experiments | on invitation

To prepare the third and final presentation, I begun experimenting with audiences. I intended to develop the structure of the presentation and to understand and clarify my role in this presentation.

During this time in Arnhem, I never experimented with my MTP colleagues. Not only because time is limited and everyone is very busy, but also because if I experimented with them, at the presentation day, they would lose all the spontaneity of an audience.

The presentations at ArtEZ (#1 and #2) were first tests in front of an audience. These were unprepared and not rehearsed. The technical problems were obvious and I could not find the balance between over-explaining and being inaccurate in what I proposed to the Audience.

These experiments allowed me to recognize and overcome technical problems, train, experiment and to define my role on the presentation. Through them I created a model, a structure and a script. These are subject to change and update.

One problem I had constantly was finding friends available for the experiments. Bringing people together is hard. I could never gather more than 5/6 persons.

Taking this into consideration, I would like to thank immensely to all those who dedicated their time and generosity in accepting my invitation.

Experiment #1

Date: 16/05/2019

Local: Theatre Room, Polo Cultural das Gaivotas

People attending: 6

Vera Moreno

Cricha Carvalho

Nuno Gil

Emanuel Ribeiro

Carlos Gameiro

João Rodrigues

In this experiment, I was testing how the audience reacts to the format of the questionnaire and the content of the questions and answers. I was interested in exploring the approach of the questionnaire with the audience.

I was interested in the possibility of the questionary becoming the performance itself.

This experiment was to test the device, the game, the questions and my articulation between the roles of facilitator/actress. I also wanted to address the way I introduced the questions and conducted the conversation.

The questions were addressed to the audience only. Not to the actress.

There were technical problems in this experiment, but they would be overcome by practice.

The audience responded and felt comfortable. Some audience members intervene more that others, but the game was clear and everyone agreed to play. As a general feedback, they found the game interesting and enjoyable to participate.

The audience criticized the fact that the game did not evolve. And it needed more layers. It was also criticized the fact that in the questionnaire is written Actor and not Actress and that I should assume myself as the Actress.

Some members of the audience said that the more I provoke and tease the audience, the better.

At one table I had prepared some tea for the audience. This was much appreciated and mentioned in the feedback.

Questionnaires

These were the questionnaires made to the Audience.

Questionnaire #1 is what I proposed to the Audience.

Questionnaire #2 is what the Audience chose.

1-For me, being an AUDIENCE member, means:

A- to be anonymous ;

B- to not be the one who acts, but the one who watches;

C- to be part of a collective;

D- indispensable for the PERFORMANCE to happen;

E- responsible for what I am seeing and for the readings I make;

F- to be critic in relation to what I am seeing;

2-As an AUDIENCE I will offer the ACTOR

A- my money (ticket);
B- my time;
C- my interest;

D- my silence;

3-The price of the ticket should be:

A- free, since I am participating in the performance;

B- 5 euro;

C- 7,5 euro, artists; 10 euro, general audience;

D- 10 euro;

E- depends on the number of actors and the location of the PERFORMANCE;

F- decided at the end, depending on the experience;

4- What do I expect to receive?

A- a collective cultural event that has been thought out, rehearsed and now takes place in real time;;

B- to be challenged by new ideas and different perspectives;

C- to see the ACTOR’s work;

D- to be surprised;

E- nothing, this is not an exchange;

5-The AUDIENCE would like to be:

A- sited on the auditorium, separated from the stage

B- at the level of the ACTOR, without the distinction AUDIENCE / ACTOR;

C- not sited

D- it is indifferent;

6-As an AUDIENCE I would like to be:

A- a sited in the dark;

B- be visible during the presentation;

C- it is indifferent;

7- Why do I call theatre to what I am seeing?

A- because it was classified as Theatre by an entity/theatre programmer;

B- because it was prepared and rehearsed;

C- because it is repeatable: tomorrow the same ACTOR will “repeat” gestures, words, actions to another AUDIENCE;

D- because what is happening is fiction, it is not real;
E- because the scenic space is divided between ACTOR-AUDIENCE;

8- The theatrical conventions that should be respected are:

A- presenting a ticket at the entrance;

B- no drinks/food during the PERFORMANCE;

C- the AUDIENCE does not participate if not invited to;

D- blackout at the end;

E- applause at the end;

9- As an AUDIENCE I have the right:

A- to like/do not like the PERFORMANCE;

B- to show what I am feeling during the PERFORMANCE;

C- to refuse to participate;

D- to have pleasure/fun;

E- to not be interested;

F- not to understand;

G- to leave;

H- give my personal opinion;

10- What should exist in the relationship ACTOR-AUDIENCE?

