If there Is one thing I cannot allow myself to finish this course

without conquering, it's my discipline. However, I feel like

that is a struggle that I will sort out outside of MST, for MST.

The biggest thing I have learnt is the ability to change my

physicality and attributes of my voice via technical and
inspired imagination [The Association Pathway Theory –
anything I can vividly see in my mind I can express the
concept of vocally, physically or otherwise]. Since I watch a
lot of fantasy (and am drawn by it) I find it easy to involve
fantastical concepts into the work.
- The first instance of this was with ensemble (+David):
imagining air and its interaction with my body’s
movement allowing it to ‘flow’ – this worked well with
fire, earth and water when conjuring specific feelings
and impulses e.g. fire brought about chaos: indirect,
fast, light etc.
- Then with Sam + Loretto: imagining your voice
projecting out of different parts of your body e.g. back
of head, sternum, top of head. This being in order to
project voice to travel further (or shorter) and reach
different parts of the room e.g. behind you.
- Movement (+Loretto): string/balloon/crown - tied to/on
head.
- Acting for camera: I started off noticing upon watching
back my acting clips that I don’t observably express as
much as I feel I do. I discovered this during an exercise
where me and Orion came up with a scene and
constructed characters for ourselves in a specific high-
stakes scenario. We were to sit side by side after Orion’s
character confessed to betraying mine…[]. Bearing this
 in mind I approached my scene with Aimee more
connected to not only the feelings my character was
going through but how that would be portrayed to the
camera e.g. I intentionally had my seated posture
indicate my restlessness in the scene.
- What I believe to have been my favourite aspect of the
course to date has to have been seeing my peers display
prowess of the art in short moments. This has made me
question everything about the acting craft.
Occasions: Maddie – Relationship Ex – “Oh”.
Naomi + Ed – Relationship – Daughter + father.
Brian – Acting for Camera – mannerisms + ‘facial-recreation’.
Katy Wily – choices – very connected to objectives for Linda.

Ideas for presentation: print off snapshots of your Instagram

videos and anime moments that could be used to explain
what your train of thought is regarding diff things you’ve
learned e.g. snapshot of foil head to elaborate on
imagination + frame from beast stars/BNA/(Bojack.H) where
an animal is in a convincingly 50% animal 50% human
position – could elaborate on such a frame’s usefulness in
class+acting by referencing [?the ability to notice?] Shona’s
percentage classes.
Draft Script #1 for Process Journal Meeting Assessment

: Instances of seeing my classmates create theatre in typical

classes invoked an excitement and motivation in me. To
understand how the moment was created and how to be
able to intentionally construct such displays in a wider range
of situations - to be able to apply something learned to
different aspects of acting - e.g. seeing Maddy do her
relationship exercise made me wonder how one would be
able to connect to a cause and play a character with such
confidence that unnatural habits can be realised as distinctly
that character’s. Maddy was playing herself and thus I want
to know how someone can truly become someone they’re
not and the audience have no doubt that in everything they
do that is who they are.

: There is a sense of safety I find in performers who are

completely in the performance they are doing.
When I catch a glimpse of a performers thoughts being
outside of their character e.g. focused on the lines, I become
focused on the possibility that they may fumble an upcoming
line – I am no longer focused on the story or world and the
experience ceases to be magical.

Therefore, I wanted to know what gives the performer that

look and demeanour that reassures the audience they are in
good hands and don’t need to worry about the actor but can
focus on the character because that is all that’s going to be
on show.
: I seek to find flamboyance in the way in which I am able to
move my body. Versatility. Thus I realise I need flexibility and
knowledge of technique.

It was in Shona’s class as we were learning to do a clean

‘spiral’ that I realized the importance of technique mastery
and how flexibility would be required in order to not have to
compromise on how elegant a move could look.

[?Sabito vs Tanjiro - Scene from Demon slayer?]

: (In all honesty) I believe that the course (more than

anything) has provided me with various and differing
opportunities to explore acting from different angles and for
different reasons. This has thus opened me to possibilities for
which I look within the course to grasp. An example of this is
how in improv class with Joe on clowning we saw how much
more satisfying for the viewer and fruitful for the performer
it was when the clown was themself rather than putting on
an intentionally comedic show.

