'Using “Too much punch for judy” as a stimulus\r'

'In the second lesson we had to act get down forth ‘A iniquity on the townsfolk’ in the form of console images, we did this in a group of four (myself, Luke, Reece and lee). Our stimulant drug for this task was our own visualisation from indi raftt the script. In the initial both delineations we had a split stage, showing ii work force and two wowork force get ready for their night egress, in doing so we requiremented to pass water juxtaposition; so the audition arse cl pinnulely differentiate between the two groups of people in the ease image.\r\nIn the third scene we had to show a still image of the two men bewitching the two women in the blockade we (me and Reece) had to enhance our facial expressions and body address to seem attracted to the women (Luke and Lee). What we did to show that we was interested in the two girls was have our line of masses directly on them, and our bodies had to be genuinely ‘masculine’ and facial expr essions were inquisitive, we made this viable by raising our eyebrows and having wide eyes, and our heads were leaned thornward at an angle, to show that we be ‘checking them f all out’.\r\nLee and Luke had to close themselves from the audience, and have them face the floor, to show shyness. We did this to show a regular night out in a bar, it was a convention. Towards the end of the lesson we had to develop the still images into a role play, utilize higgle up lines and separate explorative strategies. In the first scene we had both groups getting ready for their night out, at the equivalent time, but this time we added movement, and speech.\r\nMyself and Reece playing the two men, was from east London, so we had a subjective cockney accent , and slow and weighted movement, to create a sense of presence. To fuddle the two women to start acting, we marked the mo by using the line ‘come on mate, it’s not deal we’re ’gonnaâ€℠¢ break in. After that line was say that was the cue for Luke and Lee to start their transaction, they were two typical women from Essex; with their role play they enhance the women by having feminine movements and doing typical gestures for eccentric empowerting on make-up and enquire ‘if this outfit looks nice? The next scene involved us in the bar, we stared with the men entering the bar before the women, and they’ve already settled with a drink. With our characterisation we had created two typical men looking for women to impose up to in a bar, we had a calm and smooth tone to our voices to refer this.\r\nOnce the two women entered the bar, we froze with a still image that we used in the first exercise, to continue the implementation I pretended to whisper in to Reece’s ear ‘I’m having the one on the left. We had a spilt stage where the two groups wheel spoke between each other, while the other group mimed in the background. This was d one so the audiences could understand what the men and women’s intentions were. each group talked more or less their feelings for the person they want to ‘chat-up with, we did this pick out the audience as we are revealing our purposes in this performance. To end our performance Reece walked up to Lee and used a ‘cheesy chat-up line’ so we can finish off with a numeral of comedy; the line was ‘Hey babe, I’ve got the draw; and you’ve got the sharpener!\r\nJust after that line we went smashing into a still image, to show the thump on all our faces as if to say, that was the rack up chat-up line used. In another lesson we had to watch a utterly advertisement about drink crusade, and the effects on alcoholic beverage on people. We had to create a short awareness advert that shows the effects of drunk driving, and a way to stop driving while intoxicated with alcohol. Our group consisted of, me (driver), Brandon (passenger), Binte ( passenger) and Tyrell (passenger).\r\nWe came up with a basic outline for a performance. The story was the four of us went on a typical ‘night out’ and got drunk and decided to drive home, as soon as I put the key in the spunk we froze, represent that I was having a vision, but was unwitting of it. We past used realism to reproduce us driving along in a key, by doing standard protocols, or missing them and then realising what happened, we did to show the audience that drinking can slower your reception and thinking process .\r\nThen suddenly Brandon announces that he has another drink in his pocket, this causes a brawl in the railway railway car as we fight for the drink, then Tyrell, who is the bowel movement seat passenger , reaches around and kicks the control wheel, causing the car to go wide and collide into a tree, to portray the crash we threw our bodies in different focal points as if we got thrown out, we did this as it was naturalism, as it’s n atural to get throw about in car crash and go in a completely different direction .\r\nThen we re-wound the whole journey, including the crash, this was us using physical theatre and cross-cutting, we did this to enhance and engage the audience as it would be untold more interesting to watch rather of simply just cutting back to the firs scene.\r\nWhen we got back to the first scene when I put the key in the ignition we stopped, and then we cut out all sound and I had a bustling thought track, while the others were miming in the background, I talked about my vision and what is about to happen, we returned to the performance by Tyrell hitting me and saying ‘ hotfoot up lets go’ like he did the first time, to show that this was the real orbit now. I suddenly said ‘No! We’re not driving’ then suddenly we pictured another car hitting a tree, which would have been us, this was the sinful from driving.\r\n'