N2C. 30|11|12. 'TIE - Junk - Final Perfomance'

We set it out the square of chairs in the main hall, made sure that the music player was working and knew which track was what. We all had a sheet with the running order and what track was playing when. We left these in the corner in case of emergency and we're luckily only used in between performances :

We made sure we had all the props we needed:
-Table
-Vodka bottle
-Phones
-Umbrella's
-Hoodies

Our audience were year 7's, and the purpose was to inspire them to read. 

We maintained a professional behaviour from when the children came in making sure all their bags were under the chairs so there were no hazards, and then when Matt started the music and we began our performance. We didn't use any lights because if it were to tour as a TIE piece, we wouldn't have access to lights everywhere we go. We also made sure we had very little props to worry about the only one needed to be supplied by a school is the table. This also makes it an accessible performance technical wise. Because we didn't have lighting, we used the music to create the atmosphere. For example, in the beginning we used the track 'The View From The Afternoon - Arctic Monkeys' with a very busy crossover scene, this grabs the attention straight away with a very upbeat song making the audience focus on the performance straight away. Using music in the transitions gave them time to reflect, as young children have short attention spans it's hard for them to take in a lot of information, so each transition allows them to form their own opinion on the situation and take in what had just happened.

The structure of the piece was Preamble – HE
HINT – LE
Social – HE
Home – LE
Preamble & hint repeat – BOTH
Gemma – LE
Facilitation – HE – (involves year 7’s)
Phone calls & meeting – LE
Dilema & forum theatre – HE

Because it juxtaposes between high energy and low energy it prepares the child's mind for each section so it's neither to boring, or too much to take in. The constant adaptation in energy especially when we introduce the facilitation allows the kids to become more involved and interested as they are allowed to move around, have fun and ask questions and gain more understanding on the story, this helps achieve our purpose because they're getting into the story and want to know what happens. Making the scenes short and spreading the information out so it was never too much at a time was also part of the structure to maintain the focus of the year 7. The forum theatre at the end, allowed them to feel as if they were taking control of what was happening on stage and then leaving it on the sudden cliff hanger. Really that is the part that supports our purpose because we have brought this book to life and it leaves the children wanting to know Tar's decision, and therefore inspiring them to read the book. 

We managed to run each performance smoothly with no mistakes. Some of the groups were more enthusiastic than others but you just had to continue being enthusiastic, and they would start to participate more. Over all, I think we did a fantastic job with the preparation time we had. The children said they had fun and that it was interesting, and the teachers said they thoroughly enjoyed seeing our interpretation of the book. 

LESSON NINE. & N2C. 28|11|12. Theatre in Education Project

PRACTICE

Because the performance time was only in 2 days time, we needed to finish the rest of the piece. But more importantly - learn techniques of facilitation. Sir had planned for us to do a small 40 -45 minute lesson with a class of year sevens about the Berlin Wall.

We had an hours lesson to plan before the year 7's lesson. Sir went through the lesson as if we were the year 7 class facilitating it and every now and then explaining why. After being told how to do it, and practising obvious question they were going to ask and doing taking turns on facilitation. Chris was going to take the lead in the facilitation as he would be for the Junk TIE project.

As the class came in we sat them in a semi circle around a table with a rock in the middle. Chris asked them to say raise there hand and say the atmosphere that was created by this. There responses were such as 'creepy' 'mysterious' 'quiet'. He then asked them to discuss with the person next to them what it might be from. The rest of the group then went and spoke to a few kids at a time, especially if the looked like they did have any ideas, we could give them some. We had to make sure we praised everyone's idea's even if it wasn't the initial response we wanted. We'd signal to Chris the children we knew had the idea's that would lead onto the next task. Then, we repeated this but with the question 'why do you think the person put it there?'.

Then Chris brought out Jake who was doing the role play activity. He had been told the story by Sir and knew the order of it all, he just had to wait for the right questions to trigger it. He went through the story of how his uncle and his lover were separated by the Berlin in wall, and how he and his friends planned to go over but he got shot when he started climbing, and when you were then able to take part of the wall, he took the part of the brick near where his uncle was shot.

We then established the first part of the story, the soldiers coming with the tanks. And the last part, him being shot. We then told them to discuss with the people next to them what they 3 parts in between were. When we spoke to them, we had to hear what they said, most of them had it right, and it was easy to guide them to certain events if not. We then established it was 'love separation.' then 'planning with friends' then 'climbing/getting caught' in between.

