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Kamaari's Morning Portfolio

My first few months in Level 3.

Konstantin Stanislavsky is the creator of modern acting. His passion to actually live in a role instead of neccessarily "acting" a role has been very influential to a lot of different acting techniques in this generation. For example: The Method, Stella Adler’s Acting Technique, Meisner Technique. Stanilavski wrote many in depth notes as he developed and improved his acting system. All of these notes became a series of books: “An Actor Prepares,” “Building a Character,” and “Creating a Role” that became the foundational text for training actors in Russia and the United States.

Stanilavski Research


In today’s lesson we started off with a 3 layered game and my intake on that exercise was that we learn to be aware of our surroundings and have quick thinking, as there are many things happening at one time. A ball is being thrown around the room, people are walking around, and names are being called out. Focus is key for this and if everybody is completely focused than the more, we can progress into more and more layers. Then we walked around the space and were watching our peer’s walks without anyone noticing as we would then have to mimic the same walk. Coincidentally I picked Alex Reyes as he picked me. I noticed Alex had a very firm and confident walk and that showed me he is very sure of himself and his abilities. He walks with purpose and always has a destination in mind whilst walking, his head was always up facing the horizon and arms were in sync with the opposite leg. Using these walks, we had to create a storyline just using only facial expressions and gestures. I found this challenging as talking is the most common way I act, but this showed me how to use my whole body and not just words to create a story which makes everything clearer to the audience. Blanka had given us a Stimulus and our story was Mary had a little lamb, we found this a tad bit challenging as we barely knew the story, but we made up our own storyline. We had Olivia act as the Lamb and Vonzelle was on her way to school and the Lamb had followed her. We incorporated less speech so we could focus on our actions, and I think that helped the performance a lot. The exercises from today will hopefully get us all familiar with each other and hopefully become the best ensemble we can be.Targets for Thursday: 1. Use less speech, but instead use my whole body to declare to the audience what type of character I am for example what type of walk I use. 2. To get everybody’s names down as that is very important, but I think I’ve mastered that already. 3. Lastly, I would say make my facial expressions much clearer, I feel like sometimes I talk without showing and really getting into what character I’m acting out as.

Day 1:

Targets for next week: 1. Being able to balance different types of emotions in scenes. 2. Being able to use given circumstances in every scene. 3. Using imagination to act out actions easily.

Today’s lesson we started off with a very fun exercise. There were 16 chairs scattered around the space and our ensemble which includes 15 of us had to make sure Blanka couldn’t sit down on the empty chair or else we would lose the game. This was a silent task so if we were to speak than Blanka could move a lot faster and almost run to the chairs. We worked good as a team and co-ordinated each other well and lasted for around a minute. Lucy then stepped up and took lead for one of the rounds and was very strategic and smart about her decisions. She made sure if the chair was on the other side of the room someone from the opposite site would go and take the chair. Lucy was also very good at giving herself a good view of her peers and moved when she had to. She made sure everybody had a chance to move and that helped us last extremely long and achieved a time frame of around 6-7 minutes which is drastic from the last round. After this exercise, we laid on the floor and really used our imagination. I closed my eyes, and we were told to imagine we were walking through a desert, when I think of desert, I think it is boiling hot and how different concrete to sand would be. I really embodied the character and started to get thirsty, sweating and even started to get tired. I really had to think about how I would walk then it started coming naturally. We then imagined that the water was shallow and how different it would be to walk on rather than sand and it slowly started to rise, and we found ourselves slowly changing characters which definitely would help us switch onstage when a certain event/scene is taking place. We had one last task before the lesson ended and I was placed into a group of 3 with Shamarni and Meecah where we started to learn more about given circumstances. Our given circumstance was that we were in a library which was our ‘where did it take place?’, that meant that we had to understand how different a library would be to doing something else. In a library you would have to be more cautious with you tone of voice rather than shouting, but the catch was we weren’t able to speak in the scene. So, we used our facial expressions and gestures to make the piece comedic, but also make sure the story was understandable. I think we showed where we were extremely well, but something we could work on is to balance out funny and seriousness with the scene otherwise too much of one could get boring.

