Updated Script Coursework

1 INT.
HOME VIDEOS
JORDAN (V.O)
From a very young age I have always
had an interest in the performing
arts, but it was only when I was 11
years old and my father passed away
when I wanted to pursue a career in
acting. I would watch movies every
day and educate myself on different
theatre, but it wasnt until I got
to college when I realised how far
I could stretch myself.
2 INT. JORDAN HOME (VIDEO DIARY)
JORDAN
I know that this project will be
unbelievably difficult but - its
encouraging to see Alex put that
much faith in us and, I know that
it can and it will work and I know
that whatever happens, I,
personally am never gonna give up.
3 INT. REHEARSAL/WORKSHOPS
ALEX
(Talking about the project)
4 INT. SMALL MONTAGE (OPENING CREDITS)

6 INT. BRECHT MONTAGE

JORDAN(V.O)
Bertolt Brecht was a German poet,
playwright and theatre practitioner
born in 1898. Although his
upbringing wasnt Pentecostal
Christianity, he was heavily
influenced by the bible from a
young age which would eventually
effect his writing and become a
major theme in several of his
projects. At the age of just 16,
Brecht was soon influenced on the
effects of World War 1, writing
poems at school on how a person on
an empty mind can be persuaded to
die for their country in which he
was nearly expelled for. After
2.
JORDAN(V.O)
graduating from Munich University
where he studied drama, he was
drafted into the military service
only to return a month later after
the war had ended. Within the
1920s Brecht began work within the
performing arts industry, acting,
producing and writing plays. The
plays he wrote were heavily
influenced on things he grew up
with from religion, politics and
war. Brecht believed that theatre
should send people a message and
teach the audience a lesson as
opposed to them relaxing and
enjoying themselves. He became a
theatre practitioner using
different techniques to keep the
audience away from connecting with
characters. These included breaking
the fourth wall, using placards,
relying heavily on stereotypes and
archetypes. One of the plays that
he wrote The Caucasian Chalk
Circle is a play that relies
heavily on a lot of these practices
and several others to help keep the
audience awake and focused.
7 INT. INTERVIEW ROOM
ALEX
(Talk about Caucasian Chalk
Circle)
8 INT. THE CAUCASIAN CHALK CIRCLE MONTAGE
JORDAN (V.O)
The Caucasian Chalk Circle is a
play about a peasant girl named
Grucha who saves a baby and becomes
a better mother than his actual
biological mother.
FRAN & AMY

(Talking about Grusha and the
motherhood aspect)
3.
HOLLY
(About the Duchess and the
motherhood aspect from
character P.O.V)
JORDAN
I have seen several productions of
The Caucasian Chalk Circle around,
like on the internet and such but,
I can see it a lot darker than
others have portrayed it. Kind of
emphasising more on the Christian
and Religious side of it all. The
whole theme of God always watching
over you is very interesting to me.
ALEX
(How he feels about the play
and theme)
JORDAN (V.O)
The way that Alex has wanted to
portray the character and the story
itself, is very much - grotesque.
Over exaggerated characters, ugly
personalities and looks just very
over the top.
Workshop.
JORDAN
For me personally, coming from a
self-taught background of
naturalistic, minimalistic acting
on screen and on camera, its very
difficult to kind of put myself in
an environment where my comfort
zone is pushed. Then again thats
always good and can help me grow as
an actor.
Workshop.
4.

JORDAN
I just think my fear is that, I
dont want to become an over-actor,
I want to stay minimalist and an
introvert as a character as, you
know, my passion is heavily reliant
on film.
ALEX
(Talking about expectations on
the audition)
JORDAN
when Alex was describing in class
that he wanted the audition to be
different to the text itself, I
knew straight away that I wanted to
be different and, you know, stand
out somehow.
JORDAN (V.O)
When he was talking about some
performances he watched whilst he
was studying, I decided I wanted my
audition to be more visual than
anything but also be a bit out
there and also have a different
synopsis to what was actually
described in the scene.
16 INT. AUDITION ROOM

JORDAN
Coming out of that audition, felt,
amazing! And thats an
understatement. I tried to break a
small part of my comfort zone and,
I really think I managed to stretch
myself a lot more. I think I
couldve maybe had a bit more
characterisation as I did focus a
lot more on the imagery produced
but, lets just say thats the best
Ive felt in a long time!
5.
Day 1 Rehearsal - 5th January.
Work.

JORDAN
So within the first day back we
were told by Alex to write out all
of our characters lines in
Caucasian Chalk Circle - the
character that Alex had given us
and one that we could choose. I was
given the character of the Doctor
and I chose the character of
Shauwa. The reason we had to write
up our characters lines was as a
technique to learn them and also to
get a better understanding of our
characters.
Work.
JORDAN (V.O)
Alex also told us to write down any
lines said about our characters
that were said by other characters.
This was to get an idea of how
other characters perceive ours and
give us an insight on how to play
the character.
JORDAN
With the characters we got given we
were told to do the makeup for the
different characters.
JORDAN (V.O)
Ultimately, it became a room of
developing characters.
6.

JORDAN
I still think itll take a while
for us all to, really develop these
characters and make them as huge
and grotesque as Alex imagines them
being - but, I think working on it
over the next few weeks, itll be
something to really look forward to
watching.
Day 2 - 6th January.
Sarahs morning workout.

JORDAN
As an actor, or well, any type of
performer, its really important to
keep healthy and fit, kind of
maintain that healthy and positive
mind-set. It can be difficult at
times but, then again thats why
chocolates there...
Work.
OTHERS
(Talking about ideas for the
project.)
JORDAN (V.O)
Today, Alex wanted us to start work
on 2 individual scenes being the
bridge of death and the death of
the governor.
JORDAN
As I said before, being in a class
of creative people it can be really
difficult to get your opinion and
ideas into the group.
7.
JORDAN (V.O)
Coming back from Christmas break, I
kind of realised how much
confidence I had built before the
break and how much I had lost again
afterwards.
Putting the pieces together.

JORDAN (V.O)
It wasnt really until we had
a few problems with the
movements or overcomplicating
certain things that I wanted
to say something.
Putting the pieces together.
JORDAN
My concern was that, we wouldnt
get the sections done on time. And
going at the rate we were going at,
it wouldve taken till next year to
complete the whole performance.
Day 3 - 11th January
ALEX
(Talking about what we would
do today)
JORDAN
I think, in all honesty we managed
to achieve a lot more in our lesson
today. We did a small script
read-through of the ending to
Caucasian Chalk Circle and managed
to piece together one of the
sections we had started last week
which was the killing of the
governor.
8.
JORDAN (V.O)
Through the script read-through it
was helpful for us to understand
how the story in itself would end
and what would initially happen to
all the characters.
ALEX
(Dialogue within the tape)
JORDAN (V.O)
We, as a group decided exactly what
wed work on during the day and
reluctantly...