Each member of the group then took around 4 students to create a freeze frame for each part of the story. Most of the time you had to suggest the idea with the question and then half suggest a position and let them choose the rest. We had to remain enthusiastic so they would be too. I fortunately had a very good group of 4 girls and they were all very good, and 2 were very enthusiastic with drama which encouraged the other two. Sir then showed the class morphing and how it effects the movement on the whole and kept them 'keeping in character' even when going into a different frame. I made sure each one knew what they needed to do, and went through the counts with them so they knew when they needed to move. Chris came round checking everyone was okay and had nearly finished. we then made them sit in 2 lines facing the performing space, then group at a time showed the performance and added music and it was a whole performance they could be proud of doing within 20 - 30 minutes. Sir then took over the last 15 minutes of the lesson and we were allowed to leave and have our break.


N2C PROJECT. 
We went over what we had already and decided to add an extra bit to the social - park section.extra: instead of going straight into the freeze frames, we wanted to show more mishap going on, so Emily got Ciara (Gemma) over and suggested the idea of me and her having a drinking competition, everyone but Tar is up for the idea, me and Gemma run to opposite corners and I shouted 'shots!' Tar attempts to stop her by mentioning her mum and she says 'do I really care what she's going to say? she's going to have a go at me anyway?!' which Chris then picks up the rhyme and shouts 'oh she rhyme's! I love you Gemma!' and Tar tells him to shut up. Then goes back to telling Gemma to not drink, Chris and Emily, who are stood on the table count down and then me and Ciara take the shots, Ciara wins as it comes out of my nose, we then run into the freeze frame positions and continue as normal.

This makes this scene more high energy even though there is nothing majorly important being told to the audience here, it prepares them for the low energy but high intensity scene that follows at home.

Gemma:
Tar: and Gemma have a talk, Tar tells her that he's leaving and going to Bristol. Gemma says she'll come too, and Tar has a go at her saying she has no reason too, that her biggest worry is her GCSE's, or what to spend mummy's money on. This leaves Gemma in a state for when she return homes. 

Gemma's Home: We see Gemma sit at the table with a bottle of vodka, she takes of the lid and downs some, then continues to clutch the bottle. Her sister (Emily) walks in, and says 'What are you doing Gemma, mum will be through any second?' Gemma sighs and just turns herself around, still clutching the bottle. Gemma's mum (Kelly) then enters talking but then stops half way when she see's Gemma drinking, she sends Emily to the room. The whole atmosphere goes down to uncertainness. There's a small pause where the audience can think what would happen to them in this situation. When Gemma's mum asks her if she's pregnant, Gemma goes on a rampage saying how her mum would love that. Then Kelly tells Ciara that she can either tell her what's happened or she can go to her room, Ciara responds by biting her fist and saying 'my room mummy?! not my room mummy!' and then her mum finally realises it's to do with Tar and states how she's never liked him or his family, this puts Gemma over the edge and and she storms off with the bottle of alcohol telling her mum she's never even given him a chance and she doesn't know anything about him. This gives the audience a reason to dislike Gemma's mum because she doesn't know that Tar is abused by his family, and he's actually a good lad that doesn't drink. It also shows that Gemma stands up for Tar, even though he's leaving and going to Bristol. The audience are now in suspense of what's going to happen.


FACILIATION.
We are going to make each block of chairs turn round and face a character and an N2C member, Chris will direct the year 7's to turn their chairs around so they can them and then hand over the N2C member. I'm with Jake, he will be role playing and I will facilitate. I have to tell them to think of 3 questions each to ask Tar with the person next to them and I'll give them around a minute, that allows me to go round and see who has the questions that will provoke the best responses for the next part of the freeze frame activity. We wanted to manipulate them so that Jake could tell 3 certain things about Tar: 

- When was the first time he got hit? It was his first parents evening in year 7, he knew he'd done well and was waiting at home for them to return. His mum came in and gave him a kiss, but he dad hit him, because he'd been told he needed to improve his grade in maths. - What's the worst thing the dad has ever done? Once, he caught Tar swearing online. One time. So he ran a bath, and poured a little bleach in it, and held Tar's head under it, saying he had a dirty mouth. -Why don't you tell anybody/the police? Tar doesn't want to split the family up, he doesn't want a broken home. He knows his mum loves him and he doesn't want to cause any trouble. 
We then split the group we have in half and Jake takes one, now as an N2C member, and I take the other. We make them pick out these three things buy re-asking the questions. We mould them into prepared freeze frame ideas and then when Chris comes round we are to give a signal if they are a strong group to show or a if they shouldn't. Obviously, we're are not there to discipline, we have to let the teachers take control of that. 
This is the part I am most worried about because it's where the most could go wrong and depends on the children's enthusiasm. So we have to encourage them to get more out of them. 

