Viva notes and Bibliography by Jade Evans

The Viva- one drive link to this section

https://cccu-my.sharepoint.com/:f:/g/personal/je292_canterbury_ac_uk/EnfHtq_owjZLnf-ivHA2W3EBgutmRGkn_j9sIJCw9mMppA?e=RE3TQf – Jade Evans viva Part 1 & 2

Based on your overall process how would you answer your research question now?

How can the practice and the research process be maintained as the company manager when producing an immersive theatre performance virtually in comparison to a live theatre performance?

· The practice and research module and time developing and creating the website, creative process have to help me now answer my research question further, by allowing me to see it from another narrative to the one we were once used to. Meaning? (Company’s rehearsal notes/ company calls, using phones to communicate or ask questions) (make sure all context of documentation (schedule, meeting notes and deadlines) was up to date more so than ever as we didn’t see each other to ask questions.

· I can say I've gotten used to the idea of online creativity as the website has work become a vessel for our performance and its I believe the best thing I have created as I wasn’t a technical person before but I've put work into practising and growing every step of the way.

· Inspiration from other theatre outlets, national theatre, Andrew Lloyd Webber

· Answering the question: Sexual harassment is not all about physically it’s about the manipulation, lack of awareness, entitlement, a power someone holds over an individual, and most importantly it can be as simple as a sexual stamen made!!

Please make specific reference to specific examples from the website documentation to support your answer,

Now you have finished the process, what are we thinking about based on what has been produced?

· The dynamic of the group (better communication and time management) (meet the cast) and our company manifesto

· High level of creativity injected into the context (wasn't just the content of my scene 6 in the club which I drew inspiration from Alice Birch text- (Phillips, 2016) ) or the correct use of the Ask Angela scheme. Script creativity how the out scene ended up flowing together unintentionally

· Already established movements like me too and how they help many vulnerable people in a time of need to help to supports and educate. (Charley's /Brooke's choreography) (I practically explored, sharp movements and exuding that feeling when performing movements).

· I think more could have been done by exploring ways to use the camera as an object and exploring camera proximity and how they affect the way lines are delivered or how they provoke any different thoughts or feelings when watching…for example, I could have created a video based on just showing hands (relevant to contact work) how hands can create vulnerability and softness or delicacy ?! had I had more time I would defiantly explore this further. May be added to the start of the script to get the audience questioning this.

· As a Company manager, I think I have learned a lot about ownership, organisation, and dedication. I've also learned what a good team is based around (commitment, pro activeness, and good communication) for example always letting people know what deadline is and showing them anything they may be struggling with and helping them learn new skills as well as myself.

Bibliography

Websites

Nationaltheatre.org.uk. 2020. Immersive Storytelling Studio: About The Studio | National Theatre. [online] Available at: <https://www.nationaltheatre.org.uk/immersive/studio?queueittoken=e_safetyevent9apr20~q_00000000-0000-0000-0000-000000000000~ts_1586811552~ce_true~rt_afterevent~h_ba340063c24a050e19c1b6d028dd251958e08ea5e1e7bc2aac750deea1bf41ea> [Accessed 13 April 2020].

Impactbnd.com. 2020. 100 Leadership Quotes To Make You A Better Manager This Year. [online] Available at: <https://www.impactbnd.com/blog/best-leadership-quotes> [Accessed 13 April 2020].

The British Library. 2017. A Punchdrunk Approach To Making Theatre. [online] Available at: <https://www.bl.uk/20th-century-literature/articles/a-punchdrunk-approach-to-making-theatre> [Accessed 13 April 2020].

Met.police.uk. 2020. Ask For Angela | The Met | The Met. [online] Available at: <https://www.met.police.uk/AskforAngela> [Accessed 13 April 2020].

Drinkaware.co.uk. 2020. [online] Available at: <https://www.drinkaware.co.uk/media/1813/drinkaware-1824s-report-v40_bars.pdf?fbclid=IwAR2dK_tgAK6qCkqdRvI3eirHhcat9uEL9UxsECk_X56mgUwZl61_PrfzGV4> [Accessed 13 April 2020].

Surveymonkey.com. 2010. Survey Monkey. [online] Available at: <https://www.surveymonkey.com/user/sign-in/?ep=%2Fanalyze%2Flaq0QhJKLjelO7Gf_2BLoSTety_2BcrZGiAznaBOxWUCZB8_3D%3Ffbclid%3DIwAR2WUNSVJlEOk8yQtQ6as-73YR2Eo70_sHnQMxcStUsO225NAvHOEpPBLts> [Accessed 13 April 2020].

Books

Hurley, E., 2010. Theatre And Feeling. Basingstoke: Palgrave Macmillan. Pages xiv-xv

Wright, J., 2017. Playing The Mask. 1st ed. The Glasshouse 49a Goldhawk Road, London W12 8QP: Nick Hern Books, pp.11-12.

Berry, C., 1973. Voice And The Actor. 1st ed. London: Harrap, pp.19 section 20.

Bogarts, A, 2005 The Viewpoints Book. New York 520 eight avenues, 24th floor pp.18

Phillips, E., 2016. Revolt. She Said. Revolt Again by Alice Birch. Theatre Journal, 68(4), pp.670-672.