Day 2:

Me and Bella's first rehearsal working on the dance

Targets for next week: 1. Being able to balance different types of emotions in scenes. 2. Being able to use given circumstances in every scene. 3. Using imagination to act out actions easily.

In today's dance lesson, our journey began with a comprehensive warm-up session meticulously crafted to prepare our bodies for the physical demands of the day's activities. Led by Blanka, our instructor and guide, we embarked on a series of dynamic stretches and diverse movement exercises designed to invigorate our muscles and ignite our creative spirits. From gentle stretches that elongated our muscles to dynamic movements that activated our entire body, each element of the warm-up contributed to priming us for the exhilarating journey ahead. Following the invigorating warm-up, Blanka presented us with a sheet brimming with an array of movement prompts, ranging from fluid gestures to bold leaps and intricate footwork. Paired up with partners selected by Blanka, we embarked on a collaborative exploration of movement, utilizing the diverse repertoire of prompts as a springboard for creativity and expression. With boundless enthusiasm and a shared commitment to artistic exploration, my partner Bella and I delved into the task at hand, eager to craft a unique and captivating dance routine. Drawing inspiration from the myriad of movement prompts at our disposal, Bella and I embarked on a collaborative journey of choreographic discovery. Infusing our routine with elements of jumping, rolling, and sliding, we sought to create a dynamic and visually arresting performance that showcased the versatility and creativity inherent in dance. As we seamlessly melded our movements together, each step and gesture became a testament to our shared vision and collaborative spirit. While our dance routine remains a work in progress, with nuances to be refined and transitions to be perfected, our initial exploration has laid a solid foundation upon which to build. With a shared commitment to continuous improvement and artistic excellence, Bella and I eagerly anticipate the opportunity to refine our routine in the weeks to come, striving to elevate it to its fullest potential. Armed with a newfound sense of creativity and a shared determination to excel, we look forward to the journey ahead, confident in our ability to transform our vision into a breathtaking dance performance that resonates deeply with both ourselves and our audience.

Day 3:

Day 4 of our journey through the world of performing arts commenced with a spirited warm-up activity designed to foster camaraderie and hone our collective agility. Engaging in a lively ball game, we embarked on a quest to keep the ball aloft, ensuring it never touched the ground. This seemingly simple task served as a catalyst for building trust and cohesion within our ensemble. As we collaborated to prevent the ball from descending, a palpable sense of unity enveloped us, bolstering our confidence and fortifying our bonds. Beyond its physical benefits of preparing our bodies for the rigors of the day ahead, this warm-up exercise cultivated essential skills crucial for our artistic endeavors. By necessitating quick thinking and decisive action, we honed our ability to work in unison, embracing risk-taking as a collective endeavor. Rather than hesitating or waiting for others to act, we embraced a proactive approach, with multiple individuals springing into action simultaneously to safeguard the ball's airborne trajectory. Our collective efforts culminated in a remarkable achievement, as we soared to a high score of 25, a testament to our collaborative prowess and unwavering determination. Following the invigorating warm-up, we delved into the intricacies of the 'and yes' exercise, a nuanced exploration of maintaining composure and confidence in the face of unexpected challenges. As we navigated through the exercise, I gleaned valuable insights into the importance of adaptability and resilience in the realm of performing arts. While the exercise sought to disrupt our expectations and induce confusion, I realized the significance of embracing ambiguity with poise and conviction, embodying the mantra of being "confidently wrong and strong." This invaluable lesson served as a poignant reminder of the inherent unpredictability of live performance, urging us to approach each obstacle with unwavering resolve and grace under pressure. As the day drew to a close, we embarked on a spirited improvisation game, immersing ourselves in a whirlwind of creativity and spontaneity. Forming a circle, we embarked on a journey of collective storytelling, with each participant contributing to the evolution of a scene through seamless transitions and imaginative prompts. This exhilarating exercise honed our ability to think on our feet, fostering a dynamic interplay of ideas and narratives. By mastering the art of spontaneous creation, we fortified our ability to adapt and innovate, essential skills for any aspiring performer navigating the unpredictable landscape of live theater. In retrospect, Day 4 encapsulated a multifaceted journey of growth and discovery, as we collectively navigated through a series of engaging exercises designed to sharpen our skills and deepen our understanding of the craft. From the spirited camaraderie forged during the ball game to the invaluable lessons gleaned from the 'and yes' exercise and the exhilarating improvisation game, each moment served as a stepping stone in our ongoing artistic evolution, equipping us with the tools and resilience needed to thrive in the dynamic world of performing arts.