PHONECALLS
Mother: Tar's mum (me) rings Tar when he's in Bristol, because things at home have got worse. She doesn't want to bother Tar, but it's getting really bad for her. She starts of asking if he's staying out of trouble, he looks around at the hoodies he's with, and says yeh. I start to mutter, as if I'm about to cry, and he asks if everything's okay again. I respond with 'I need to see you' and he refuses, until I tell him that it's got worse, then he says I have to leave, and I say I love him. He tells me to not be stupid, but by this time, Matt has put his hand on my shoulder to scare me, I pretend I'm on the phone to a work colleague, and hang up. He takes the phone of me, dials the last number, Jake answers with 'mum?' and Matt hangs up, and then stage slaps me. The music turns up immediately and Jake walks down to the corner I was just at whilst Ciara replaces his old spot. This intermission of music gives the audience time to reflect on the scene they've just witnessed and see that the mother is not as good as the audience thinks, because she wants to bring her son home so he can be beat up and her beat up less.
Gemma: Tar's phone rings again and Gemma tells him that she's done it, she's left her mother and she's at the bus station. Tar tells her to turn back before it's too late. She says she's at the bus station in Bristol. This makes the audience feel sorry for Gemma because she's come all this way and Tar doesn't want to be with her. He says he'll go and collect her and she thanks him. This leaves the audience uncertain on how their relationship will continue if there is a strain on it and if it will make Tar's living situation in Bristol have any complications.

MEETINGS:
Gemma: There's rain music for the transition, Jake and Ciara switch places and while everyone walks on and off stage with an umbrella to show the weather is poor. When they meet they greet with a hug. They talk about how it probably isn't the best idea and then Gemma says her home life is just as bad, even if she doesn't get hit. She reveals 40 pounds and says to go to his because of the weather. They walk of together.
Mother: They meet in London, and we start off looking around the stage for each other, then we hug. He notices a black eye and holds my face and turns me round. He asks when he did it, and I say tell him yesterday. He says I have to get out of there, I try and convince him to return by saying it'll get better if he comes back because his dad just misses him. He says to leave and I say how am I meant to support myself? Chris intervenes at this point, and separates the two situations, I sit at on end, and Ciara sits diagonally opposite and Jake stands in the middle.

SIMPLIFIED FORUM THEATRE
We want to let the children have a go at directing the plot. So first, we will show them what was going on whilst Tar was in Bristol with Gemma. They were cold, she was moaning about not having enough, and he says she should've stayed at home. He then will direct them to see what's happening at home without Tar there, and they'll see Matt having a go at me, asking who I met in London and becoming more violent with his hands pushing me down into the chair.
He'll then gives the year 7's a chance to talk with each other whilst the N2C members go round and plant the two situations we've already created of 'going home and standing up to the dad' and 'ringing the police for his mum'. When these two situations have been said, we will perform them.
For the standing up to the dad, Jake will walk over, I stand up and hug him. Matt will be more aggressive and they start to argue, when Matt picks up the chair and I scream, that's the signal for Chris to come and break it up. He shows how that won't work and we need to do the police one instead. For this, we show Tar knelt down next to me, and me upset that he's in prison, and that the family's split up. When he says he's saved me I loose it, and tell him to get out.

We end it here on the cliffhanger, where nothing it going right for Tar so that the year 7's can think in their own minds what Tar should do and create their own ending, or go and read the book that we based it on. 

N2C. 21|11|12. - Theatre In Education Project. 'Junk' by Melvin Burgess.

We started work on a Theatre in Education piece that the N2C theatre group were commissioned to do for the English department related to the author 'Melvin Burgess' and the 'Junk'.  We are to perform it to 3 groups of around 50 year 7's throughout an offtimetable day where they will also be meeting the author. 

