I played the role of Andryusha In a 20 minute extract from "Three Sisters" by Anton Chekhov the extract was consisted of the the beginning of the first scene in act two and end scene of act thee. this character was interesting as there is a two year gap between the the two scenes I was in there for I had to keep in mind the changes that have happen in between scenes. Such as financial problems my character is facing and the emotional strain it has had on him and how it affects him in the second scene as opposed to the calm side to him we see in the first scene. We used Stanislavski techniques to create and interpret our characters by asking the six fundamental question breaking the scenes down in to bits and determining our objective. In the first scene Between Andryusha and Natasha his wife using Stanislavski techniques I saw through stage directions and my characters lines that his objective was to ovoid the conversation with his wife and in the second scene it was to confess to his sisters that he mortgaged the house with out their permission. These two scenes contrast each other with my characters objective where one scene is to ovoid the conversation the other is to have one. this made for am=n interesting dynamic as i got to show two sides to Andryusha's character one where he is more received and calm and another where he is more open and emotional. It was fun and challenging to show two very different sides to the same character with out making him to different

In this production of "Endgame"by Samuel Beckett I played the character of Nagg this was a Theater of the absurd piece so when playing the character I had to approach the situation my character was in with a less realist mindset. Nagg is unable to walk a spent the how time in a small cardboard box this provided it's own challenges as most of my body was cut of from the audiences view. With this along with not being able to walk meant that i had to focus more on facially expression and arm movement to show my characters emotion.

In this adaptation of "All my sons" by Arthur Miller I played the Character of Burt in this particular adaptation which was a 10 minute abstract version of the final scene. My character was a representation of Joe Keller guilt my character only interacted with Joe character directly by touch or speaking to him and him being the only one able to hear me. I used view point to create my characters movement and speech patents to differentiate my character from the others who were more realistic in their movement and voice. In rehearsals i worked with the other actors to establish what sort of relationship my character has with them if any, we decided that my character would focuses Jose's son Chris as he's confronting Joe on what he done during the war and would disregard or ignore Jose's wife Kate who was in denial about what happen. Overall it was a very enjoyable and interesting experience having to play a Character in a abstract style in a traditional realist play

In this adaptation of Sara Kane's "Crave" I played a Doctor who was an interpretation of the Character only know as "B" in the original text. This required me to take lines not originally written for a Doctor type Character therefor I had to reinterpret the lines to match what my Character would say under this new context. I did this by working with the director to look at ways I could deliver the lines through tone of voice or through the emotional state of my character to help make certain line seem possibly for a doctor to say to their patient such line like "I can't help you, no one can". We used Brecht techniques for this production to get the audience to think about the subject matter of depression critically rather than emotionally, we achieved this by interacting with the audience to remind them they are watching a performance this also help when delivering lines that would be seen as unprofessional for a doctor to say to a patient. Through out the play my character would be come more and more depressed the more time he spent with he's patient I did this by slowly showing slight differences in my characters behavior through how he dressed to the way he speaks only making it obvious at the end of the play. this character as fun to play as well as challenging a i had to to take lines from a one context and apply them to another different context to make sense. Experimenting with different ways of applying Brecht techniques to see what work and what didn't along with playing a character suffering with depression with out falling in to the stereotype

In this short Adaptation of "Attempts on her life" by Martin Crimp I played the ex boyfriend of the character Anne who is spoken about but never seen. For this I was given the monologue at the end of the play to use at the beginning of this production, experimented with different ways to perform the monologue. I first started with a a more abstract delivery as I thought this match the text which is more absurd than realistic. I then tried a realist approach to fit this adaptation which was in the style of "in ya face theater" so to match this vision I finally decided on a realistic approach using Stanislavski techniques to break the text down in to bits to make absurd text fit better by take each bit and adding a transitive verb and objective for my character to achieve. I work with the director to decide on how best to play the Character we decided on a obsessed ex boyfriend who was stalking Anne. This match the "in ya face theater" style the the Adaptation was envisioned in. It was enjoyable to have the chance to experiment with a character in many different styles and to play with many ideas to help find the right performance and characterization for this adaptation.

