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过去的半年里，我和我的团体经历了一段旅程，不仅从身体和心理上挑战着我们每一个人，还鼓励我们去探索和质疑关于现有的戏剧的观点。从本质上讲，设计工作通过扩展边界，尝试非常态的方法和举措，来挑战传统戏剧。作为一个整体，我们让自己走出习惯的舒适区，去适应没有剧本或者导演的工作，使用我们以往从来没有尝试过的创新型方法。当一个人想起戏剧创作的时候，便想起海选试镜、光影、导演、剧本、作者、排练等等，这是很正常的。但是经过这半年的成长，我发现自己在对这些提出怀疑，为什么这些受限制的元素就被认为是正常的呢？事实上，对于设计而言，创造力是最重要的，是对戏剧精华本质的一种表达，因此也成为这一过程的基石，成就了传统戏剧的形态。在探讨设计和表演的时候，提姆·艾切尔斯在一篇文章中提到过，唯一重要的因素就是我们几乎只通过做来思考。这就代表着过去半年里我所学习和领悟到的戏剧思想。

Over the semester, my group and I experienced a journey that not only challenged us physically and mentally as individuals, but encouraged us to question and explore established ideas of drama. Essentially, devised work challenges conventional drama by pushing boundaries and experimenting with methods and practises that are not the norm. As a group we experienced this as we were pushed out of our comfort zone and had to become accustomed to working without scripts or a director and using creative methods we had not tried before. When one imagines what established ideas of drama are, it is natural to think of auditions, a cast, a director, scripts, authorship and rehearsals etc. Yet as I progressed through the semester, I found myself questioning this and wondering why those regimented, restrictive elements are considered the norm. In actuality, devising, which is creativity at its most extensive, is surely an expression of the essence of drama, therefore the foundation of the processes that make conventional drama what it is. When discussing devising and performance in an article, Tim Etchells says that the only important factor 'is that we're mostly on our feet, thinking by doing.'[Etchells, 2009]. This in my opinion epitomises what I learnt and discovered throughout the semester about devising and established ideas of drama.

In the early stages of developing our piece, it was at times, difficult to see how certain exercises or tasks would develop into legitimate ideas or benefit our final performance. The methods of devising were unlike anything I'd experienced. In the past, we'd spend quite a lot of the early stages of rehearsal sat down, brainstorming ideas and themes that we would in time bring to life. However this semester, every minute of the process, right from the very beginning, was spent being energetic and on our feet, with sitting down and writing being actively discouraged. At the time this was quite challenging, but in retrospect it benefited our group and final performance in so many ways. One factor I feel had a large impact on our final piece was the fact our groups were formed right at the very beginning of semester meaning that for the weeks that followed, even before we were given our fairytale stimuli, our groups were forming bonds, learning how each individual worked best and more importantly, discovering a style of performance that came naturally with the dynamic of the group. In a sense, this is similar to the established conventions of drama as a cast is formed very early on and begin preliminary work together yet it differs slightly as subconsciously, a cast always knows what their goal is and what they're working towards. For many weeks of the devising process, my group did not. Dymphna Callery in her book Through the Body comments on improvisation in relation to the devising process and reiterates that although there is focus and drive 'it does not necessarily mean knowing what your intended outcome is at the start' [Callery, 164, 2001]. I believe that not knowing our intended outcome meant m