Cast: 

Invidulator & Tar and
 Gemma's Friend :Chris

Tar's Dad (John) : Matt

Tar : Jake

Tar's Mum : Poppy (Me)

Gemma's sister : Emily

Gemma's Mum : Kelly

Gemma : Ciara

 We also used two of our N2C members to be extra's:

Mia Wilson - Matthew Strawford

 Plot: 
It focus's on the struggle's in Tar's life. He has a girlfriend (Gemma) who comes from a more well-off area and mum does not approve of Tar's family. Tar's dad is abusive towards him and his mother when she gets in the way. When we see that things get too much for Tar he says he's going to Bristol, Gemma, sick of being with her mother, says she's going to come with him, he doesn't want her too. When he leaves, his mother is abused more and Gemma goes to Bristol regardless. We ended our story on a cliffhanger of whether he should return home, or stay in Bristol with Gemma.

Performance planning: 

Because we had a short time to put this together, Sir was blasting through directions of what we had to do and we figured out what we were the aims were as we were going through. 

Our staging was set out with chairs surrounding the staging. this meant that everyones attention was focused on the middle of the stage. There were people at each four corners of the stage ready to run across like this:

Preamble : We then had to do crossover's four times, and we went two corners at a time. We were to be young teenagers, in secondary school, showing busy school children. Each time we had to be showing something different. My group went -being late. -arguing. -bitching. -reading & barging. we then all ran on to do a 'facebook picture' pose, to relate to the audience. This catches the year 7's attention straight away, there's also going to be loud music so they're not concentrating on what we're saying but the image it creates. Hint: Jake was then told to stand centre stage, he walks round, make sure he directs part of his sentence to each block of chairs. 'School, is the best place I've ever been'. This is a statement that not many children would agree with, and because so, the rest of the cast runs screaming 'no!' with a violent stance of being about to punch him. When he reassures us it is, we drop our fists and ask why? he then says 'Because it's not home'. We then walk back to our entrances with no facial expressions. This has planted the first bit of information. What is so bad about home? 

Social:

Gemma: Tar is centre stage, sat on a table with earphones in and there's also music playing. Gemma walks on slides onto the table and bumps into Tar, knocking his earphones out. They then talk about maths and Gemma stands on the table to show her big personality and makes a comedic innuendo about sex but not making it to noticeable we hid it in a maths reference about algebra. She then notices his black eye. She freeze's. Tar (Jake) uses direct address to say how people notice no matter what it is. The scene goes back into motion and he's reassures her it's nothing and says 'let's go to the park'. 

Park: Now we enter a youth scene. There is loud music on, Chris comes on adjusts the table sits on it, he mimes failing at lighting a fag to show youth trying to be bad and getting into stuff they probably shouldn't. Matthew Strawford (N2C member) then comes on and gives Chris a nuggie, an instant friendship is established. Mia and I (not as the mother, as a teenager) come on shouting 'WKD'. Then Chris and Matthew disagree and shout 'Fosters'. Then Kelly and Emily come on from opposite corners and shout 'Smirnoff', this is clearly the superior drink as we all react with oo's and jump onto the table drinking and laughing.

 This shows a group of badly behaving youth's because they're drinking under age and in the park which is considered quite low class and antisocial behaviour. When Tar and Gemma enter the scene, we call out to them, showing that we're friends with them as they greet friendly. I then fall off the table in a drunk manner and the scene freezes. Tar stands up onto the table and explains the park a little, and how we're not doing anyone harm. He then jumps down music starts to play and repeat 3 freeze frames, 3 times before we run off. Everyone's first one was drinking, then whatever we liked, then showing to run off, this made it a smoother transition when we had to run off. 
When the rest of us run off we leave Chris, Jake and Ciara laughing centre stage, Chris is clearly drunk, Ciara is partly sober and Jake has had nothing to drink. When Chris's character tries to peer pressure Tar into having a drink, he admits he can't and he has to leave now anyway, he leaves off stage in a hurry. Leaving Chris to hit on Ciara, after Ciara puts Chris in his place in a comedic way of pulling his finger back, and Chris's over the top drunk reaction, she marches off stage and Chris follows behind wobbly, saying 'she touched my finger!'. This is a light hearted part of the play that shows the friends Tar has but can also how frustrated he feels for hiding it from them all the time later on.