A- expectations

B- tension;

C- respect;

D- distance;

E- the convention: we know what is happening is not true;

F- intimacy;

G- the sense of responsibility for the PERFORMANCE;

1- For me, being an AUDIENCE member means to be critic in relation to what I am seeing;

2- As an AUDIENCE I will offer the ACTOR my money (ticket), my time, my interest and my silence.

3- The price of the ticket should be: decided at the end, depending on the experience.

4- What do I expect to receive?
A collective cultural event that has been thought out, rehearsed and now takes place in real time, to be challenged by new ideas and different perspectives, to see the ACTOR’s work and to be surprised;

5- The AUDIENCE would like to be where the ACTOR decided to.

6- As an AUDIENCE I would like to be where the ACTOR decided to.

7- Why do I call theatre to what I am seeing?

Because it is an idea that was developed, prepared and rehearsed;

8- The theatrical conventions that should be respected are applause at the end;

9- As an AUDIENCE I have the right to like/do not like the PERFORMANCE, to show what I am feeling during the PERFORMANCE, to refuse to participate, to have pleasure/fun, to not be interested, not to understand, to leave and to give my personal opinion.

10- What should exist in the relationship ACTOR-AUDIENCE?

Expectations, tension and respect;

Experiment #2

Date: 17/05/2019

Local: Polivalente Room, Polo Cultural das Gaivotas

People attending: 6

Bernardo Soto

Clara Marchana

Diana Lopes

João Simões

Pedro Moura

Susana Martins

This experiment took place the day after the previous experiment. This allowed me to correct and understand how technical problems could be overcome. And how much do these problems pollute the Actress-Audience communication.

This time I decided to call "questionnaire" rather than "game" to the question format I invite the audience to participate. This in response to the feedback from the last experiment. Using the word "game", brings expectations to the audience and at the same time the possibility of disappointment that I find unproductive when trying to establish a relationship with the audience. And it is not, in fact, a game.

I reformulated the proposed questionnaire (see Questionnaire #3). And I decided to intervene more by provoking and confronting the audience with their choices.

The audience was very receptive and the questions allowed a conversation between actress-audience, but also among audience members.

There were no technical problems.

The overall feedback was positive and encouraging. It was mentioned by an audience member that this was very experimental and still at a very early stage. Some also told me that the less I intervened, the better.

I was not clear to the audience what "show" the questions were referring to.

As in my previous experiment, I had prepared tea for the audience. Once again, it was very much appreciated and commented on the feedback.

Questionnaires

Questionnaire #3 is the one I proposed to the Audience.

Questionnaire #4 is what the Audience chose.

Acordo #3

1-For me, being an AUDIENCE member, means:

A- to be anonymous ;

B- to not be the one who acts, but the one who watches;

C- to be part of a collective;

D- indispensable for the PERFORMANCE to happen;

E- responsible for what I am seeing and for the readings I make;

F- to be critic in relation to what I am seeing;

2-As an AUDIENCE I will offer the ACTRESS

A- my money (ticket);

B- my time;
C- my interest;

D- my silence;

3-The price of the ticket should be:

A- free, since I am participating in the performance;

B- 5 euro;

C- 7,5 euro, artists; 10 euro, general audience;

D- 10 euro;

E- depends on the number of actors and the location of the PERFORMANCE;

F- decided at the end, depending on the experience;

4- What do I expect to receive?

A- a collective cultural event that has been thought out, rehearsed and now takes place in real time;;

B- to be challenged by new ideas and different perspectives;

C- to see the ACTRESS’ work;

D- to be surprised;

E- nothing, this is not an exchange;

5-The AUDIENCE would like to be:

A- sited on the auditorium, separated from the stage

B- at the level of the ACTRESS, without the distinction AUDIENCE / ACTRESS;

C- not sited

D- it is indifferent;

E- where the ACTRESS has decided to;

6-As an AUDIENCE I would like to be:

A- a sited in the dark;

B- be visible during the presentation;

C- it is indifferent;

D- where the ACTRESS has decided to;

7- Why do I call theatre to what I am seeing?