Day 4:

On this particular day in our dance lesson, the familiar warmth of camaraderie enveloped us as we engaged in a playful yet purposeful warm-up game reminiscent of Day 4. This time, the game unfolded with Shan as our partner, and despite the repetition, the sense of shared determination and camaraderie remained palpable. Fuelled by a collective desire to surpass our previous achievements, Shan and I approached the game with renewed vigor and focus, determined to elevate our performance to new heights. Our efforts bore fruit as we achieved a commendable high score of 30, a testament to our unwavering commitment to excellence and our capacity for continuous improvement. Building upon the energy and momentum generated by the warm-up game, Blanka introduced us to the concept of Given Circumstances, a fundamental aspect of character development in the realm of performing arts. Tasked with exploring Given Circumstances within our respective groups, I found myself collaborating with Francesca and Alex, embarking on a journey of creative exploration and discovery. Imbued with the Given Circumstances that we were siblings navigating a complex inheritance situation in the early 2000s, we delved into the intricacies of our characters' relationships and motivations, unraveling a compelling narrative rooted in familial conflict and emotional tension. Through this immersive exercise, we gained a deeper appreciation for the significance of Given Circumstances in shaping our understanding of character dynamics and narrative context. As actors, our ability to grasp and analyze the Given Circumstances of a play enables us to embody our characters with authenticity and depth, fostering a sense of emotional truth that resonates with audiences. This process of delving into the "magic if" — contemplating how we would react if we were in our characters' shoes — aligns closely with Stanislavski's renowned system, emphasizing the importance of empathy and imagination in bringing characters to life on stage. In essence, our exploration of Given Circumstances served as a poignant reminder of the transformative power of context in the art of storytelling. By immersing ourselves in the rich tapestry of Given Circumstances, we not only deepen our understanding of our characters' inner worlds but also enrich our performances with a nuanced complexity that captivates and resonates with audiences. As we continue to delve deeper into the intricacies of character development, armed with the insights gleaned from our exploration of Given Circumstances, we embark on a journey of artistic growth and self-discovery, poised to unleash the full spectrum of our creative potential on stage.

DAY 5:

Our lesson commenced with an invigorating warm-up routine meticulously crafted to instill vitality within the group. We delved into a series of dynamic activities, including the likes of "Splat" and "Grandma’s Footsteps," designed not only to elevate our energy levels but also to cultivate a profound sense of camaraderie among the participants. In the spirited game of "Splat," we formed a circle, swiftly passing an imaginary ball to one another with animated sound effects and dynamic movements. This activity served as a catalyst, not only in loosening us physically and mentally but also in priming us for the impending learning tasks. The collective engagement fostered by "Splat" contributed to an atmosphere of shared enthusiasm and readiness. Transitioning seamlessly, we immersed ourselves in the classic game of "Grandma’s Footsteps." In this timeless pursuit, one participant assumed the role of the "grandma" stationed at one end of the room, while the rest of us gathered at the opposite end. The objective was to reach the "grandma" without being caught in motion as she turned around. This game not only prompted agility and quick thinking but also elicited laughter and smiles, thereby nurturing a positive and inclusive learning milieu. By inaugurating our session with these dynamic warm-up activities, we not only set a positive and engaging tone but also facilitated a smooth shift from previous activities or states of mind. These interactive games served as a catalyst for building rapport and fortifying a sense of unity within the group, laying the foundation for collaborative learning throughout the session. In the subsequent segment on practicing tension in scenes, we delved into a nuanced exploration of the concept and its effective embodiment during performances. Our practical application involved a unique challenge – interpreting a funeral home scene without the use of verbal communication. Relying solely on body language, gestures, and facial expressions, we endeavored to convey the desired tension. Facing this distinctive challenge head-on, we individually crafted approaches to fashion compelling, tension-laden performances. Some attendees focused on posture, purposefully adopting slouched or towering stances to create visual contrasts. Others explored the potency of stillness, using minimal movements to intensify the atmosphere of anticipation. Facial expressions emerged as crucial instruments in articulating tension without uttering a word. We honed our ability to manipulate our faces, conveying a spectrum of emotions from profound grief and sorrow to subtle hints of suspicion or fear. Every furrowed brow, tightened jaw, or contorted lip carried significant weight in molding the mood and amplifying the tension within the scene. Through meticulous observation and constructive feedback, we discovered that subtle nuances in physicality and facial expressions wielded significant influence over the overall tension of the performance. Our commitment to staying connected with our characters and the emotions they experienced allowed the silent struggles to resonate with the audience, creating a compelling narrative through unspoken means.

DAY 7:

In the realm of building tension within the performing arts, a nuanced understanding and portrayal of intentions stand as paramount. The artistry lies in how performers harness their bodies to amplify the communication of these intentions, creating a tapestry of meaning for the audience. Physicality and Body Awareness: The foundation of conveying intentions resides in the meticulous cultivation of body awareness. Each gesture, posture, and movement becomes a deliberate and purposeful expression, intricately woven to mirror the character's emotions and motivations. This heightened level of physicality serves as a conduit for tension, seizing the audience's attention and immersing them deeply into the unfolding performance. Contrast and Opposition: An additional layer of complexity is introduced through the strategic use of contrasting body language. Physical opposition, such as pushing and pulling, or conflicting movements, becomes a canvas upon which inner tensions and conflicting intentions are painted. This deliberate contrast enriches the performance, holding the audience captive in a state of engagement and intrigue. “Yes” and “No” Gestures: We were tasked with encapsulating intentions using only “yes” and “no” gestures. These seemingly simple gestures wield a profound impact on stage, heightening tension. A resolute nod signifies determination and unwavering intention, while a hesitant shake of the head hints at doubt or internal conflict. In the absence of words, these powerful gestures effectively communicate intentions. The evolution of this exercise led us to experiment with counting to ten as a tool for building tension. Deliberate and slow counting implies anticipation, while a rapid and erratic rhythm conveys urgency or anxiety. The rhythmic nature of counting becomes a potent element, intensifying the tension within a scene and fostering a palpable sense of anticipation for the audience. Cultural Interpretations: Diving into the exploration of intentions across different languages and cultures adds layers of richness to performances. Depending on a character's cultural background or the scene's context, specific gestures or body language may carry nuanced intentions, enhancing the authenticity and depth of the portrayal. Understanding these nuanced elements and seamlessly incorporating them into performances enhances the authenticity, providing the audience with a richer experience. It's crucial to acknowledge that interpretations of intentions may vary among individual audience members. Yet, the key lies in the deliberate and thoughtful use of body language, aligning it with the character's intentions and the overarching narrative of the performance. By skillfully wielding the power of body language, performers craft a narrative that effectively communicates intentions and weaves tension into the fabric of the performing arts. Through a synergy of physicality, contrast, calculated gestures, strategic counting, and cultural interpretations, the stage comes alive, connecting performers and audience members in a profound and captivating experience.