JORDAN
We actually got a lot done!
Work.
JORDAN
So, going from having a lot of work
getting done, we then had to figure
out how the people who were missing
from the class were going to fit
into the piece wed created.
JORDAN (V.O)
We showed the guys what we did in a
simple form, and basically added
them in.
JORDAN
I think though, from a personal
perspective, some people didnt
necessarily agree with the ideas
wed come up with but then again,
they werent the ones in.
9.
JORDAN (V.O)
We discussed some technical issues
we had with the group and tried to
fix them, like how we would get
Vicki up higher than everyone else,
for her character being the Fat
Prince who has just triumphed over
murdering the Governor.
Work.
JORDAN
It took us a while, but I think we
managed to come to a conclusion.
Work.

JORDAN
Knowing now that we had a basic
structure for only one of the tasks
Alex asked us to do, we decided to
dedicate the next day to the other
task of building the bridge for the
bridge of death scene.

OTHERS
(About the work)

JORDAN
What we aimed for in terms of
building the bridge was for it to
be fairly tall
10.
JORDAN (V.O)
and pretty symbolic of the life
journey of Grucha, or just life
itself.

JORDAN
It was just an aspect of - how can
we achieve that?
JORDAN (V.O)
Sarah helped guide us with the
physical aspect of the whole scene
and it became more symbolic than
anything else. Showing the struggle
the character has to go through.

Work.
JORDAN
Thinking over the weekend about
how, I personally can better myself
so the work has a better outcome
was fairly difficult but at the
same time easy.
JORDAN (V.O)
It was just a matter of diving
straight into the work.
JORDAN
In todays lesson we worked mainly
on being an ensemble group.
11.
JORDAN (V.O)
As the play is highly reliant on
teamwork and ensemble work it is
important to make sure we know how
each individual works. Make sure we
have that connection as a class
that we are able to work with each
other quickly and efficiently.
Work Interlude.
JORDAN (V.O)
Afterwards we all had a look at
each others characters by
performing a task where we had 5
chairs, 1 character and we would
all pass through the chairs copying
the position of the past person.
This was to help us understand the
main characters of the play and
also help us continue working as
ensemble.
Work Interlude
JORDAN (V.O)
We then started working on some
written work where we wrote a small
poem like monologue about our
characters and the mythology behind
them.

JORDAN
(Poem out loud) Essentially what I
intended was taking inspiration
from the biblical story of the
Prince of Egypt with the two
advisors. Then developing it into a
new personal story where my
character of the Doctor was
actually tricked into believing the
Devil was God and how he really
kind of, tricked others into
believing more in the devil and how
he gave him power. Ultimately it
leads the character to die in hell
because you never see him again.
12.
ALEX
(Talking about the project)

JORDAN
So previously, we had been given
job roles for the project and my
personal job role was to be the
photographer and videographer of
the project.
JORDAN (V.O)
Today we mainly focused on doing a
Radio readthrough of the script,
which essentially meant that we
read through the script in our
characters voices.
JORDAN
It was good to do this in my
opinion as, it helped us understand
the characters a lot more and kind
of get a grasp of initially, what
they would possibly sound like.

JORDAN (V.O)
We pretty much carried on from the
previous day doing the radio script
read through.
JORDAN
Doing the script read through today
was enabling us to find what scenes
we should cut for the show, and
also helped us discover what
characters hadnt been cast and how
much each actor had to perform.
13.
JORDAN (V.O)
My character of the Doctor got cut
completely from the script because
of how the story was structured,
the scene the character was in was
a fairly long and unnecessary scene
for how we were to perform it.
JORDAN
What we ended up doing instead was
finding the characters that hadnt
been cast and I got given the role
of the Adjutant and Shauwa so I was
really happy and excited to play
them.
Some audio of the script read through.

Work.
JORDAN
So today being our day with Sarah,
we handed the project over to our
assistant director, Lauren who
helped choreograph the movement of
what our aim was to get done today.
JORDAN (V.O)
There was a few people however that
made it difficult for both her and
others, including myself, to work.
JORDAN
Bringing negative energy into the
work environment is not a
healthy state to be in, thats for
both the person and for others.
14.
JORDAN (V.O)
I learnt from last year to just
leave your problems at the door and
get on with the work as itll help
you feel positive as well as help
you feel like youve achieved
something.
Work.
LAUREN
(Her opinion on being assistant
director)
Work.
Day 10 - 1st February

JORDAN
So for the next week of work, we
didnt have Alex in as he was
working on the University students
performance of the Seagull.
Work.
JORDAN
The majority of our work was handed
over to Wendy and Lauren who did an
amazing job at helping push the
work forward and creating a simple
blocking for what we wanted for our
first act.
JORDAN (V.O)
With the two being head of
operation, in a sense, it was easy
to approach them with different
ideas and yet still come out with
an outcome quickly and efficiently.
15.

JORDAN
That was probably the most work we
did in a long time.

WENDY
(Opinion on getting the work done
and the show itself.)

JORDAN
It was nice in particular for me as
an actor to finally kind of
experiment more with the character
from inside the work environment
rather than being at home.
76 INT. JORDAN HOME (WORK)
JORDAN (V.O)
Youre open to suggestion and
improvement whereas when youre at
home you can only do what you see
in front of a mirror.
Work.
Day 11 - 2nd February.

JORDAN
Today was covered by Vanessa, who
kind of showed us some exercises to
help us get into character.
JORDAN (V.O)
One of the exercises was that, in
our characters, we were split into
2 sides, one person from the side
hid a key and the other team had to
guess.
Work.
16.
JORDAN (V.O)
This helped us get in touch with
the improvisational side of our
characters. We were able to
experiment different relationships
with characters we dont actually
interact with, within the play.
JORDAN
It was interesting to see all these
characters come to life and see the
different personas and
characteristics that they had.
Work.
Day 12 - 3rd February.
JORDAN (V.O)
After developing our characters and
having slightly more knowledge on
them from the previous lesson we
mainly aimed to tidy up the blocked
parts of act 1 that we did with
Wendy.
Work.
JORDAN (V.O)
We had to go through and show
people that were absent what we did
and run through the blocking of
their characters with them. This
unfortunately did take up a lot of
our time but we still managed to
block a lot of the work in more
detail.
JORDAN
So, after the week had ended I
think we were all a little bit on
edge about Alexs opinion on what
we had created as, we didnt 100%
know what he vision was for the
production.
17.
Work.
Day 13 - 8th February.
JORDAN (V.O)
We used different activities to
help us build a scene idea that
Alex had pitched to us the previous
day which was basically throwing
balls around to one another without
dropping them.
work.
JORDAN (V.O)
The basic idea was that during the
Adjutant and Governesss scene from
their escape out of the city, the
ensemble playing servants would be
throwing around her luggage and
piling it on top of the Adjutant.
JORDAN
It was a lot of fun to find the
vision of what Alex wanted for the
scene and for me playing the
Adjutant itll be fun finding the
physicality of the character during
this whole scene as he just
basically wants to leave the city
and eventually doesnt care if the
Governess comes with him or not.
Work.
JORDAN
After working on that scene, Alex
wanted to watch what we had come up
with during the past week.
18.
Work.
JORDAN (V.O)
I think we were all a little bit on
edge about his opinion.
Work.
JORDAN
Luckily though when we showed him
some of our scenes, he really liked
what we did and went through and
added little details in which made
the scenes really strong and funny.
Work.
JORDAN (V.O)
I think showing him what we done,
and him actually enjoying and
laughing at the scenes that we
created, it was a large confidence
boost for us all.