A- because the ACTRESS says is Theatre;

B- because it is an idea that was developed, prepared and rehearsed;

C- because it is repeatable: tomorrow the same ACTRESS will “repeat” gestures, words, actions to another AUDIENCE;

D- because what is happening is fiction, it is not real;
E- because the scenic space is divided between ACTRESS-AUDIENCE;

8- The theatrical conventions that should be respected are:

A- presenting a ticket at the entrance;

B- no drinks/food during the PERFORMANCE;

C- the AUDIENCE does not participate if not invited to;

D- blackout at the end;

E- applause at the end;

9- As an AUDIENCE I have the right:

A- to like/do not like the PERFORMANCE;

B- to show what I am feeling during the PERFORMANCE;

C- to refuse to participate;

D- to have pleasure/fun;

E- to not be interested;

F- not to understand;

G- to leave;

H- give feedback;

10- What should exist in the relationship ACTRESS-AUDIENCE?

A- expectations

B- tension;

C- respect;

D- distance;

E- the convention: we know what is happening is not true;

F- intimacy;

G- the sense of responsibility for the PERFORMANCE;

1- For me, being an AUDIENCE member, means to be indispensable for the PERFORMANCE to happen;

2- As an AUDIENCE I will offer the ACTRESS my interest;

3- The price of the ticket should be 7,5 euro, artists; 10 euro, general audience;

4- What do I expect to receive?

To be challenged by new ideas and different perspectives;

5- The AUDIENCE would like to be sited on the auditorium, separated from the stage, at the level of the ACTRESS, without the distinction AUDIENCE / ACTRESS, not sited, it is indifferent, where the ACTRESS has decided to;

6- As an AUDIENCE I would like to be where the ACTRESS have decided to

7- Why do I call theatre to what I am seeing?

Because the ACTRESS says is Theatre, it is an idea that was developed, prepared and rehearsed; because it is repeatable: tomorrow the same ACTRESS will “repeat” gestures, words, actions to another AUDIENCE, what is happening is fiction, it is not real, because the scenic space is divided between ACTRESS-AUDIENCE; And this is not theatre.

8- As an AUDIENCE I have the right:

To present a ticket at the entrance; no drinks/food during the

PERFORMANCE; not participate if not invited to; blackout at the end;

applause at the end;

9- What should not be lost in the relationship ACTRESS-AUDIENCE?

Expectations, tension, respect, distance, reality/fiction, intimacy, responsibility, trust, communication.

Experiment #3

Date: 27/05/2019

Local: Theatre Room, Polo Cultural das Gaivotas

People attending: 5

Cátia Nunes

Emanuel Ribeiro

Mirró Pereira

Nélson Guerreiro

Patrícia Neves Gomes

In this experiment, there was no questionnaire. The focus was on the discussion.

Before the Audience came in, I described the room in detail and briefly explained what would happen.

Then I invited the audience into the room.

In the room there were:

- a table with tea, some chairs and a chariot where the Audience could put their belongings or sit during the presentation.

- a circle of 6 chairs, where a conversation would take place;

- a table with pens, where the third part of this experiment would take place. It would happen only if someone knocked on the door.

I wanted through this experiment, to develop the Actress character. I did it through biographical stories. I told three stories.

The first story welcomed the Audience and explained why I was happy they accepted the invitation to this experiment.

After this story I offered an invitation to the audience for the 'performance'.

The 'performance' took place in the circle of chairs.

The audience sat on the chairs. And I told two more stories.

The first was a story that happened in Teatro de Almada, when I was performing a play in a special session for schools. The audience members were teenagers and it was the first time that some went to the theatre. When the play was over, there were no applause.

The last story took place in Arnhem, the Netherlands, at an arts festival where the artists were people with disabilities.

With this last story, I tell the audience that I would like the 'performance' to be exactly what happens between Actress and Audience. And if they accept this idea, I propose that through a conversation we both set the conditions for this 'performance'.

The audience accepted.

Because I was prepared an they were not, whenever it made sense, I would give them options.

There was not much conversation. The audience was not as participatory as in the other experiments. And they depended too much on what I proposed. I didn't use the projector, I just read them the options and I was writing on the computer what the audience suggested.

After setting the conditions for the 'performance', I went to drink some tea. While drinking tea, I said: 'break'. And the audience drank tea, chatted in the room and some went out for a smoke.

After the break, someone knocked on the door. I received the agreements. And we started the third part.

At the table with pens, I asked the audience to read the agreements (Agreement #2) and sign them.

An interesting thing was the way the audience signed the agreement: they did it without any resistance. In this part, I was expecting a conversation, a discussion to start. It only lasted 1 minute. The audience read the agreement and signed it.

