Work Experience Blog - Kieran

We were absolutely thrilled to have brilliant A-Level student Kieran travel 40 miles each day all the way from Essex to spend his half-term with us at Gecko. Here’s a blog from him about his thoughts on the company.

When viewing a Gecko show without having any prior knowledge of their work or process, it is easy to believe you have slipped into an imaginary world where advanced physicality and emotional integrity are now the leading forms of communication and means of storytelling. It is quite easy to forget whilst being emerged into Gecko’s art that we are, in fact, onlookers from the stalls or through a screen. It is due to the hard work and acute planning of Gecko’s staff and creative team that this dream-like effect is possible. Whilst completing voluntary work experience at their Home Office based in Ipswich, I gained an insight into what most audience members do not consider – the logistical workings of a physical theatre company.

It was whilst I was completing my Drama AS Level that I became increasingly aware of the fact that I should begin to consider my performance possibilities and theatrical practices once I leave school. After much deliberating, and I am still deliberating I might add, I came to the realisation that an insight into the behind-the-scenes efforts and organising that makes theatrical works possible would be a great step to take. I was already a fan of Gecko’s work and style so I thought work experience under their wing would be extremely beneficial; I was right.

Although the train journey may not have been desirable, I live about 40 miles away from Ipswich and it took over an hour, the placement itself was certainly desirable and I would definitely regard myself to be incredibly lucky having had the opportunity of seeing wonderful people like Pippa, Luke and Belinda work first hand. My week involved a variation of tasks from website development to data-basing to subtitling, all of which made me aware of the amount of time administrative and marketing processes take – not to mention the necessary attention span also needed. The technological skills I have gained will, no doubt, come in handy in my professional and personal development whilst also reinforcing my knowledge on how companies operate.

A notable, and perhaps the most important, quality I have witnessed all week is Gecko’s resilient attitude to the upkeep of standards and branding in order to further their dramatic discipline and to keep artists like Amit Lahav able to do so. I finish my, seemingly brief, week at Gecko with a rejuvenated love for performance, with a more advanced understanding of what it means to work in the arts and with a revitalized excitement for my future in the arts. I would thoroughly advise anyone to apply for such an experience.

EdLog 2015 - Save The Trees!

During the last week of the Edinburgh Fringe I mentioned to some of the Gecko gang over coffee that I hope that within five years the festival will be completely flyer-free. If you haven’t been to the Fringe, you should be warned that you can’t walk through any major pedestrian area without companies and paid flyering teams shoving A5 pieces of paper in your face. It’s relentless.

I have been thinking about the idea of a flyer-free Fringe a lot in the weeks that have passed. I have some thoughts on how we ‘sell’ our work, at the festival and beyond.

For around 6 years I flyered hard in Edinburgh, through rain and sleet and wind, day and night, often shifting upwards of 15,000 flyers a week with small devised teams I was working with. We organised our whole team to hit the right spots at the right times to get the word out about our shows. I don’t know if it worked. I don’t know if it was more effective than good reviews and word of mouth. But I do know we always sold about the same tickets on the days we flyered en masse as the days we did not.

I was always the worst flyerer on the team, always. I was shamefully bad at it. Selling a show you have made, a piece of art that you love, that you have to condense into a sound-bite to convince a passerby in under 10 seconds that they should give you their tenner and not everyone else, just to get a bum on a seat; that’s hard work. And I think it’s rubbish – The arts shouldn’t be a competition. We should be flyering for each other, we should be working together to build and satisfy audiences on a massive scale.

My Feeble Attempt

This year Gecko were lucky enough to be able to employ a small team to flyer for us, so I was exempt from the responsibility. It was a huge relief, but after 15 years of Fringe shows I feel I have done my hours on the Mile. Out of interest, one cold day I tried to flyer for another show – I spotted a (drenched) flyerer really struggling to hand out his flyers for Trygve Wakenshaw’s Nautilus, a brilliant show. I asked him if I could help for a while and he gave me a handful to try and shift. 20 minutes later I’d got rid of one. One! And it was definitely a sympathy take. People don’t want flyers. Why would anyone want a flyer? Eventually I shifted another and called it a day! It was horrible.