JORDAN
Coming up to the next week. We knew
that we had a whole week off which
meant a whole week of no
rehearsals.
Work.
JORDAN (V.O)
We as a company decided to organise
one day out of the week for us all
to come in and do some rehearsals
for the first act so that when we
came back after half-term we would
be able to keep moving forward as
opposed to going backwards trying
to remember what we previously did.
19.
Work.
JORDAN (V.O)
For this lesson we mainly worked on
the opening sequence again and just
finalising more of the characters
and their movement rather than an
ensemble movement like the peasants
etc.
Work.
JORDAN (V.O)
We got given some feedback from
Alex to keep improving the scene
and when we came back from lunch we
basically separated out into little
groups to work on scenes that
needed some work.
Work.
JORDAN (V.O)
For me and the small group I was
in, we went ahead and began
organising the scene with the
Adjutant and Governess just so when
we came to it again we had an order
and structure. It was difficult
however to have this structure when
not everyone who was in the scene
was not actually working on that
scene in that particular time.

JORDAN
It was helpful just to get some of
the scenes organised and cleaned up
as we went but now weve got our
week off so hopefully on the
Thursday when we meet and when we
come back we can really start
blocking and cleaning and putting
this show together.
JORDAN (V.O)
On the Thursday when we met up,
Lauren, as assistant director, took
20.
JORDAN (V.O)
charge of our rehearsals today,
beginning with a small warm up then
going into developing the majority
of Act 1.
(Work interval)
JORDAN
We mainly focused on the death of
the governor scene where I had the
idea of having the ensemble group
surround Aaron almost like a wave
does in the scene where it engulfs
a person.
JORDAN (V.O)
We worked and developed it more but
had a few issues when it came to
certain aspects like the safety
precautions we had to take when it
came to Aarons death as we all
kind of envisioned it almost like
Jesus being crucified.
Work.
JORDAN
When we had more safety techniques
in place to make sure Aaron was
secure, we decided to test it a few
times then move on to different
individual scenes like the box
scene.
JORDAN (V.O)
Working on this particular scene
enabled us to clean it up, have an
idea of where everybody would fit
and figured out all the different
segments that would happen from
Simons proposal to Grusha to the
Doctors fight.
21.
99 INT.JORDAN HOME (VIDEO DIARY)

Day 16 - 22nd February Rehearsals.
JORDAN
In todays lesson we focused on the
opening sequence of the first act
which had changed slightly to now
what we call the training of the
guards.
(Work)
JORDAN(V.O)
We began the work by splitting off
into two groups, one group who was
not a part of the royal court where
to play the soldiers who had to
practice a routine to perform in
the opening of the play. The other
group which was the royal court
simply rehearsed an entrance.
JORDAN
Being part of the section with the
royal court, we found it quiet
difficult knowing whereabouts wed
enter from as at first we thought
it would be directly from the back
of the stage but it soon turned
into entering stage right.
(Work)
JORDAN (V.O)
Alex had said to me and Katie that
the way staging works is entering
and exiting is like a book where
you ready left to right so in order
to make the audience feel
uncomfortable wed have the court
enter right to left.
22.

JORDAN
After rehearsing in our groups Alex
combined the two and we ultimately
blocked the entire opening sequence
of the play.
Day 17 - 23rd February.
JORDAN(V.O)
So today we mainly carried on with
what we did yesterday however we
focused more on the physicality of
each character as well as just
trying to clean the sections up.
Work
We began with the soldiers scene
which was choreographed a lot more
and run through several times to
see where mistakes were made or to
see if there needed to be any
changes.
Work
Afterwards back in the studio
theatre we all separated off into
little groups to work on different
sections of the play.
Work

JORDAN
For me and the group I was in we
basically read through the whole of
Act 4 to get a little taster of
what our characters would be doing
in that scene as our characters
were not in any scenes in act 2 and
3.
(Work)
23.

JORDAN (V.O)
We gathered as a class and watched
what the others had come up with
which was helpful as we could help
develop everything further and it
was a stepping stone from act 1 to
act 2.
Day 18 - 24th February

JORDAN
With this day being with Sarah
again we used the time we had to
run through the whole of act 1 as a
company then split off into
separate groups to run different
scenes of act 2.
JORDAN (V.O)
It was nice to finally see the
whole of act 1 come together and
watch it as a whole. We found a few
mistakes throughout that we did
take note of so that when we broke
off into little groups we could
discuss how to fix them.
JORDAN
One of the issues we had was the
doctors fight as it needed to be
choreographed and also physical
piece between Simon and Grusha at
the beginning which were all
temporarily fixed for the time
being.
JORDAN (V.O)
After discussing some feedback we
all broke off into groups to work
on individual scenes for act 2 and
3.
24.

JORDAN
Because I didnt have a character
in act 2 or 3 I mainly spent my
time helping others and directing
small sections, but I did have the
idea for Wills character of the
Monk to have a prostitute with him
as part of his character and giving
him a bit more to work with and
somehow that became my character
for act 3.
Day 19 - 1st March
JORDAN (V.O)
Today we mainly focused again on
cleaning up the 1st act and working
on our individual scenes from act 2
and 3.
Work.
JORDAN (V.O)
When showing Alex what everyone had
come up with on the Friday for
their scenes, he basically went
through and added little details
and fixing everything slightly just
so it had more flavour and
characteristics.

JORDAN
After fixing the scenes we had
created previously Alex took all of
the sections and began developing
the whole of act 2.
JORDAN (V.O)
Going through the scenes in act 2
we saw how the individual scenes
created would all fit together as
well as we were able to create the
scenes in-between.
25.
115 INT. HOME VIDEOS

JORDAN
We very quickly were able to come
up with a simple structure for act
2 so we ran through the whole of
act 1 & 2 together as a whole and
simply developed them further with
more detail and depth.
Day 20 - 2nd March.

Work.
JORDAN
For today, Alex asked us to set up
the studio ready for a small
performance rehearsal in front of
Vanessa.

JORDAN (V.O)
This was our first performance from
an outer eye perspective so it was
helpful to have Vanessas feedback
after the performance rehearsal and
to run it through with a bit more
energy and enthusiasm.
JORDAN
After we just continued going
through Act 1 & 2 and continued
developing and improving them to
get the best out of the scenes.

JORDAN (V.O)
After our break we all began
working on Act 3, putting the
scenes everyone worked on together
and beginning to piece together the
act.
26.

JORDAN
As a director, actor or anyone
generally involved in the making of
a performance it matters a lot that
you continue to go over everything
before your show as you have to be
able to develop scenes and allow
them to grow and build, not just
over a couple of hours of
development but over a few weeks.
JORDAN
You cant expect to take your first
idea and roll with that and it
turns out perfect, you have to keep
trying different ideas, different
positions for actors, props set.
Work.
Theres a lot that goes into making
a show that many, many people
outside of the industry or even
people who are trying to make it
into the industry dont
understands.
Work.
Its not a smooth sailing ship, it
takes a lot of work and dedication.