While absurdity can often be funny, I came to learn that

finding comedy while maintaining a character’s
characteristics and drive can be (just as or even) more
rewarding. And far more useful in he creating of a story (to
withhold our characters essence and values rather than
throw them away to deliver a punchline – I believe in such an
instance the character’s drive can lose weight).
: Anticipation and fulfilment - in the case of MASHLE - in the
case of theatre plots - in the case of actors performances
with their consistency of character; I fell in love with
Tawana’s character and when he came off and back on in a
new scene with the same consistency of character it was
REFRESHINGLY intriguing.

: Importance of accompaniment - Office scene when Michael

looks back looks better when camera angle switches to
behind Michael seat and catches his look back of focus.

: If you’re anticipating that a character isn’t about to die

when their life is threatened then the avoidance of death
itself will not please the viewer… who saves them what new
thing is learnt or gained from them having their life saved or
saving it themselves - E.g. Deku saving self with NEW QUIRK /
Deku showing up to try and save Bakugo showing he is
BRAVE (makes you like Deku).

: Exploring the ‘choices’ exercise in David’s class was a pivotal

moment in my understanding of the importance and means
by which we connect to story’s and characters. This
realisation is also testament to Katy Wily’s demonstration of
it and how she used it to connect to Linda[‘s core]…
Alike improvising scenes that would likely take place in the
world of the play, the choices exercise allows you to
investigate aspects of your character that influence them in
the play but aren’t directly addressed – e.g. with Philistines
me and Rachel discussed the topic of Polya’s (Rachel’s
character) mother and Perchikin’s wife whom the play did
not speak of. However, of course the influence of such a
person, their whereabouts and their nature would be
impactful on said characters.
[I didn’t do this] With this, I would’ve been able to discover
and play a real person rather than an amalgamation of ideas
(which Is what I felt I had played).

: In order to deem the significance of what I’m learning here I

need to know what it is I want:

(To round it up into a summary) I want to have methods and

techniques that allow for me to play all sorts of characters
with different dispositions and ailments and capabilities
(physical and mental) with versatility and divergence.

- Lose acting habits. {KCP]

…
- know all my characteristics and tendencies (to be able to
differentiate them from characters). {KCP]
…
- increase body flexibility. {SHONA]
…
- increase ability to mold voice. {LORETTO]
…
- Find way of learning lines and such without them losing
life. {DAVID]
…
- Have a confident grasp on the technicalities of my craft
(Positioning in film – relationship with camera)
{EXPERIENCE and STUDY + A4C]
…
Draft #2 [Readable] Script for Process Journal Meeting Assessment

So? Why?... Why…?

In order to know the significance of what I’m learning here I

need to know what it is I want [and why]:

(To round it up into a summary) I want to have methods and

techniques that allow me to play all sorts of characters with
different dispositions, ailments and capabilities (physical and
mental) with versatility and divergence.

[Elements + anime/fantasy influence]

The biggest thing I have learnt is the ability to change my
physicality and attributes of my voice via intentional use of a
technical and inspired imagination [The Association Pathway
Theory – Anything I can vividly see in my mind I can express
the concept of vocally, physically or otherwise]. Since I watch
a lot of fantasy (and am drawn by it) I find it easy to involve
fantastical concepts into the work.
- The first instance of this was with ensemble (+David):
imagining air and its interaction with my body’s
movement allowing it to ‘flow’ – this worked well with
fire, earth and water when conjuring specific feelings
and impulses e.g. fire brought about chaos: indirect,
fast, light etc.

Shona movement half animal half character

So then when you have the mental image of your animal and
how to embody it-
As well as your character and the physicality they inhabit-
What do you do when Shona says…
“Now be 50% Animal and 50% Human”
Well. For me, I struggled to find satisfaction in my attempts
at bringing such a task to life. Thus, I saught for a reference
alike that for the elements - e.g. fire – that would provide a
foundation to explore from.