Lots of my friends spent a huge amount of time flyering this year, professional actor friends who don’t do the marketing for their touring shows for the rest of the year. Professionals who should be concentrating on being outstanding in their shows. That’s just the way the Fringe works. But all this got me thinking – does it work? Is it worth it? I saw over 150 shows at the festival this year and not one of those was because of a flyer I was given. I spent 31 days in Edinburgh and I walked down the Mile three times and that was specifically to watch street performers.

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What does a flyer give you that the Fringe programme, venue brochures, the Fringe App and website, Twitter and Facebook, reviews and most importantly good word of mouth don’t? Well, flyering can give a personal relationship, a moment of interaction between company and potential audience. A human touch. But could we find that without a piece of paper? Probably.

With companies forking out so much for the Fringe nowadays I wonder if a more creative marketing strategy could be more effective. We distributed less than 10,000 flyers this year and our venue was 750 seats. I would very much hope that next time we go to Edinburgh we would have even less. Maybe none at all. I wonder if small performances, creative online activities like videos and more engagement with the festival as a whole may be the way forward? Perhaps small, high-quality street performances and a clear banner that people are encouraged to photograph on their phones as they pass by (with all the venue details, times etc.) might be the next step. Sell the show with talent, with creativity, with something that sparks the imagination.

If you have been to Edinburgh, how many times have you had a flyer shoved in your face and then seconds later thrown it away? Or thought, ‘That person was rude, I’m not going to that.” I bet the shows you saw, having been given a flyer, were shows you already had on your list or special occasions when someone actually spoke to you about their production and it really excited you.

The Bigger Problem

That aside, I think there is a bigger problem: Flyering is taking up too much time! I spoke to over a dozen people in Edinburgh who said they had spent more than 6 hours a day flyering for their show. Others I spoke to had been at the festival for the entire month and they had only seen two or three shows, because their directors and producers were making them flyer.

This makes me sad. No one is making money at the Fringe. We are all there to share our work and to make meaningful connection, we are there to meet and expand our audience, and most of all we are there to be better artists for the audience in Edinburgh and beyond. Aren’t we? Anyone who claims to make money isn’t paying their staff properly. Or they are making a commercial gem (which is very rare).

I wonder how quickly the skillset of all the young companies at the festival would expand if they were seeing shows instead of flyering. I wonder how much better I would be at making theatre now if I had been watching shows instead of trying to sell mine to people who were probably coming anyway. I am still a young director after working on almost 30 Fringe shows and I learn more from watching brilliant work in August than I do from the rest of the year. If everyone who offered me a free comedy show went to see another free comedy show in the hour they were trying to sell me theirs then new comedians would have more audiences and they would be seeing what works and what doesn’t in comedy… and then they would get better!

Considering a majority of audiences for student work is made up of other students, I wonder what would happen to the arts if they all stopped flyering and started swapping tickets with other companies to share their work and get bums on seats? I’m not saying people should just give tickets away, I am not saying people shouldn’t sell their show. But what if companies set a limit – say 1,000 for four weeks (some companies are shifting 50,000 into the recycling bins of Edinburgh)? What if companies spent an hour a day on the Mile or wherever doing something really brilliant? They could spend the months leading up to Edinburgh growing their online audiences so that they can share what they are doing each day. In the meantime they can, as a company, be seeing work which improves their own practice, supports other companies, and ultimately improves the quality of work for audiences beyond the Fringe.

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I know full well that it’s expensive to see lots of shows. I am still shocked at the prices of the festival this year with Summerhall and the Traverse being particularly overpriced. There has to be way of making the Fringe more affordable for companies and for audiences – Perhaps the savings they could make on print is a start.

Obviously it would take a lot more than that and the festival ticket price bubble will have to burst at some point or we will all be performing to filthy-rich royalty exclusively… But that’s one for another day.

– Rich

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Work Experience Blog - Molly

When my high school assigned me the task of finding a work experience placement, for two weeks, I began researching different theatre companies to apply to, since I am interested in the dynamics of how large theatre organisations operate. Since I already had positive acknowledgement of Gecko I began studying their website and became very interested in their worldwide work and the different aspects of the company.

After completing my research, I sent a work experience placement request to Gecko expressing why I was contacting them, my personal interest in working part-time for the company and skills which I held that I could use to complete certain tasks appointed to me. In which followed Belinda Farrell, Gecko’s General Manager, contacting me to set up an interview to meet her and discuss why I wanted to experience Gecko and what I would be completing during my time there.