In this short Adaptation of Pool (no water) by Mark Ravenhill we had taken short parts from the play to put together a short story focusing on the incident where the "women" fell into the empty pool. Using view points techniques such as architecture, tempo, rhythm, speed, etc. this help us to construct a performance by giving us different exercises to experiment with in rehearsals which we can then apply to the performance. It was interesting and challenging learning a new style of performance and applying it to our performance. the play it self had no characters so we had to develop characters from what was in the scrip assigning lines to actor to help tell the story and give the performance consistency. I enjoyed the opportunity to study a new style of performing and being able to experiment with it and apply it to a performance.

In this performance of "Lfe is a Dream" by Pedro Calderon I played the character of Basilio The main focus was the use of verse and how each character uses it. we look at how characters would continue the rhythm of the line in a conversation and how relationship would be established by their use of verse. we also used Snislavski techniques to develop our character although this was not the main focus of the performance. This performance was useful for understanding verse and how to apply it to text

In this production of Shakespeare's "A midsummer Night Dream" I played the characters of Theseus and Snug. The two Characters are very different in states and class, Theseus has a high class and holds the strongest states in all scenes he is in. I work with the other actors to help establish the characters relationship with each other and how each character would act towards the other. We used a same method for the mechanics like Snug to establish how the each character feels towards each other and what their dynamics of their relationships are. Another difference between Theseus and Snug is Theseus speaks in verse where Snug speaks in pros this helps with showing the different statuses between the characters. We used Stanislavski techniques to develop and characters and to work with the text.

I this performance of "slow time" by Roy Williams I played the Character of Nabs who was a young convict who's serving time for assault. The staging says that all character are separated by their prison cells and can't see each other as we didn't have the ability to do this we used chairs to mark out the prison cells and had to imagine the walls and act as though we couldn't see each other. We were on stage the whole time so we had to think of things our characters could be doing when they weren't talking such as doing push up and other exercises other tome we would lay in our beds or just listen to other character speak. This was to create the illusion that we are in prison. The whole experience was enjoyable and was interesting using realism whilst the set was more abstract to help the audience fill in the blanks

In this short performance of " waiting for Godot" by Samuel Beckett we used object theatre to as the bases of our performance I Played the character of Vladimir my object was a bag which was used to weigh my character down, as the performance progressed more bags would be added to Vladimir. We experimented with different objects and many ideas to see what worked. To help us focus our ideas we decided on what we wanted to show with our pieces we decided to focus on the loss of hope. This helped us pick our objects and how they effaced our characters by having the bags weigh Vladimir down and him slowing becoming unable to move, with this the character would slowly los hope of moving again. Using object theatre was interesting especially having a lot to experiment with and finding ways to incorporate the objects into the performance

in this performance of "one minute" by Simon Stephen I played the character of Robert who is a detective in London currently investigating a missing persons case. Robert is young and naïve and despite the large amount of time that has passed he still believe they will find the person (a 10 year old girl) alive. I worked with the director and the other actors to establish the relationships with each other and Roberts back story based on what was in the scrip. I also worked closely with the actor who played Gary Roberts detective partner and the senior officer to establish what sort of relationship they have as Roert is speaks to Gary Unprofessionally on more than once. This help to establish what sort of person and detective Robert was and to see how best to play him. This was an enjoyable experience using Stanislavski techniques to develop our characters and work with the text.

In this production of "The advancer of nerves boy" by James Comtois In this I played a number of unnamed characters that interact with the main character this was an absurd play so our character where exaggerated to match the play. through out the rehearsal proses we experimented with different characters to see what worked and how to react to the main character nerves boy how had a neutral performance throughout the play. This was an enjoyable performance and we got to preform in again at Canterbury's fringe festival.

In this I performed a monologue from the play age of consent by Peter Morris I played the character of Timmy who is a young offender talking about he's thoughts on life and being unique Foe this we focused on the techniques of Michael Chekhov this was an interesting way to be introduced to Chekhov techniques such as psychological gesture this help to develop the character of Timmy and give a realistic performance. This also allowed time to experiment with different Chekhov techniques and characterisation. I enjoyed using Chekhov to bring my character to life.

In this performance of Abigail party I played Tony Cooper Who was a footballer before an injury ended he's carer now works in computing. this performance was focused on the use of Stanislavski techniques. We spent a lot of time developing our characters and establishing relationships between them before we started rehearsing. This help with focusing Stanislavski techniques and gave us an idea on how each character would interact with each other and their environment. This was a great way to really focus on Stanislavski and enjoyable to work with