1. Proposal

2. Development
For the development for the piece, not only will we need to pull apart the script but use our natural impulsives as well as our knowledge on the deeper symbolic meaning of the performance.
Looking at the themes I imagine having this completely set around the idea of aging and growing like a tree. I would like a pot with a seed in it and we grow it during the scenes, This would be projection. Having based in an outdoors environment feels more like you are surrounded by the goodness and despair of time.
I also like the idea of having long pieces of rope and a large clock with metal hooks on it. As when a character reaches the end of their life they hang the rope on according to what time they died. This would be decided when the order of the cast drops out for example; Keesh is the last one standing and Epi is the first to die so Epi would die at 1, the next at 2 etc.

3. Staging
Our first performance is at Noble School, specifically in the music center. This is a lovely space with a large amount of room for set if we were doing a bigger set performance but if not it has a lot of space for movement.
Having a bigger performance space is beneficial as it gives room for the actors to move around the space and explore with their character. It also means the set that is used and the action is not on top of one other. It is spaced out and it is clear who is in the scene and who is not part of the action, although during this particular performance we are all on stage at all times.
Our second performance is at the Arts Depot Theatre in London has a similar stage however we are performing on the thrust so there is audience on three sides instead of one. This will face as a challenge as we do not want to block the audience on any side when it comes to performing in this particular stage.

4. Character Development
Character Development
For character development, we are going to use different techniques to build and develop the characters.
Building a character through their actions. Instead of saying what your character is like, show who your character is instead. From walking, to standing still, to sitting to leaning up against something.
Build a character based on facts and questions. Asking questions about your character gives you as an actor the chance to make decisions about how we make this character.
You can build your character by describing them. You can describe their physical features, describe their clothing, and describe psychological features, for example; phobias, fears and fantasies.
Finally, you can build a character by portraying your character’s motivations. This is to show the audience that you know and understand the purpose of the scene and the purpose of what you are saying and the purpose of moving in the way that you are.

5. Audience and inclusivity.
During thispartiuclar audience, I believe that we should not interact with the audience as the style that we are performing in would change and this would be hard to get comfortable with a new style and develop, where as we are used to working in this particular style and this means that we are able to get the hang of what we need to do better.
In our first performance space, there is wheelchair access and members of the audience with loss of hearing or blindness will be placed at the front. In our second performance space also have wheelchair access.
First performance space- Noble School- Music Center- Stevenage.
Second performance space- Arts Depot- London