On my first day Belinda, introduced me to the layout of Gecko, the different offices at the New Wolsey Studio where I would be working, the kitchen and the studio itself. I was introduced to the team of staff whom work there and to the specific people I would be engaged with for my following weeks. I was briefed on where the fire exits are, the hours I would be working and who to report to if I have any problems, worries or concerns. I was given an agenda of tasks to complete over the following week, which also contained basic contact information.

My first day tasks included learning how to use the computer system, how to answer the telephone; answering, transferring and taking messages, to proof the read new website and to start this work experience blog.

Throughout the week, I continued to develop the website by transcribing videos, made so the content and information of Gecko can still be reached even by people whom have trouble hearing the communication on the videos and/or whom can’t play the videos, which really showed me the widespread of people Gecko is available for.

On my last day, I was given a fascinating tour around the New Wolsey Theatre, where I was shown where the cast and creatives work, create and plan. It really opened my eyes, as did Gecko, about the amount of people, time and consistent change it takes for shows to run.

I was also very lucky enough to be able to watch many rehearsals, for an upcoming new project. Watching Amit Lahav (one of Gecko’s founders and Artistic Director) and Rich Rusk (Associate Director) create a piece of physical theatre with amazing performers, like Chris Evans, is a masterpiece in itself. The amount of detail, changes and time put into creating a ‘Gecko Show’ is a powerful life experience to watch. If the performers were an orchestra and Amit and Rich were the conductors then, the roof of the building would be blown off, because of the amount of energy that is created by the intricate impact of noise and connected movement. The amount of laughter (A lot from Amit) laced through Gecko, explains greater than words the impact Gecko has on the people who work and create there. The name ‘physical theatre’ does no justice of Gecko’s construction, the experience you have when watching ‘Gecko generate art’ is mind blowing and imagination extending. The passion that the performers put into their work alone makes the performance travel from brilliant to majestic.

I am very thankful that Gecko gave me the opportunity to explore its world and to give me the experience of working with great people in a social, upbeat and rewarding environment.

I would strongly recommend everyone and anyone to sign up to their mailing list and to contact them if you would like to do your work experience here and/or if you would like your school to do a workshop here, either option will bring you an amazing ‘Gecko Experience’ in the land of physical and visual theatre.

Work Experience Blog - Sean

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Technical whizz-kid Sean from Chantry Academy describes his week’s work experience with Gecko, as well as his process organising it. 

I was assigned by my high school to try sort out my work experience. I already had a good idea in mind I wanted to do something photography based. So I asked my school if they had any on the system but the only place they had was a photo processing shop. I kindly declined the offer because it didn’t interest me. So I carried on looking and I knew I wanted to do something artistic so I thought about theatre and I like drama so I thought I’d give it a go. Once again I asked my school and they gave me the details I needed. So during the summer holidays I called up New Wolsey Theatre to find out, they had no idea what I was talking about and no placements. After the holidays I went back to school to try sort it out and they got me a place with Gecko. I went home and looked on their website; I got excited about it quite fast.

On Monday the 7th of September I turned up at New Wolsey Studio and knocked on the massive red doors. A young lady Pippa ‘the aunt that doesn’t stop working’ took me on a tour of the building and where I would be working. A kitchen, where a lot and I mean a lot of tea is made, a small lounge/meeting area, all the offices and where I should go if I were ill or if I needed any medical help. I was shown where the fire exits were and the studio upstairs. The whole building was quite compact but very nice people I met; the intern whom I spent most of my time with and showing him some stuff. The first day quite enjoyable talking to Belinda ‘the mum of the office’ about why I wanted to come to Gecko. Then Luke ‘the older brother that will be leaving the nest soon’ also known as the Intern. We were talking about camera settings that he would need for an interview with Amit ‘the alpha papa also the founder’ I was also looking at the website in further detail and watched a couple of Gecko performances. I found them amazing and delightful to watch and then further discussed the performances with the office and why I liked them.

The next day I helped Luke out with his camera and then started to dig in to trying to put transcripts onto Vimeo without doing it by hand and we sorted that. That night Belinda got me a ticket to go see Sweet Charity with them. It was amazing I met Amit and he’s so lovely. The next day Pippa had some work for me to do with mailing lists and I did that for 2 days (it was a lot of work okay!) I then got working on transcribing some videos. I learnt a lot listening to the videos hearing what people had to say about Gecko and how Gecko has grown dramatically.

