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s and less and I was able to present a performance I was confident with.

The devising 'process is one of developing ideas and continual redrafting' [Callery, 164, 2001] and although this is predominantly exciting and rewarding, it can at times put strain on a group and cause tensions and a dip in enthusiasm and progress. For my group, this stage came around week seven. Two weeks after being given The Emperor's New Clothes as our stimulus, we had explored many different avenues yet still hadn't produced a substantial idea we were all happy with. I think much of the confusion was due to the fact we all wanted to create some kind of comedy yet weren't entirely sure how to execute the idea effectively which lead to people having doubts and subsequently enthusiasm waning. Our initial surge of excitement had dwindled and as rehearsals came and passed without progress we were feeling deflated and stressed; our problem wasn't a lack of ideas, it was the antithesis. We had too much we wanted to create and include and couldn't find a way of fitting the pieces together into a performance which resulted in 'multiple directions and endless live negotiations.' [Etchells, 2009] which in hindsight is all part of the ensemble, devising process. At the time we all felt we were falling behind schedule and became disenchanted with the ideas we had, despite their quality or the possibility they presented and we knew that for us to progress we needed to rapidly overcome this rut. We'd fallen into the trap of the limitations of conventional drama processes and found as we experimented with more atypical methods, our spirits were gradually lifted. We began each rehearsal with dancing; an upbeat song would be chosen and we'd all dance around the space gradually incorporating the ministry of silly walks to bring laughter into the space. We found this extremely effective and there was 'less talk, and more energy for doing and trying things' [Etchells, 2009]. Although lifting our spirits was important, we also needed to go deeper and produce material everyone was happy with and one rehearsal I remember clearly involved us physically leaving our negativity at the door and entering the space in a positive mind-frame; any idea suggested, we tried, leaving us no time to over-think and instead just experiment. This I feel would never happen in non-devised work, as although scenes are developed, they are often well thought out before being staged. In devising 'We're not pinning ideas downa€|trying to open up space, letting the material move and breathe, make shapes of its own' [Etchells, 2009] whereas conventional methods of drama are more limiting in my opinion.

An area I feel my group could have focused on more was background research into ideas. Although individuals carried out some research post-rehearsals, not enough effort was put into finding inspiration or following-up certain influences we discussed. I feel that had this been done, we may not have faced some of the problems we did with creative flow and construction of the piece and the process as a whole would have been smoother. Despite this, our motivation to succeed was always high and with a piece like ours it needed to be. If at any point our drive lessened, our piece would have become flat and the comic aspect wouldn't have been effective. Unavoidably there were low points, but there was always at least one person to reignite motivation and I think this was due to the unconv±¾ÂÛÎÄÓÉÓ¢ÓïÂÛÎÄÍøÌṩÕûÀí£¬ÌṩÂÛÎÄ´úд£¬Ó¢ÓïÂÛÎÄ´úд£¬´úдÂÛÎÄ£¬´úдӢÓïÂÛÎÄ£¬´úдÁôѧÉúÂÛÎÄ£¬´úдӢÎÄÂÛÎÄ£¬ÁôѧÉúÂÛÎÄ´úдÏà¹ØºËÐĹؼü´ÊËÑË÷¡£
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