DAY 8:

To initiate our rehearsal journey, my partner and I embarked on a thorough exploration of our assigned scene. Recognizing the pivotal role of understanding the given circumstances, we sought to imbue our characters with depth and authenticity by delving into their emotions and actions. Our process began with meaningful discussions, where we took turns elucidating our interpretations of the scene and unraveling the various elements embedded in the script. The crux of our endeavor lay in the analysis of the given circumstances, an effort aimed at uncovering the motivations and intentions that propelled each character's words and behaviors. This analytical approach proved instrumental in immersing ourselves more profoundly in the scene's context, forging a closer connection with the intricate tapestry of our characters' emotions. We embarked on an exploration of their relationships, backgrounds, and the dynamics at play, all in service of portraying them with convincing authenticity. As we traversed the script, we posed thought-provoking questions about specific character choices, plot developments, and narrative ambiguities. These questions functioned as beacons, guiding us toward deeper exploration and analysis. In doing so, we gleaned valuable insights into the story's intricacies and the multidimensional facets of our characters. Our collaborative methodology not only fortified our individual understanding of the scene but also fostered a mutual comprehension between us. We shared our diverse perspectives and interpretations, cultivating an environment conducive to open and productive dialogue. This collaborative exchange unearthed nuanced details, revealed hidden meanings, and hinted at potential subtext within the script. In essence, our overarching objective was to attain a comprehensive understanding of the scene and script, allowing us to fully immerse ourselves in the intricate realities of our characters. By investing time and effort in dissecting the given circumstances and addressing our inquiries through thoughtful discussions, we forged a profound connection to the material. This, in turn, laid the foundation for a performance that would resonate authentically and leave a lasting impact.

DAY 9:

How?, Use your dialogue, movements, and gestures to try to influence the other characters to give you what you want i.e. accomplish your objective. This is also called a character’s tactic. If one tactic fails, try a new one and see if that works.

Where?, The script will usually tell you where you are but the important thing for an actor is to consider how the character feels about the place they are in. Characters act differently in public than they do in private. People move differently when they are cold vs. when they are too hot. The space your character occupies can determine how they behave during a scene.

For what reason?, There is always something stopping you from achieving your objective. Usually, there is someone or something in the outside world impeding a character’s advancement and also some internal conflict with which they struggle. Find what it/they are and fight against them with the scene. This is also called a character’s obstacle.

When?, When did this happen is more so finding out when this event took place. We want to know what time it is, the year and that can help with thte set. When can also mean the time of the day or when an event took place so if you your characters gets heartbroken at a certain point in the script then you know when your character needs to change emotions and feelings.

Why?, There must be a driving force behind your objectives on stage and on screen and that is your justification. We all having reasons for doing what we do and characters are no different. Give your character a convincing reason for acting and you automatically generate high stakes which leads to tension.

Who?, Is quite easy to understand 'Who is my character?' Start with the basics and then fill in the gaps with your imagination. Pick apart the script to find out what type of person your character is; what they look like, what they believe, how others describe them and so on. Think about your character’s past and the significant events/people that influenced them and made them who they are in the script.

  • 'Who?'
  • 'When?'
  • 'Where?'
  • 'Why?'
  • 'For what reason?'
  • 'How?'

The six fundamental questions

Fact: The first three of the six questions are directly related to the facts provided by the writer, through the second three are more up for grabs.

'All action in theatre must have inner justification, be logical, coherent and real.'

- Konstantin Stanislavski

Stanislavski’s Magic If included in the book 'An Actor Prepares' may be one of the most useful tools available to actors today. This device is used to get actors to open up their imaginations in order to discover new and interesting things about the character they are playing. In utilizing this tool, an actor simply asks themselves a what if question about their character. Let’s say they are playing a young man whose objective is to leave his family forever. After getting as much information as they can about the character from the text of the play, there will still be aspects of their character’s back story and present situation that are cloudy or simply not answered by the play. The manner in which it is employed is simple and direct. As an example, if the character knows close to nothing about their father and it would be useful to have such information then what if question(s) about the father may prove to be helpful. Questions such as what if the character’s father beat him, what if his father ran off, or what if the father died before the character was born may be appropriate.