Overall Gecko is a wonderful company and it’s such a nice working environment. The people I met along the way are great, everyone was polite and kind and I wouldn’t mind coming again. I can highly recommend coming to do your work experience here and work with these lovely people. I wouldn’t mind working for them myself.

EdLog 2015 - Rich's Survival Guide

1. GO DIGITAL

Don’t worry about picking up flyers; social media is the new flyering! Save the trees – let’s go digital! Every time you walk down The Royal Mile you can end up politely gathering a huge pile of paper and card. You look at it once, write down what you want to see, then bin the flyers. Instead, make a note on your phone as you walk along, take down all the companies that look interesting and the names of all the good people you meet, and check them out online. Always have a list on the go. The Fringe has an app and Twitter has all the word-of-mouth you could possibly need… Also, why not get involved? Share feedback about the shows you see on Twitter and Facebook – help others choose what to see!

We have ordered only a handful of flyers this year but we will be having a lot more fun on Twitter (@GeckoTheatre) and Facebook.

2. EAT SOMETHING GREEN

If you are planning to hit the Fringe head first, you may find yourself on the move for 12 hours a day (or more). So remember to eat proper food, ideally something to help you fend off Fringe flu! Healthy snacks in your bag will keep you going as you run between venues; and when you do finally sit down to eat don’t just tuck into the totally amazing nachos in the Gilded Balloon Library Bar… or the delicious (yet insanely expensive) Assembly garden burgers… which are totally irresistible late at night… Also, beer is not food and Black Medicine coffee is in fact medicinal.

3. FEEL THE LOVE

Make friends with everyone: other companies, audiences, the lovely locals, anyone you can. If you are up with a show, never ever slag off a show in public – you never know who might be listening. Every Fringe participant is trying; everyone is doing their best to make the most exciting work they can. Some people have no resources or time, others have everything they need apart from a great idea… The arts are up against it, but pretty much everyone at the Fringe is on a mission to make something brilliant. As artists and makers it’s essential we stick together. Treat the Fringe like a competition and you are in for a hellish time. Treat it like a festival of art and make as many friends and positive connections as you can, and it’s an amazing place to be.

4. CHOOSE YOUR OUTFIT CAREFULLY

Dress to stay dry and warm outside then cool and awake inside… And most importantly, choose the right shoes! Cobbled streets, torrential rain and loads of walking means it’s essential to get your footwear right. Look after your feet and give your calves a little love, especially if you are not used to the hills. Avoid baggy jeans and long skirts – it’s easier to dry off wet ankles than sopping wet, heavy jeans (there’s nothing worse than having drenched legs watching a show). Having wet jeans is the fastest way to Fringe flu! Carry a waterproof everywhere and ideally a change of socks. And just when you think you’re prepared… the Sun will come out!

5. TAKE A MOMENT: BE CARED FOR

Look out for GECKO CARE STATIONS – A NEW INITIATIVE RUNNING ALL MONTH. Throughout the festival our performers will be offering up to 2 minutes of care at various places across the city, in the street, in the bar and all around our venue. We’ll tweet the location and the ‘open hours’ and you can come and find us! For a few moments you can receive free, loving care (in various forms) and we’ll even write you a theatrical prescription to help you get through the festival in one piece.

 

Enjoy the Fringe!

– Rich

Thurston Project – Student Blog 5 - Milly

Prior to this session, I was anxious about how the performance was going to come together as I didn’t think we had very much material that was solid and I had missed the previous rehearsal due to my Dance exam.

When the day finished, I felt very accomplished. I was really happy at how well the performance went! It ran very smoothly, and we worked incredibly well as a unit; probably the best we have ever worked.

The most challenging aspect of working with GECKO, was adapting to its unique style. The constant energy and abstract ideas and concepts eventually worked their way into me, and I started to flow and incorporate my ideas into the sections we were given – i.e. floor pattern routine, paper and objects.

The most rewarding element of working with GECKO was performing the piece as a whole. I really enjoyed it because I saw it as a mixture between theatre and dance; the way we have to fluidly move between one section to the next with discipline and a purpose gave the piece so much energy – it was brilliant to be involved in!

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Surprising? Well, after watching the performance back in class, I was surprised to see just how amazing it looked considering how little time we had to run it through, and for Helen to add music and lighting with Matt. I didn’t have doubts about it, but it was very reassuring to see that our (crammed) hard work definitely paid off.