Day 21 - 3rd March
JORDAN
As Ive said previously, when we
have our sessions with Sarah we
usually use the time to catch up on
scenes, develop them further
ourselves or go over new or
improvement needing scenes.

JORDAN (V.O)
This allows us to get a lot more
work done, especially when we split
off into our individual groups and
can work on our scenes with a lot
more care and attention.
27.

JORDAN
So for today we mainly focused on
Simon and Grushas scene as a whole
company, giving feedback and
throwing out different ideas to
improve the scene where the
audience is initially introduced to
our main characters.

JORDAN (V.O)
We needed to make sure the first
scene with Grusha and Simon was
very strong as this is the
audiences first perception of the
characters and show what kind of
relationship and chemistry they
have.
Day 22 - 9th March

JORDAN
Today with Alex we continued moving
forward with the blocking of Act 3.

JORDAN (V.O)
We went through adding more detail
into each individual scene, which
gave both, the actors a chance to
develop dialogue into an ironic
state and also gave Alex a chance
to find the comedic side to each
individual blockage.
Work.
JORDAN
The way that I like to look at a
show is almost how I like to look
through a camera.
28.

JORDAN (V.O)
You got to make sure each frame
presents your story well and to the
best ability it has, so you want to
find the best way to portray it.
JORDAN
Thats again why we keep going over
the same scenes, same acts and keep
developing everything until you
cant anymore because its
Showtime.

Day 23 - 10th March
JORDAN (V.O)
In rehearsals today, Alex wanted us
to basically run through all the
acts together and see how they
flowed.
Work.
JORDAN (V.O)
This was to ensure that everything
worked properly, fitted together
nicely and to find if anything
wasnt flowing properly or just
wasnt blocked or refined as much
as other sequences, wed be able to
pin point them and tweak them as
necessary.
JORDAN
There were a few scenes that didnt
flow as nicely as perhaps some of
the scenes from act 1 and that was
mainly because we hadnt run it
through many times and also because
we were still working on blocking
certain parts like in act 2 and 3.
29.

JORDAN (V.O)
We managed to find any problems we
had, note them down and when we had
finished a timed run through, we
went through the notes ready to
show Alex what needed improvements
the following week.
Day 24 - 15th March

JORDAN
Moving on into the next week we had
explained to Alex some of the
difficulties we had with the run
through on Friday, and that the
majority of these where the
physical theatre sequences.
JORDAN (V.O)
We had been asking Alex about
working on the bridge scene as
working on it previously we werent
too sure what he wanted in terms of
height or how it would be initially
presented.
Work.
JORDAN (V.O)
We ultimately began developing the
sequence which was then
choreographed by Monica and it was
almost like a tribal call. Very
aggressive but smooth. It had a
great juxtaposition to work with
and it.
JORDAN
It was difficult for me personally
to pick up the steps and the exact
choreography because I know Im not
the best dancer or physical person
in the world but, you know it was a
challenge and in the mind set of
Heath Ledger, if it doesnt
30.
JORDAN
challenge you it shouldnt interest
you.

Work.
JORDAN
When putting the sequence together,
it was really beneficial for both
us as a bridge and Amy or Fran to
defiantly have the support of Alex
both literally and metaphorically,
otherwise I dont think we ever
wouldve done this
JORDAN (V.O)
Its just a bit of a confidence
boost that we are able to show this
and show people that this is going
to be a great show.

Day 25 - 22nd March
JORDAN
Today, we had Vanessa come into our
lesson who wanted to basically
check out all of our costumes and
watch the whole of Act 2 & 3 of
what we had come up with so far.
JORDAN (V.O)
By showing her what we had we had,
again, we were able to get an
outside-eye opinion were able to
receive feedback and directing from
another perspective whilst still
remaining true to Alexs vision.
31.

JORDAN
Vanessa had a few improvements for
us like how Amy or Fran would get
off of the bridge which was for
Zach or Joe to take her down and
she also gave suggestions to our
costumes like if certain things
didnt suit the time period or if
something was too much for a
specific character.
JORDAN (V.O)
We then had Alex come back in the
room who wanted us to go through
the whole of Act 2 and 3 with the
suggestions given by Vanessa.
Work.
JORDAN (V.O)
Going through the run through
without hardly stopping we were
able to see the flow of the two
acts with the new improvements and
also allow Alex a chance as the
director to see the two new acts in
full without many interruptions.
Day 26 - 23rd March

JORDAN
Todays lesson Alex wanted to go
through some of the scenes we
suggested needing improvements,
like the opening soldier scene.
JORDAN (V.O)
We spend the majority of the time
working on getting it perfected and
choreographed so that the opening
to the whole show was very strong
and almost very representative of
the show in its entirety.
32.

JORDAN
Alex was able to add little details
into the opening to make it funny
and to make it strong

JORDAN (V.O)
Like making certain characters trip
over and making sure the whole
piece was choreographed perfectly.
Work.
JORDAN (V.O)
Back in the other studio we
continued working on the scenes
that needed improving like the box
scene which needed some cleaning up
and also to practice the entrances
and exits. We worked on the bridge
scene to make sure Amy and Fran
were confident and comfortable with
walking across everyones
shoulders. And we also worked on
the end of act 3 from the wedding
funeral scene to the bathtub scene.

JORDAN
Running through all the different
scenes that we felt needed
improvement was very helpful as we
were all able to know exactly what
was meant to happen in the scene
and it also I think gave us all a
little confidence boost again that
we all knew what we were doing.
Day 27 - 24th March
JORDAN (V.O)
For today, again with Lauren and
Sarah we decided as a company to
move on with Act 3, developing it
further and moving on throughout
the script.
33.

JORDAN
We wanted to set the scene of the
next section which was when Simon
returns home from war and meets
Grusha, so a couple of people had
the idea of using the sheet that we
use for the governors death, as a
way of creating a shadow effect and
having one of the singers
monologues read out which described
what happened to Simon during the
war.
Work.
JORDAN
We had the idea of having Simon
coming home from war then the dead
soldiers still behind the curtain
turn into butterflies to represent
both the passing of people and
passing of seasons.

JORDAN (V.O)
We also decided as this is a
crucial moment for Simon and
Grusha, we actually wanted to
separate them to show that they
were on different paths to one
another so we created a small lake
with two sheets that would be held
by two other actors.

JORDAN
The scene itself I think when weve
cleaned it up will be quiet
emotional as we see what Simon went
through to get back to Grusha and
coming home to find she has a child
and a husband without much of an
explanation, I think itll be quiet
a sad point in the play which I
think is why we need to really
34.
JORDAN
emphasis it a lot and make it
actually a little bit quiet of a
scene.

Day 28 - 29th March
Work.

JORDAN
Today we actually mainly focused on
working as an ensemble again, and
using workshops to kind of help us
grow as genuine actors as opposed
to the grotesque characters that we
had been looking to achieve the
past few months.