I said "blackout" and it was over.

In this experiment there were moments of conversation and there was moments of silence, when I felt that the audience was expecting me to intervene. I tried to extend these moments of silence as much as I could. But as they became uncomfortable for me, I felt the need to intervene immediately.

As feedback, some members of the audience wanted me to give more alternatives and more room for the audience to decide for themselves.

I thought the less I said, the more room the audience would have to express their opinions. But instead, the audience became more dependent on what I proposed.

They also commented that my role was not clear. Was I the mediator of the agreement or the Actress on the Agreement?

The tea was again very important. Some said they only felt like members of the audience during the break while drinking tea together.

Also in the written feedback, one could read "the tea was very good", as the a comment on the experiment. This honest (the tea could, indeed, be very good) and provocative opinion, reflects exactly my struggle throughout this process: how can the negotiation of the contract become and be understood as a performance?

Agreements

Agreement #1 is the one I proposed to the Audience.

Agreement #2 is the one chosen by the Audience. What the Audience added is highlighted.

On this the 27th day of the month of May, in the year 2019, between 11:30 am and 12:15 pm, the actress Maria Joao Falcao (hereinafter the “ACTRESS”) and the Members of the Audience (hereinafter the “AUDIENCE”) agree on the following:

1-The ACTRESS proposes to make a performance to the AUDIENCE that has been thought out, rehearsed and now takes place in real time;

2-The AUDIENCE will give to the ACTRESS a ticket;

3-The ticket should be an invitation because it is an experience;

4-The performance is what happens between ACTRESS-AUDIENCE and it is the responsibility of both;

5-The ACTRESS should perform what she has prepared without compromising or underestimating the AUDIENCE;

6-The Actress should respect if the AUDIENCE does not want to participate;

7-The AUDIENCE must watch and participate if invited to;

8-The ACTRESS has the right to experiment;

9-As an AUDIENCE I have the right:

- to like/do not like the PERFORMANCE;

- to show what I am feeling during the PERFORMANCE;

- to refuse to participate;

- to have pleasure/fun;

- to not be interested;

- not to understand;

- to leave;

- give my personal opinion;

10- Should not be lost in the relationship ACTRESS-AUDIENCE:

11- The performance ends when:

- The ACTRESS says 'Blackout';

ACTRESS: ________________________

AUDIENCE: _______________________

Acordo#2

1-The ACTRESS proposes to make a performance to the AUDIENCE that has been thought out, rehearsed and now takes place in real time;

2-The AUDIENCE will give to the ACTRESS a ticket;

3-The ticket should be an invitation because it is an experience;

4-The performance is what happens between ACTRESS-AUDIENCE and it is the responsibility of both;

5-The ACTRESS should perform what she has prepared without compromising or underestimating the AUDIENCE;

6-The Actress should respect if the AUDIENCE does not want to participate;

7-The AUDIENCE must watch and participate if invited to;

8-The ACTRESS has the right to experiment;

9-As an AUDIENCE I have the right:

- to like/do not like the PERFORMANCE;

- to show what I am feeling during the PERFORMANCE;

- to refuse to participate;

- to have pleasure/fun;

- to not be interested;

- not to understand;

- to leave;

- give my personal opinion;

- to be here;

10- Should not be lost in the relationship ACTRESS-AUDIENCE:

- the interest;

11- The performance ends when:

- The ACTRESS says 'Blackout';

ACTRESS: ________________________

AUDIENCE: _______________________

Experiment #4

Date: 07/06/2019

Local: Theatre Room, Polo Cultural das Gaivotas

People attending: 1

prof. Eugénia Vasques

This experiment was a mentoring session with my external mentor, Prof.Eugénia Vasques.

A one-to-one session, with only one audience member.

This time, I divided the agreement into two parts:

- the questionnaire - the questions projected and sheets of paper on the floor for the audience to answer;

- a conversation with the audience, as in the previous experiment. The conversation was guided by my questions;

This format can easily be made just for one spectator. When it does, it privileges the conversation, the discussion and the negotiation.

This experiment was also useful for thinking along with Prof. Eugénia Vasques, how could I drop the device and turn the questionnaire into a conversation.

Agreements

Agreement #3 is the one I proposed to the Audience.

Agreement #4 is the one chosen by the Audience. What the Audience added is highlighted .