The Magic if:

The given circumstances are the information about the character that you start off with and the play as a whole. How old is the character? What’s their situation in the play and in relation to the other characters? Are there any notes provided about the play and its characters? Such notes and stage directions may not tell you everything you need to build a character but they are the starting point from which you’ll work to examine the other questions.

Given Circumstances:

Given the circumstances is a phrase that means that a particular situation makes an action, decision, or judgment necessary, acceptable, or true when it would not normally be. It is used to consider the problems or difficulties that affect something. It can also describe the situation in which the characters find themselves in a story or a play.

I learned a lot from the voice lesson, because being able to articulate yourself on stage is one of the most important things from what I learnt. An actors superpower is their voice, Tim showed us how to use our voices properly and breathe in and use our diaphram properly. A voice of an actor requires versatility, so being able to communicate with a wide range without it seeming like your shouting is exremely important. We did a few exercises like holding our breath and having our hand on our belly, then releasing all our breath with the sound given by Tim. Voice lessons in warm up terms is key, in case you strain your vocal cords. Voice can also help with given circumstances in ways like where they're from. You can tell where someone is from by accents, so we learned different ways to adapt to different types of accents. Projection is a key part of performing as everyone in the audience is required to hear you to understand what's going on thoroughly.

Voice Lesson:

Name: ScottAge: Late teensOrigin: Wales, BridgendLove interest: CatrinBefore was introduced to the scene, there was some things that went on the previous year before on halloween where Scott met Catrin and tried to speak to her, but she was too fascinated by Lee they hadn't spoke since then. Then he was eventually introduced into the scene, when he walked into a graveyard near to a pub looking for Catrin as lee told him to go look for her, and Scott jumps at the offer as he has feelings for Cat. Further down the line he believes he has a chance as she wants to stay outside the pub with him. He gets overlooked by Catrin a lot and it makes him feel out of place and that's why he comes across awkward a lot of the time.

Character Profile:

In one of our drama lessons with Blanka, I embarked on the journey of practicing my monologue. Initially, I approached it with a sense of dismissal, merely skimming through the script without delving into its depths. My rendition resembled more of a motivational speech, aiming to inspire rather than embody the essence of the character. However, under Blanka's guidance and the constructive criticism received, a transformative process began to unfold. Blanka's feedback served as a beacon, illuminating the nuances and intricacies of the script that I had previously overlooked. With her assistance, I gained a deeper understanding of the character's struggles and motivations. Encouraged by this newfound insight, I dedicated time outside of class to immerse myself fully in the script and accompanying materials. I closely analyzed each line, seeking to grasp the character's psyche and emotional journey. As I delved into the character's shoes, I confronted the myriad of challenges he faced. The monologue depicted a poignant tale of a young boy grappling with feelings of neglect and abandonment, relegated to the role of a mere helper for his siblings. His journey led him down a path fraught with adversity, from being cast out of his home to navigating the harsh realities of life on the streets. Eventually, he found solace in a daunting and unfamiliar environment, a testament to his resilience in the face of adversity. Armed with a newfound understanding of the character's struggles, I sought to infuse authenticity into my performance. With Blanka's guidance, I honed my portrayal, striving to breathe life into the character's turmoil and anguish. However, reflecting on my performance, I couldn't help but feel a lingering sense of self-critique. While I believe my performance resonated with the audience, I am cognizant of areas where I could have pushed myself further. In hindsight, I recognize the importance of vocal projection, ensuring that every word reverberates throughout the space, commanding the attention of the audience. Additionally, I acknowledge the missed opportunity to explore the character's anxiety through deliberate pauses and interaction with the environment. Moving forward, I am eager to refine my performance, incorporating the valuable feedback received to elevate my portrayal. By embracing the character's complexities and vulnerabilities, I aim to deliver a more compelling and authentic performance, leaving a lasting impression on both myself and the audience.