JORDAN (V.O)
As far as rehearsals for Caucasian
Chalk Circle go we mainly looked at
the opening Simon and Grusha scene
which we still wanted developing
just to add that bit more chemistry
to it and make it a fairly changing
scene.
Work.
JORDAN (V.O)
In terms of that I mean the
changing of moods between
characters. Their relationship is
quiet childish at first, then
develops to kind of sexy and
flirty, then a little angry and
argumentative and finally back to
the childs play.

JORDAN
I think what makes this scene so
important is that, it can be how
some relationships are, and the
audience needs to understand their
relationship and how close they are
35.
JORDAN
so when we go into some of the
later scenes where Simon calls off
the engagement, its just that bit
more hard hitting.
Day 29 - 30th March
JORDAN (V.O)
Having worked on improving the
scenes we were unsure about we now
wanted to dedicate the rest of our
time before the Easter Holidays to
the start of Act 5.

JORDAN
The reason that we have gone
straight to act 5 and gone past act
4 is because when youre able to
have the opening and closing of a
show, its practically finished and
you have a show whereas if you
dont have an ending, then its
left with an unclear vision of
whats to happen to all of the
characters.
JORDAN (V.O)
We read through Act 5 again as a
company to ensure we all knew what
was to happen within the act, then
we were left to devise the
beginning of Act 5 with Lauren as
our head director and everyone
giving different opinions and ideas
to how the scene would go.
JORDAN
We managed to get it blocked fairly
quickly and easily but not in too
much detail, but we organised the
entrances and exits of each
character and how each scene would
fold into each other.
36.

JORDAN (V.O)
When Alex came back to watch what
we did, he again went through
adding the details to make it even
stronger and he also changed
certain parts like Azdaks entrance
which would be made a little later
in the scene and also how certain
lines would be said like Simon and
Grushas argument in between the
cook.
Work.
JORDAN (V.O)
We ran through Act 5 with not too
many problems but just simply
blocking everything, giving it
detail and getting ready to lead to
the moment the whole audience had
been waiting for which is the chalk
circle.
Day 30 - 31st March
JORDAN
On our last day before breaking up
for the Easter Holidays, Alex
insisted that we had to run through
act 1, 2, 3 & 5 without stopping
and to also work more on the
soldier scene as well as the box
scene.
JORDAN (V.O)
We all managed to work really
quickly today but unfortunately
there were not that many people in
today which did make it difficult
as others had to fill in for
different characters as well as we
couldnt run through everything as
well as we wanted to.
Work.
37.

JORDAN
We still managed to get everything
that Alex wanted us to do on time,
and when we had finished, Vicki,
who was our outside eye, took notes
and gave us all improvements
afterwards.
JORDAN (V.O)
We were able to add in the new
scene we had worked on the previous
week with Simon and Grusha which
was good to test out along with the
rest of the scene and we knew what
needed improving and fixing.
JORDAN
Now again having 2 weeks off for
Easter, I only hope that when we
come back after break we will be
able to pick up where we left off
and really get on with completing
the show to the best quality we
can.
Day 31 - 12th April
JORDAN (V.O)
During the half term, we decided to
come in as a company to rehearse a
few more scenes for the play.
Work.
JORDAN (V.O)
Unfortunately not that many people
turned up, however we were able to
get some of the scenes developed
even more like Grusha and Simons
scene, Grusha and the Fat Womans
dialogue they have and also Grusha
and the Peasant scene.
38.

JORDAN
Having certain people turn up
wasnt too big of any issue today
as we mainly worked on those few
scenes which didnt require many
actors however I think if more
people came in, we could have
potentially worked on some of the
bigger scenes that needed some
work, like perfecting the bridge
scene or something like that.
JORDAN (V.O)
It was still really helpful to
watch all these scenes develop and
watch how the characters unravel
and expand along with Alexs
direction and guidance.

Day 32 - 19th April
JORDAN
During today, as a company we
wanted to go over a few things
being, a production meeting all
about our costumes, props etc...
and also a run through from Act 1
all the way to the bridge scene.

JORDAN (V.O)
By going through a quick production
meeting we were able to find out
whether more props or costumes were
still needed, and to find out if
anything more needed to be bought
from the budget. Going over Act 1
to the bridge scene enables us to
look at the whole performance again
as we continue to build and grow
the show as well as develop new
techniques or details for our
characters.
39.

JORDAN
During the half term, I was
personally able to find different
details for all my characters, from
voice to movement, however Im
still trying to develop my
characters, trying to find the more
grotesque side of them rather than
being more naturalistic.

JORDAN (V.O)
By again going through the whole of
Act 1 to the bridge, we were able
to discuss with Alex which scenes
we would improve for the next days
rehearsal to make them just as
strong as the others.
Day 33 - 20th April

Work.
JORDAN (V.O)
These scenes included going over
the soldier scene again, cleaning
it up and really developing more of
the background to it. The music had
changed and the scene itself had
been extended, so in term it
actually presented itself in a more
comedic state which is what we
originally wished to achieve.
JORDAN
We also worked a lot more on the
ending of the show, which is where
the whole company begin singing
Gari gari which is a song used at
the start of the play, that
introduces the main change of the
main character and introduces the
key events which happen within the
play.
40.

JORDAN (V.O)
By having the song originally
played when Grusha saves the baby,
then repeating it at the end
conveys some themes of hope and
also repeats the idea of a new
adventure beginning even when the
play is finished.
Work.
JORDAN (V.O)
We also managed to work on a few
scenes from Act 3 which we felt
possibly dragged or knew that the
energy wasnt high enough. Alex
went through, helping some people
with their characterisation,
allowing them to be more open and
more grotesque, and he also helped
give details to scenes like Kat and
Zach in the wedding funeral scene.
JORDAN
By allowing Alex his open opinion
and view, as a company we are able
to see how some Directors work
within the industry and also allow
us to take his direction and
feedback and adjust that into every
character and every scene, making
it more powerful and energetic.
Day 34 - 21st April
Work.
JORDAN (V.O)
With today being with Wendy, Alex
allowed us the time today to be
able to create the whole of Act 4
together, then depending on the
outcome he would make a decision as
to whether the act would be cut or
not.
Work.
41.

JORDAN
For me, I wanted to make sure that
we were able to block as much as we
could in the time given and make it
something Alex would want to keep
in as although the act can drag
slightly, it introduces you to the
next lead character of Azdak which
is the character who puts forward
the test of the chalk circle.
JORDAN (V.O)
We were fortunate enough to have
Lauren guide us and have many ideas
thrown out, and we managed to block
the beginning of act 4 all the way
till the Fat Prince enters to try
and get his nephew to be the next
judge.
Work.
JORDAN (V.O)
We read through the whole of the
act, so we could potentially cut it
shorter and make it a quicker act.
Then we got up on our feet and
began blocking act 4 in a quick but
detailed way.
JORDAN
Through going through Act 4, we are
introduced to several new
characters including my character
Shauwa, Azdak and the Nephew, so we
wanted to make their introductions
fairly large so the audience knows
that for character like Azdak, they
will be a significant part of the
story.
42.