#3

On this the 7th day of the month of June, in the year 2019, between 11:30 am and 12:15 pm, the actress Maria Joao Falcao (hereinafter the “ACTRESS”) and the Audience Members (hereinafter the “AUDIENCE”) agree on the following:

1-The ACTRESS proposes to make a performance to the AUDIENCE that has been thought out, rehearsed and now takes place in real time;

2-The AUDIENCE will give to the ACTRESS a ticket;

3-The ticket should be an invitation because it is an experience;

4-The performance is what happens between ACTRESS-AUDIENCE and it is the responsibility of both;

5-The ACTRESS should perform what she has prepared without compromising or underestimating the AUDIENCE;

6-The Actress should respect if the AUDIENCE does not want to participate;

7-The role AUDIENCE must watch and participate if invited to;

8-The ACTRESS has the right to experiment;

9-As an AUDIENCE I have the right:

- to like/do not like the PERFORMANCE;

- to show what I am feeling during the PERFORMANCE;

- to refuse to participate;

- to have pleasure/fun;

- to not be interested;

- not to understand;

- to leave;

- give my personal opinion;

10- Should not be lost in the relationship ACTRESS-AUDIENCE ?...

11- The performance ends when ?...

ACTRESS: ________________________

AUDIENCE: _______________________

#4

On this the 27th day of the month of May, in the year 2019, between 11:30 am and 12:15 pm, the actress Maria Joao Falcao (hereinafter the “ACTRESS”) and the Audience Member (hereinafter the “AUDIENCE”) agree on the following:

1-The ACTRESS proposes to make a performance to the AUDIENCE that has been thought out, rehearsed and now takes place in real time;

2-The AUDIENCE, in order to watch the play, will give the ACTRESS a ticket;

3-The ticket should be 5 euro;

4-The performance is what happens between ACTRESS-AUDIENCE and both are responsible to play their role;

5-The ACTRESS should perform what she has prepared without compromising or underestimating the AUDIENCE;

6-The Actress should respect if the AUDIENCE does not want to participate and should not socially humiliate the AUDIENCE;

7- The AUDIENCE's role is social and not artistic. It should be clear the difference of both roles - AUDIENCE and ACTRESS. And the AUDIENCE cannot fail to respect the ACTRESS;

8-The ACTRESS has the right to experiment artistically;

9-As an AUDIENCE I have the right to do not like the PERFORMANCE;

10- Should not be lost in the relationship ACTRESS-AUDIENCE:

- the interest and trust;

11- The performance ends when:

- The ACTRESS says 'Blackout';

ACTRESS: ________________________

AUDIENCE: _______________________

Experiment #5

Date: 14/06/2019

Local: Theatre Room, Polo Cultural das Gaivotas

People attending: 5

Bernardo Soto

Carlos Gameiro

Diana Trindade

João Simões

Nuno Carrusca

This was my last experiment in Portugal before my Final Presentation at ArtEZ.

This experiment has almost the structure of the Final Presentation.

The structure of this experiment was:

1- Outside the theatre room - Introduction to the Audience - set description, explanation of the scene and the role of the Audience;

2- Inside the room - a letter to the Audience about the Actress/Audience relationship;

3- Hello, I am the Actress - presenting myself;

4- First Story - the conventions;

5- Questionnaire and explanation of the device;

6- Second story - the nature of this performance;

7- Questions without the device;

8- The Actress drinks tea;

9- Break;

10- Agreement;

This was the structured used in the Final presentation.

This experiment was useful to test this structure with the audience. To understand if the stories worked and how they intertwined with the questionnaire. To see how the audience behaved in the different parts of the structure and wether the transition from one part to another was clear.

This experiment was to test the structure with the Audience.

On this experiment the Audience chose to decide at the end, according to their experience, the price of the ticket. The interesting thing was that they paid me in kind - a dinner, a lunch, a phrase.

I found on this experiment that I was going to perform with this model. I was satisfied with this model of presentation and I wanted to develop it from keep doing it this way. I didn't felt the need to change anything - except the letter to the Audience, that I wasn't sure if it was necessary or not. At the end, on the last presentation, I took it away.

The feedback was very positive. Everything seemed clear to the participants: both the role of the Audience and the Actress, but all the structure itself.

In this experiment, the audience to question #3 (The price of the ticket should be?...) chose answer F (decided at the end, depending on the experience). When the performance finished, after saying 'blackout', I asked again the price of the ticket. A curiosity about this experiment was that the audience decided to pay me in kind - a dinner, a lunch or a sentence.

Agreements

Agreement #5 is the one I proposed to the Audience.