Regarding future work, it’s opened my mind when it comes to directing and acting; having no dialogue but sending multiple messages and allowing the audience to interpret it to how they like, but leave the performance with questions- I love that. It was also nice to speak a different language in my performance- Japanese. It was really interesting to see how the audience reacted when I started speaking it- it gained laughter at the start when I was being an incredibly stereotypical Japanese child, but as it got meaner, louder and angrier there was silence; it was very interesting to behold.

7/10 is what I would rate my experience with GECKO. I enjoyed the sessions, however sometimes they were frustrating as it was taking a long time to develop the simplest of things like the walking pattern; we spent a full lesson (100 minutes) getting that right! However, working with Helen and Georgina was a privilege and I am very grateful for the experience as it wouldn’t have been something that I would’ve wanted to do outside of school, but now I think I’m more prepared for sessions like these where the majority of elements are different than the ‘usual’.

Thurston Project – Student Blog 4 - Freya

In our fifth physical theatre session working on the project with Gecko, we further expanded upon what we had worked on in the previous lessons. As we had spent the lesson beforehand expanding and developing our walking pattern sequences, in this particular session we worked on our other pieces that were more acting-orientated. The first of these was the short scenes that involved the use of paper and what it suggest about the internal and external world of an individual. Our piece was originally focused on the ‘internal world’ of dreams and the disruptive effect they can have on the physical world. We did this through creating a variety of movements and sounds with scrunched up pieces of paper, such as rubbing them on the floor by the dreamer’s face and crinkling it above her head. Our task was to use what we’d already created to develop and elongate it into a longer scene with more of a story to it.

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We decided to show more aspects to the dream than simply the disturbing nightmare we’d portrayed before and be more creative with how we used the paper. For example, to begin we showed a dream of desire by using pieces of paper to create a face with a smiley face drawn onto it that was held in front of an actor’s face. The dreamer danced with the figure for a little while, before the smile was turned upside down into a frown and the ‘dancer’ broke away, suggesting a separation of the dreamer’s desires from reality. As well as this, we used the paper to create an onslaught of birds that attacked the dreamer which then morphed into a birthday scene where the paper became presents, combining more abstract elements to reflect the setting of a dream. Finally, we transitioned into our original scene.

After this, we had to confer with the other group in our class on how we could incorporate more actors into our piece. We decided that we would have more people be a part of the ‘dancer’ in the first dream, rather than just 2 and make it more complex and then simply add more performers to the other scenes. However, we decided we would maintain having only one dreamer as so to fully illustrate the depth of their internal world.

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We started off this session with an exercise in contact with one another, to ensure a strong relationship without the awkward social norm of boundaries which can inhibit a performance. Keeping contact in at least one place on the body at a time and to music, we developed several series of movements with different partners. This was an interesting, surreal experience because I began to trust and move with the other person without over-thinking and even finding myself constructing a story arc in my mind as the sequence progressed.

We also continued to develop our work with paper, my group exploring the idea of the paper representing paparazzi and the media (or “the papers” so to speak) and how they could stand in as our cameras, the motion showing the flashes of bulbs attacking a celebrity. Our piece centred around three of us in turn attacking one member of our group and eventually surrounding him and overwhelming him to the point where he lashed out at one of us, provoking further attention and this time certainly not in his favour. We experimented with having dialogue but preferred the use of music and no dialogue as it made our actions naturally more comedic and exaggerated, almost in a silent movie style.

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Another idea we have experimented with is the use of people holding and personifying objects, similar to how Akaki’s apartment objects move and react to the scene taking place. My group’s scene is centred in an office, with one person being a revolving door into a chair and then a printer, one being a shredder and the other a television. In the next session, we intend to give these objects personalities and character, for example them not wanting to cooperate with myself, playing the woman working in the office.

Thurston Project - Student Blog 2 - Freya

In our second session in collaboration with Gecko, we focused on where the last session left off. We didn’t have Gecko working one-on-one with us on this occasion, so we completed a set of tasks they had left us to finish. The first of these was to separate ourselves into smaller groups (one of 4, another of 3 and the last of 2) and complete what we’d begun in the last lesson of walking a short circuit in formation. Then, we had to combine each individual group’s different circuits together to form one piece of movement, adapting them along the way so that they all fitted together seamlessly. This required us to change the pacing of some of the walks and add additional features to them- for example, having us reverse our circuits twice and then only do a full one on the third lap. Then, each small group added a form of non-verbal communication; the group of 2 added heavy breathing, the group of 3 coughing and the 4 unintelligible mumbling. Finally, we decided on a location where the piece would take place, which we determined to be either a museum or a gallery of sorts.