Day 35 - 26th April.
Work.
JORDAN (V.O)
Throughout the majority of the day
Alex wanted to go over all of the
physical theatre scenes, from the
opening training of the guards
scene, the box scene and the
crossing of the bridge.
Work.
JORDAN
We kind of realised how much work
and energy needed to be put in to
these scenes as they were ensemble
pieces and significant parts of the
story, so we went through and
really knuckled down to make sure
the timing was correct and
everything was perfect.
JORDAN (V.O)
We went through the soldier scene
several times both with and without
masks so that Alex knew what would
be more beneficial for the actors
and the physicality of the scene.
As we continued developing that
particular scene, Alex gave all the
actors queues for certain movements
and positions which ultimately
enabled the scene to look more
clean and tidy.
Work.
JORDAN (V.O)
The box scene was run through
several times also with Alex mainly
working on how everybody exits the
stage at that point and Grusha and
Simons dialogue together. The
reasoning for this was because,
this is the final moment we see
43.
JORDAN (V.O)
Simon and Grusha together and its
also when Simon proposes to Grusha,
so that particular section needed
to stand out against the
background. The exiting also needed
to be strong as it shows the
overpowerment of the soldiers to
the people of Grusinia.
Work.
JORDAN (V.O)
As for the bridge scene it was
fairly difficult to work on as
there werent as many people in
however we were able to look over
the choreography which was a bit
messy and clean it up so when the
others who were absent returned we
could fit them in to the sleeker
version, and hopefully the whole
scene will look incredibly strong
and powerful which is what the
scene is supposed to represent
especially in terms of the
character of Grusha who has to
pluck up the courage to cross this
crumbling bridge.

Day 36 - 28th April
JORDAN
We soon returned to working on the
whole of Act 4 seeing as now the
whole company was in and Alex kind
of showed us what details he had
added in and what he wanted to see
for the act.

JORDAN (V.O)
Alex had taken the act and
rearranged it slightly, keeping in
the scenes we had worked on
previously. He changed the scene in
which Azdak and Shauwa would walk
through the poverty stricken town,
so that it came earlier in the act
and also cut Shauwa from the scene
44.
JORDAN (V.O)
so that it was just Azdak on his
own to show how the character
changes because of the poverty and
becomes this drunken old man.
Work.
JORDAN (V.O)
We also went through and added more
detail to the end of Act 4 in which
the Fat Prince is put in jail and
Shauwa and Azdak escape the
Ironshirts.
JORDAN
The reason we went with this as an
ending to act 4 rather than what
was originally said in the script
is because it leads off better into
act 5, which is the chalk circle.

JORDAN (V.O)
Afterwards the Level 3 year 1 class
came into our lesson to check out a
small sneak peak of the play which
was the soldier scene.
JORDAN (V.O)
We could see all the energy
suddenly burst through everyone
which is good especially when you
have an audience, however, if you
dont rehearse with the same amount
of energy as you perform as said by
Alex your first show will be great
as you have the adrenaline rush and
all the rest will be rubbish as now
youre worn out. So from this, I
learnt that you need to try and put
100% into every rehearsal so you
know how much energy youre going
to use up doing the shows.
45.

Day 37 - 3rd May.
JORDAN
Continuing on to the next day we
wanted to work on the transition
between act 4 and act 5, so we
began work on the end of act 4
which is when Azdak and Shawau run
away from the Ironshirts.

JORDAN (V.O)
We developed the scene slightly
with Alex who continued to give us
details for our characters and for
different scenes then we separated
to work as a whole company without
Alex to work on developing it
further.
Work.
JORDAN (V.O)
We worked mainly on how people
would enter and exit again and
tried to add a little more comedy
to the scene, an example being how
Georginas character is fairly lazy
so she strapped herself to a chair
or how the way Will as the fat
woman ends up hiding Grusha under
her skirt which is also used as a
small way of flirting between her
and Zachs Corporal.
JORDAN
We also decided to work on Azdaks
lift to get him onto the judges
chair and keeping with the main
themes of Brecht we used symbolism
from the bible which was a
crucifixion lift.
46.

JORDAN (V.O)
It took a while to decide who would
be a part of the lift and who
wouldnt as we didnt want it to
look too messy or overcrowded, so
we decided on using some of the
stronger and taller members of the
class which was Joe, Zach, Aaron
and Tamara.
Work.
JORDAN
As we continued working and
developing it, we continued to give
small details and find little
mistakes similar to that of the
lift which would at times mess up,
however, as we continue rehearsing
it, it will become more refined and
sleeker.
Day 38 - 4th May.
Work.
JORDAN (V.O)
Beginning today with a production
meeting just to go over any
costumes that may be missing or any
props that still needed purchasing
we swiftly moved on, working on the
bridge scene, adding in new people,
like myself, to learn the routine
and also to clean it up further. We
continue going over this routine as
it has to be timed perfectly, the
movements most be strong and just
like a dance, you have to keep
practicing until its perfect.
47.

JORDAN
For me personally, it did take me a
little while to get the whole
routine fixed in my head and down
to my feet, but I think if I can
practice at home, and also go over
it during breaks with others, I
should be able to know it just as
well as everyone else.

JORDAN (V.O)
We soon had the HND Students come
and watch our performance of the
bridge scene, which, similar to
showing the solider scene to the
Year 1s previously, we had a lot
more energy and focus. We have to
continue performing with this high
amount of energy so we are able to
maintain it throughout our actual
performance dates.
Work.
JORDAN (V.O)
When the we felt the bridge scene
could be left for the day we
continued work on Act 5, applying
all the new lifts and details,
seeing how it all worked as an act.

JORDAN
It was pretty interesting to watch
this development of the act, as
before I think, it was mainly just
standing around talking but now
theres a lot more movement to it,
which works in contract especially
to a naturalistic court where
everyone is very still and stiff in
movement.
48.

Day 39 - 10th May
Work.
JORDAN (V.O)
Today was our first day running
through every single act in full
costume and testing out the white
base of our makeup. We got given
around 30 minutes to put on our
white bases and the reason we
tested the white base of our makeup
is to see whether it would come off
during the whole performance or
just too generally see what our
makeup would look like at the end
of the play.
Work.
JORDAN (V.O)
For my character personally, Ive
started basing the Adjutant off of
a horse in war.
Work.
JORDAN (V.O)
From the mention of war in the
beginning of the play from the Fat
Prince, as an adjutant is genuinely
with the leader of the army which
in term would be the Governor, when
researching pictures, the head
would constantly ride a horse.
JORDAN
From that, Ive now started
developing more of my physical work
around that, so now Ive been able
to experiment with it in the
working environment whilst still
receiving feedback.
49.

JORDAN (V.O)
Going through every act today
enabled Alex to pinpoint which
scenes needed to be looked at again
and altered and also allowed us as
actors to find where our weak
points where whether it be
characterisation or whether it be
some of the physical theatre.