Agreement #6 is the one chosen by the Audience. What the Audience added is highlighted

#5

question #3

On this the 14th day of the month of June, in the year 2019, between 11:30 am and 12:30 pm, the actress Maria Joao Falcao (hereinafter the “ACTRESS”) and the Members of the Audience (hereinafter the “AUDIENCE”) agree on the following:

1-The ACTRESS proposes to make a performance to the AUDIENCE that has been thought out, rehearsed and now takes place in real time;

2- Theatrical conventions I would like to keep:

A- presenting a ticket at the entrance;

B- no drinks/food during the PERFORMANCE;

C- the AUDIENCE does not participate if not invited to;

D- blackout at the end;

E- applause at the end;

3-The price of the ticket should be:

A- free, since I am participating in the performance;

B- 5 euro;

C- 7,5 euro, artists; 10 euro, general audience;

D- 10 euro;

E- depends on the number of actors and the location of the PERFORMANCE;

F- decided at the end, depending on the experience;

4-The performance is what happens between ACTRESS-AUDIENCE;

5-The ACTRESS should perform what she has prepared without compromising or underestimating the AUDIENCE;

6-The Actress should respect if the AUDIENCE does not want to participate;

7- The AUDIENCE:

A- should respect the artistic options of the ACTRESS;

B- is not the one who acts, but the one who watches;

C- is part of a collective;

D- is indispensable for the PERFORMANCE to happen;

E- is responsible for what he/she sees and for the readings he/she makes;

F- should be critic in relation to what is seeing;

8-The ACTRESS has the right to experiment;

9-The AUDIENCE has the right:

- to like/do not like the PERFORMANCE;

- to show what is feeling during the PERFORMANCE;

- to refuse to participate;

- to have pleasure/fun;

- to not be interested;

- not to understand;

- to leave;

- to give feedback;

10- Should not be lost in the relationship ACTRESS-AUDIENCE:

11- The performance ends when:

- The ACTRESS says 'Blackout';

ACTRESS: ________________________

AUDIENCE: _______________________

#6

reply F

1-The ACTRESS proposes to make a performance to the AUDIENCE that has been thought out, rehearsed and now takes place in real time;

2- Theatrical conventions I would like to keep:

presenting a ticket at the entrance and applause at the end;

3-The price of the ticket should be:

decided at the end, depending on the experience;

4-The performance is what happens between ACTRESS-AUDIENCE;

5-The ACTRESS should perform what she has prepared without compromising or underestimating the AUDIENCE;

6-The Actress should respect if the AUDIENCE does not want to participate;

7- The AUDIENCE:

should respect the artistic options of the ACTRESS;

8-The ACTRESS has the right to experiment;

9-The AUDIENCE has the right:

- to like/do not like the PERFORMANCE;

- to show what is feeling during the PERFORMANCE;

- to refuse to participate;

- to have pleasure/fun;

- to not be interested;

- not to understand;

- to leave;

- to give feedback;

- document the performance;

10- Should not be lost in the relationship ACTRESS-AUDIENCE:

exchange and commitment;

11- The performance ends when:

the ACTRESS claps her hands (once) and says 'FIM';

ACTRESS: ________________________

AUDIENCE: _______________________

Experiment #6

Date: 21/06/2019

Local: Theatre 3, ArtEZ

People attending: 5

Alexandra Tsotanidou

Dieter Defurne

Flora McMurtrie

Pavlos Kountouriotis

Penelope Morou

On this experiment, I proposed no agreement. I presented only the Introduction outside the theatre room and the three stories I tell the audience.

My main concern was my english. I wanted to practice the way I tell the stories and address the audience. The articulation of my speech, its clarity in vocabulary, its content and the way I deliver it.

This experiment was also to understand my relationship with the audience. To train my presence in front of the audience.

Since this experiment took place in the same theatre where I would perform the Final Presentation, I was rehearsing where the different parts of the presentation could and should be performed. How I should move on the stage and where the audience should be placed.

This experiment also revealed that when I am nervous, I go to an area where I try to please and seduce the audience. I assume this escape from a lack of development of the Actress character.

Both the Final Presentation and this experiment revealed that this character - the Actress- was not yet clear to me. Something to keep working on.

This experiment revealed two things:

- my need to keep adding texts. My prejudice that an Actress has to say text.

- when I am nervous, I go to an area where I try to please and seduce the audience.

I attribute these facts to the lack of development of the Actress character. Both revealed that this character - the Actress- was not yet clear to me. And it was something to keep working on.