I was a part of the group of 3 and, prior to starting the task, was quite apprehensive. I’m not going to lie, it was difficult for me- unlike many in the class, I have little dance experience and so am not entirely confident in pieces that are solely movement. I kept forgetting the direction in which we were supposed to be moving on numerous occasions and stumbled very frequently, which I found frustrating. On the other hand, I became far more aware of my surroundings and how to manoeuvre myself around a space whilst being more mindful of others. If I didn’t concentrate fully, then there was the risk of crashing into another student- which wasn’t desirable! However, it was challenging from an acting point of view and I’ll be very interested to see how it will be incorporated into a final performance.

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Next, we had to take pieces of paper and separate ourselves into 2 groups (1 of 4 and another of 5) and portray the internal emotional state and thoughts of a person through the papers alone. In our group, we showed the internal emotional struggle of someone waking up from a bad dream or the horrors of the nightmare itself. Personally, I found this more engaging than the previous task as it was more centered on our own interpretation- we knew that whatever we did it would be different to the other group. I also found the use of the papers within the performance very interesting and, in a way, it made our performances more physical- we had to use our whole bodies to suggest what we could about the meaning of the papers, e.g. we each were at different levels and angles whilst we rustled them in the face of the ‘dreamer’.

Finally, we had to find a way to incorporate an object into a physical theatre performance. How many objects and whichever ones we chose were down to us entirely. My group chose to use only one object- a camera- and use it to create a short scene about a girl who is being left out by her friends and knows this by seeing photographs of time they have spent together without her. Whilst she moves across the space with the camera, the rest of the group formed various tableaus of festivity and fun, occasionally saying monosyllabic words or laughs. We wanted to get across to the audience the isolation felt by the girl and also the malevolence of the figures in the ‘photographs’- by having the freeze frames behind the girl, it was a representation of what she was seeing on the camera emphasized and more defined, thus eliciting a deeper emotional response from the audience.

Overall, the session was difficult and challenging but also intriguing. I am definitely NOT the most coordinated of people (as clearly seen in the first task) but I feel that I have become more aware of my surroundings as a result and hope to take this lesson with me as I pursue drama.

Thurston Project - Student Blog 1 - Millie

After watching The Overcoat performance from Gecko, I was intrigued about what the workshop would entail. I found the style very intense, powerful and different, which as a dancer I found really interesting; the energy never faulted within any of the actors- it made me feel tired from just watching it! Therefore I was aware that it was definitely not going to be a relaxed workshop.

When the workshop was finished, I felt my brain starting to melt! I was inspired at how Helen had made me concentrate and focus so intensely for the entire session, it was strenuous yes, but it was incredible to feel so pumped and yet somewhat exhausted!

The most challenging part of the lesson was recognising how much breathing can create an atmosphere and make me feel raw and real emotions. As we copied each other’s gestures and voice, a few of us- including myself, were told to elongate our short performance with nothing but breathing. I thought that this would feel silly and awkward as on stage you never want to be silent for too long otherwise it appears that you have forgotten your lines/what you’re meant to be doing. However, we weren’t on stage, we were in the studio, training with a theatre company who use very unique ideas of performing. Strangely as soon as I started, I felt like I was on my own, reaching down into my own feelings and immersing myself in my traumatic fantasy I had created.

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The first exercise we had to do as a collective was what I found to be the most rewarding. Having to copy Helen, every single gesture, every vocal noise; it made me focus incredibly quickly, making myself ready for the rest of the session; which paid off, I felt very involved and ‘in the zone’ throughout the entire 100 minutes.

This workshop (particularly the exercises we practiced today), I found was brilliant for confidence building and creating a strong sense of unity within the group. Even though it was only a snippet of how far these exercises could have gone, I know that it has benefited me for Drama by not being afraid of putting in all of my efforts when working as a complete group- thinking about myself rather than being very conscious of everyone else around me.

I have rated this experience 8/10!