JORDAN
I noticed for myself that I still
struggled a little with the more
physical theatre scenes and
characters like Shauwa as I was
still exploring the character,
however I know that working on the
character at home and practicing
the physical theatre sequences, I
can make them both really strong
and make my character more
grotesque like how we proposed in
the beginning.
Day 40 - 11th May

Work.
JORDAN (V.O)
Going through the whole run through
the previous day we realised that
one of our weakest sections was Act
4. The reason it wasnt very strong
was partially due to the mix up of
where lines had been cut so it was
a little confusing and also as the
scene itself really dragged a lot
and was honestly fairly boring.
JORDAN
Alex allowed us some time to come
up with a whole new scenario for
Act 4 in which he wanted us to cut
the whole kind of idea of having
this trial for Azdak.
50.

JORDAN
By cutting the idea of having
Azdaks trial, its able to create
an impact on the real trial which
is the Caucasian Chalk Circle,
which Alex did say is a weird move
that Brecht made in part to
creating a climax of the show which
is practically repeating what had
previously happened with Azdaks
trial.
JORDAN
Working on it though a few people
had some different ideas of how we
could approach this act, with
someone suggesting a black and
white silent movie type style
almost like Charlie Chaplin. We
chose this as typically these
movies involve methods that Brecht
used to use like placards, over
exaggerated characters and
non-naturalistic acting styles.
JORDAN
By going through and working on
this act, it both became a lot
shorter, cut the idea of having a
trial and almost instead turned it
more into an audition for Azdak to
be the next judge.
JORDAN (V.O)
It took us a while to achieve as it
was difficult trying to follow the
story whilst practically throwing
the script out of the window at
this point, however Alex really
enjoyed it and again added some
details and made the act really
stand out and enjoyable to play
with.
51.

Day 41 - 12th May
JORDAN
Continuing on, looking at all the
scenes that we felt needed
improving, we aimed to adapt and
clean up the scenes like the
soldier scene, bridge scene and act
5.

JORDAN (V.O)
We first sat, as a collective to
discuss any issues we had with the
budget, detailing what still needed
to be bought and how much money we
had. We do this often as we need to
make sure we dont waste our budget
on things that arent particularly
necessary or things that are too
expensive.
Work.
JORDAN (V.O)
After our meeting, Alex wished to
go over the opening soldier scene
again, due to it sometimes being
out of time or genuinely lacking
energy. He was able to give
everything the timing necessary and
really encouraged everyone to be
huge with characterisation and
movement which really came out well
on stage.
Work.
JORDAN (V.O)
Soon we began working on the bridge
scene again where we unfortunately
did have a lot of issues due to one
of our cast members not being in
for one of the performances. We had
to alter and edit certain movements
and figure out who was needed and
who wasnt. Movements such as, the
throwing of the sticks had to be
changed slightly, so for me instead
of throwing the stick to my
52.
JORDAN (V.O)
partner, I would queue the sequence
by slamming my stick to the floor
and shouting. This worked well as
it still enabled the rest of the
sequence to carry on as normal
without many adjustments.
Work.
JORDAN (V.O)
Finally, we worked on Act 5 which
was mainly just to see where
improvements where needed again and
to work mainly on our spatial
awareness and the closing bows.

JORDAN
Spatial awareness is key especially
in a large theatre just to fill out
the space and make everything look
larger rather than all being
compacted and close together.
Day 42 - 17th May
JORDAN (V.O)
With our Wednesdays now, Alex uses
these days for us to have full run
throughs of the play. Reasons for
run throughs prior to an actual
dress rehearsal with the tech team
is so that we can test out
everything from costumes to make
up, and to also figure out where
our weak points are so we can
improve them.
JORDAN
For us as actors its very
important to do run throughs as we
need to know where our costumes and
props need to be, and we are also
able to pin-point weak stages for
our characters whether it be how
they are positioned or how we
portray them.
53.

JORDAN (V.O)
Although the majority of our
characterisation is done at home,
using run throughs as a way to test
your character along with the
people you are onstage with is very
useful. Youre able to find
different typed of chemistry with
your partners and youre also able
to find what lacks in your
character and whats strongest.
JORDAN
And example for me personally is
that I know my character of the
Adjutant is stronger than Shauwa at
the moment and thats partially due
to what Ive based the Adjutant off
of, however using these run
throughs I know that I need to work
on Shauwas characterisation and
for Alex as a director he is easily
able to pick out what needs to
improve with the actors
characterisation in certain points,
which he can feedback to us later.
Day 43 - 18th May
Work.
JORDAN (V.O)
Going through the previous run
through, Alex wanted to go over act
5 again. As Act 5 is practically
the most crucial sequence of the
play it has to be the strongest and
the most influential part of the
play.

JORDAN
The reason for the conclusion to be
the most crucial part of
storytelling to an audience, in
terms of Brecht is to give the
54.
JORDAN
audience out load what the message
of the play was. So in terms of the
Caucasian Chalk Circle, its to
emphasis that love is more
important than blood and that
people do choose who they want to
be, and that is defiantly shown
through the character of Azdak.

JORDAN (V.O)
With Alex talking previously of the
theme of choosing who you are or
what you want to be is defiantly
prominent on the character of Azdak
at the end of the play. Being the
old and fairly independent man he
is, he could have easily just given
the child back to his biological
mother, but he uses tactful ways to
get the truth from both woman and
in the end makes the right
decision.
JORDAN
Working on it with Alex you can see
how much the act needs to be
emphasised and we were able to give
the details not to give too much of
the story away to the audience but
enabling the actors to have an
internal thought process of how the
story will end when Azdak
eventually gives Michael back to
his true mother, which is Grusha.

Day 44 - 19th May
Work.
JORDAN (V.O)
With today also being a day full of
improvements, Alex wanted to go
over the soldier scene once more,
the death of the governor Grushas
escape out of the city and Act 4
and 5.
55.

JORDAN
In particular today the soldier
scene was done with so much more
energy and enthusiasm, with all the
actors filling in the space, we
felt it best to leave it for the
time being and carry on with other
scenes that really did need
improving.

JORDAN (V.O)
We decided to go over the death of
the Governor scene where I
personally was told by Alex to
really milk the scene for my
character of the Adjutant as its a
point where he becomes a very big
coward and just leaves the governor
to die. We worked on how the Fat
Princes movement would work where
Vicki basically hits everyone with
the red flag in which Alex
emphasised the need for everyone to
be in slow motion. This was so the
movement was in full expression and
the audience would be able to see
the overpowerment of the Fat
Prince. Our only problem was really
that the flag continued to get
tangled, so we worked out a way in
which Vicki could wave the flag
without it getting tangled.
Work.
JORDAN (V.O)
Grushas escape out of the city was
also worked on, which was to help
the ensemble be very sharp and
clear with the timing of the steps
when the guards invade the city and
to also allow Will a chance as the
Fat Woman to play with his
character, which included breaking
the fourth wall and interacting
with the audience. The main problem
with this was that a few people did
get squashed out of the soldier
line because of the space in the
56.
JORDAN (V.O)
studio, however we knew that the
theatre was larger so it wouldnt
be too much of a problem.
JORDAN (V.O)
Act 4 and 5 was also run through
once, where Alex gave a few notes
of improvement to us all mainly
just about the specific movements
that need to happen in particular
times like the Charlie Chaplin
movie sequence in Act 4 or Azdaks
movement towards Grusha in act 5.
JORDAN
A problem that I face a lot within
the silent movie sequence in act 4
is the timing, as at the moment all
of us are looking in the mirror
doing the bouncing movement so I
think to improve this we should
potentially work out the timing in
which this would occur, similar to
how dancers keep in time with each
other.

