one section which I remember very vividly. All the dancers (I think there were about 20) minus about 6 who were standing along the walls, spread out, were standing in a line; one behind the other. The main girl with the twitch did so (twitched) and slowly it spread throughout the line. To me this meant they were sharing her pain whether that is positive or negative (as in the twitch, grief perhaps, was like a contagious disease) was up to the viewer. I thought of it as positive; it seemed to me that they were helping her. So this was something I suggested which came from that although I thought of it travelling through one persons body and then being “thrown” or “transferred” to the next person and they would pick up the twitch wherever they felt it hit. The person who threw the twitch would continue (perhaps) at a slightly less extravagant level; they would have a slight twitch.

Something I also suggested, or thought should be incorporated, was falling and catching (contemporary dance!). I suggested it because I can see it really involving self and group awareness physically in that there could be people ready to catch those falling.

Spacejump: This was an exercise we did in class. I had done a slightly different version where there would be two people start in a scene and either:

a) Person A would jump out and a person C would jump in and start a new scene


b) Person C would jump in and start a new scene

Option B, I always found hardest simply because it involves more concentration and if not everybody is concentrating it falls apart and becomes chaotic. We, however, did neither. We did option C:

c) Person A jumps out and person C jumps in and takes person A’s character in the same scene. A new character was added.

It wasn’t majorly different and I actually found it easier because I didn’t feel I was floundering. There was a clear concept there (4 year olds making sand castles in a sand pit) and  I could grasp onto it. There was another major difference in that we couldn’t talk. I found that I actually loved this because there was so much awareness (group and self). We weren’t relying on words so we actually had to create a scene using our bodies, mime and interaction via movement. It was refreshing and I felt that there was a more pure message achieved.

For my first go in the spacejump scene, I was a pretty wussy child but a perfectionist all the same. I think I may have been reverting to my own childhood with this because I was incredibly shy and quiet as a kid… and a perfectionist.

The second time I went in, I was a brat (the new character). This was definitely not what I was like as a child but I enjoyed playing it more. I also enjoyed finding childlike qualities as well as child like ways to show emotions, particularly frustration. As you grow older, strong emotions like anger and frustration are held back a lot and I think being upfront about emotions was what I found refreshing.

Impovisation Workshop (September, 2010)

Posted in Uncategorized by Savannah on October 5, 2010

We had 3 (I actually had 2 due to being involved in something else at the time of the first activity) drama improvisation sessions working towards creating 3 Thank God You’re Here type scenes. I was involved in the ensemble of a scene for Mel and Geoffrey. I had a really good time creating different characters for each scene and I got to practice walking onto the scene for both of theirs. I was really nervous about it because I feel that improvisation is one of my weakest points. I often feel tongue-tied and anxious. However, when practicing with Mel’s and Geoff’s scenes I had a great time!

Furthermore, I had my very own scene to walk in on as a performance and I was absolutely terrified! When the scene started though, it felt natural and organic. I actually felt confident when it began.

I realised at the end of this workshop that I just need to be loose and relaxed (yet still focussed) and to allow my imagination to wander for my improvisation to be successful and fun!