Monologue Evaluation

I'll start off on what the play: Love steals us Loneliness is about, It's a duologue scene with a boy called Scoot and Catrin, the play was written by Gary Owen In February 2005. A late teenage girl I'd say she's 17, she falls in love with someone she never really had an eye on, who happened to be her boyfriends best friend. Throughout this unit, one of the most significant learnings for me was the power of collaborative work, particularly in the context of a duo performance. Working closely with a partner not only opened me up to a plethora of different ideas but also provided a platform for seamlessly incorporating each other's perspectives into our performance. In our duologue, we dedicated a substantial amount of effort to embodying the setting described in the script, such as a graveyard, ensuring that our portrayal was both visually immersive and emotionally resonant. During the initial stages of rehearsals, I brought forth several ideas, albeit with varying degrees of effectiveness. However, it was Lucy's adeptness in assuming a leadership role that truly elevated our collaborative process, streamlining our efforts and ensuring a smoother execution of our vision. Our commitment to honing our facial expressions proved fruitful in the actual performance, as we meticulously crafted our expressions to convey the intended emotions to the audience, staying true to the artistic direction we had established. Moreover, this experience afforded me invaluable insights into the nuances that can significantly enhance a performance. From the meticulous attention to detail in our rehearsals to the immersive exercises where we delved into our characters' pasts, such as reenacting the moment we first met at a Halloween party a year prior to the events of the script, each step contributed to a deeper understanding of our characters and the dynamic between them. By gradually immersing ourselves in the characters' backstory, we gained a profound insight into their relationship dynamics, enabling us to portray their interactions with authenticity and depth. Reflecting on this experience, I recognize the areas where I can further improve in future projects. Moving forward, I intend to approach my next project with heightened focus and a commitment to thorough research. By delving deeper into the intricacies of the character and their respective relationships and situations, I aim to cultivate a comprehensive understanding that will enrich my portrayal and contribute to a more nuanced and compelling performance. Through continuous refinement and dedication to my craft, I aspire to push the boundaries of my artistic expression and deliver performances that resonate profoundly with both myself and the audience.

Duologue Evaluation

In our movement piece, Bella and I initially faced challenges in conceptualizing and executing the choreography. Despite the initial struggles, our collaboration began on a strong note, fueled by a torrent of creative ideas. However, as we delved deeper into the piece, we encountered moments where we required guidance and assistance, prompting us to seek Despina's expertise. With Despina's guidance and our collective effort, we managed to seamlessly weave together a series of movements that flowed cohesively, resulting in a performance that exuded fluidity and grace. To enhance the cohesion of our piece, we endeavored to imbue it with a narrative arc, providing a framework that lent purpose and direction to our movements. Drawing from our narrative concept, we portrayed a dynamic between a boy and a girl fraught with tension and conflict. The girl's controlling demeanor, manifested through forceful gestures such as twirling the boy's head and causing him to collapse, symbolized the discord in their relationship stemming from an unresolved argument. However, as the piece progressed, subtle shifts in their interactions hinted at a reconciliation, culminating in a poignant moment where they reunite briefly before the tragic conclusion. In the lead-up to the performance, nerves threatened to undermine our confidence. However, Bella's reassuring presence and encouragement helped assuage my apprehensions, instilling a sense of assurance in my abilities. Despite facing unexpected challenges during the actual performance, such as a misstep in choreography, we remained composed and adeptly improvised, seamlessly integrating the error into our routine without betraying any sign of faltering. This ability to adapt and overcome obstacles on the fly not only showcased our resilience but also elevated the overall quality of our performance. Reflecting on this experience, I am motivated to expand my repertoire of movement techniques in preparation for our next piece. Embracing a diverse range of movement styles will not only broaden my artistic capabilities but also enable me to explore new avenues of expression, enriching the depth and complexity of our future performances. By setting this goal and committing to continuous growth and exploration, I aim to elevate our collaborative efforts to new heights, delivering performances that captivate and resonate with audiences on a profound level.

Movement Evaluation