Day 45 - 24th May
Work.

JORDAN
Today being covered by Sarah
Mayhew, we had a chance to kind of
develop these enormous characters
and really emphasis the
grotesqueness of the whole play
whilst actually being able to come
out of our comfort zones and really
being able to play around with all
of our characters.
Work.
JORDAN (V.O)
Shauwa, for me, has been the more
difficult character to find as,
57.
JORDAN (V.O)
building up her background, Ive
got more of a mindset for the
character but translating that into
a physical state has been
difficult.
Work.
JORDAN
My personal technique for characters is to first find out
their mind set which includes their backstory, who they are
and what their main emotions are.

JORDAN (V.O)
Being able to have almost a
character workshop, I was able to
find slight movements I could use
for Shauwa. Her mindset is pretty
basic in the sense that although
she has a state of power she is put
down by herself and others because
of how she was raised. In a
physical aspect Ive started using
the chest as a way to connect with
her power whilst still keeping her
head and neck down to emphasis her
shyness and naivety.

JORDAN
We also did a 15 minute run through
of the whole performance which
enabled us to really see the energy
we have to have throughout the play
and also highlight to us what are
the more key elements of the play.
JORDAN (V.O)
Going through this run through, I
think, opened our eyes to how much
energy and persistence we need to
get through the whole show and make
it the best and strongest piece of
work we can.
58.

Day 46 - 25th May
JORDAN
For the majority of today, having
our lesson with Wendy, we agreed
that going over the budget and
having a production meeting would
be the best way to use our time as
a lot of people were missing due to
different exams and such.
JORDAN (V.O)
We were able to discuss and queries
we had about the work or any
concerns we had as either a whole
company or general individuals.
Work.
JORDAN (V.O)
This was beneficial to us as it was
helpful to get everyones opinion
and overview or just some general
advice.

JORDAN
I think the majority of our
concerns were all about our written
work about the project as opposed
to the project itself, however our
queries about the play where mainly
on our characterisation and just
work that we would have to put in
at home.

Day 47 - 26th May
Work.
JORDAN (V.O)
Today again with Wendy, we wanted
to go over an entire run through of
the whole play again so that we
could get given some more feedback
and also to see for ourselves where
59.
JORDAN (V.O)
parts where lacking energy or if
any scenes had to be picked up a
bit more in enthusiasm.
JORDAN
I think the whole company where
slightly drained from the previous
day working on all our
characterisation with Sarah but in
a way it was beneficial as it gave
us a really good insight to the
type of stamina we would have to
have to do these shows or just any
show inside the industry.

JORDAN (V.O)
To keep up the stamina within the
industry and throughout the show,
for me, just seems like the want
vs. the need. If you need to get
through a show, youll do it, but
without a lot of energy. If you
want to do a show, you do it with
all youre might. Its a sense of
accomplishment and being true to
the play and the characters youre
portraying.
Work.
JORDAN (V.O)
Having a work ethic thats high,
gets you through a 2 hour show, and
having the dedication, patience and
passion is what allows you to get
to where you want to be.
Work.
JORDAN (V.O)
This show is very difficult, as
its a play that deals with a lot
of stories, a lot of characters, a
lot of themes and is very physical
and quiet demanding from an actors
perspective, but for me personally,
I like to be pushed and I like to
be shown what I can do outside of
60.
JORDAN (V.O)
my comfort zone and I think thats
why this play is changing my
outlook on acting in general
because its not a need to be
pretty on stage or on camera like
many people pursue...

JORDAN
...its a want to be dedicated and
true to your characters, no matter
who they are or what they want to
be.

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1 INT.

4 INT. SMALL MONTAGE (OPENING CREDITS)

6 INT. BRECHT MONTAGE

FRAN & AMY

13 INT. INTERVIEW ROOM

16 INT. AUDITION ROOM

19 INT. JORDAN HOME (VIDEO DIARY)

23 INT. JORDAN HOME (VIDEO DIARY)

25 INT. JORDAN HOME (VIDEO DIARY)

Putting the pieces together.

34 INT. JORDAN HOME (VIDEO DIARY)

42 INT. JORDAN HOME (VIDEO DIARY)

Day 5 - 13th January

44 INT. JORDAN HOME (VIDEO DIARY)

46 INT. JORDAN HOME (VIDEO DIARY)

Day 6 - 18th January

53 INT. JORDAN HOME (VIDEO DIARY)

55 INT. JORDAN HOME (VIDEO DIARY)

Day 8 - 26th January

Day 9 - 27th January

Day 10 - 1st February

73 INT. JORDAN HOME (VIDEO DIARY)

74 INT. INTERVIEW ROOM

75 INT. JORDAN HOME (VIDEO DIARY)

78 INT. JORDAN HOME (VIDEO DIARY)

91 INT. JORDAN HOME (VIDEO DIARY)

93 INT. JORDAN HOME (VIDEO DIARY)

99 INT.JORDAN HOME (VIDEO DIARY)

103 INT. JORDAN HOME (VIDEO DIARY)

105 INT. JORDAN HOME (VIDEO DIARY)

106 INT. REHEARSAL/WORKSHOPS

Day 18 - 24th February

111 INT. JORDAN HOME (VIDEO DIARY)

113 INT. JORDAN HOME (VIDEO DIARY)

115 INT. HOME VIDEOS

Day 20 - 2nd March.

118 INT. REHEARSAL/WORKSHOPS

120 INT. REHEARSAL/WORKSHOPS

121 INT. JORDAN HOME (VIDEO DIARY)

123 INT. JORDAN HOME (VIDEO DIARY)

124 INT. REHEARSAL/WORKSHOPS

125 INT. JORDAN HOME (VIDEO DIARY)

126 INT. REHEARSAL/WORKSHOPS

Day 22 - 9th March

128 INT. REHEARSAL/WORKSHOPS

130 INT. REHEARSAL/WORKSHOPS

132 INT. REHEARSAL/WORKSHOPS

134 INT. REHEARSAL/WORKSHOPS

Day 24 - 15th March

138 INT. REHEARSAL/WORKSHOPS

141 INT. JORDAN HOME (VIDEO DIARY)

143 INT. JORDAN HOME (VIDEO DIARY)

Day 26 - 23rd March

147 INT. JORDAN HOME (VIDEO DIARY)

148 INT. REHEARSAL/WORKSHOPS

149 INT. JORDAN HOME (VIDEO DIARY)

151 INT. JORDAN HOME (VIDEO DIARY)

154 INT. REHEARSAL/WORKSHOPS

155 INT. JORDAN HOME (VIDEO DIARY)

156 INT. REHEARSAL/WORKSHOPS

157 INT. JORDAN HOME (VIDEO DIARY)

158 INT. REHEARSAL/WORKSHOPS

159 INT. JORDAN HOME (VIDEO DIARY)