Home: Loud music plays and Matt (Tars Dad) comes on with a chair and puts it in the corner he entered at the very beginning of the piece. He stands the table up on it's shortest side to create a door, and then returns to the chair. The music continues to play until Tar comes on, and turns the table over so it's on all fours after unlocking the door. The music fades to silence, and Tar is shocked at his dad wait, he says 'it's nine' letting the audience know this must of been his curfew, and his dad is not happy. We've already established that he doesn't like home life, because 'school is the best place he's ever been'. His dad looks at his own watch then says 'ten past' before Tar has time to apologise, his mum (me) comes on behind his fathers chair and says 'your tea's in the kitchen son, just get it from the oven'. Tar says thanks and begins to walk over, before he fully gets off stage Matt shouts 'stop!' this makes the audience jump and keeps creates an intense atmosphere as it's mostly been happy so far. Matt goes to get the table and bangs it into centre stage so he's facing his wife and his son at the two corners. 

He then says how he wants to eat as a family, but I state how me and him have already eaten in a nervous tone, as if I don't know whether I should say it but I do anyway. He then gives me a glare and tells Tar to get his dinner. The way he shoves off my comment shows how he has the most power in the family. Tar goes of to get his dinner and I push the chair in and wait for him to return, I touch his head briefly to show affection. Matt's voice remains blunt  as he asks is it nice.  He then moves the plate away from Tar, walks back into the corner next to the bottom right corner of the diagram takes a deep breath and says 'you've been drinking. I can smell it.' Before Tar has a chance to fully reply, I walk over to the table and say 'Just let him eat his dinner John!' Matt turns his head towards me and makes a start, Jake stands up and quickly says 'yeh, okay, I had a drink' to protect his mum. Matt grabs the back of Jakes head and pushes it down so it looks like Jake has head has been violently pushed onto the table, but it's just a stage fall, and he cushions his head with arm, which makes a louder noise so it sounds like it's just his head.

We then repeat the preamble but doing only two crossovers this time, before Jake repeats the 'Hint' which now makes complete sense to the audience. He does this in pain, as if he's only just stood up from being hit.

We managed to do this amount of work in the 2 hours N2C time. We went through up to the end of the social section to get the timings right as the whole group especially on the 3 freeze frames that are repeated 3 times, as these require group knowledge of how long we stay in each position. We agreed on 3 counts before switching to the next freeze frame. Because we could find a place for this in out BTEC course we decided to make sure we pay a lot of attention and figure out why we do what where.

 

LESSON EIGHT. 21|11|12. 'The Pillowman' & Stanislavsky Workshop

Sir wanted us to get to grips with our characters, thinking more than what on the script, but their past. He lit the room low and told us that we were our characters from now on. We had to lay on the floor and then went through certain steps. 

First, he told us to image a room, any room we liked, but it was dark. 
- I imaged a small walk in wardrobe/closet type thing, that had a picture at the far end of the family I had. It had a chair with a desk underneath the picture and clothes down either side. I thought this because I imagined a family for Tupolski, and this impacts onto why she feels sickened by Katurian's story. 

Then, we were told in this room there is a place we keep secret things. 
- I immediately thought behind the family picture frame at the back of the room. I thought this, because although Tupolski has a family, she works for the police, and use violence even when that would be classed as police brutality. She hides this from her family, so I thought behind the family would be a good place to hide something. 

Then, we had to think of the object that was hidden here. 
- First I thought of another photo frame, but then thought that would lead to complications. And then I thought of a key. To emphasise how much she hides things. I thought it would go back to her old childhood house, to show she thinks about childhood memories but keeps them locked away because she has to be strong.

Then, we had to imagine we saw something left by someone and then remember that we thought they were coming to visit.

- I imagined a drawing done by my child left on the desk underneath and thought to when she would return to pick it up and put it in her room. I knew my child wouldn't come while I was at work and as I spend a long time there I knew she would come as soon as she could.

Then we were told that when we opened the door, it was not the person we were expecting, but the police, and then we blank out.

This helped me think of Tupolski's life outside of the work and how it might affect personal life and why that would make her what she's like at work and found it helpful in the development of my character.


We then we sat in a circle around a chair that was put in the spotlight. We were told whichever character was in the middle had to stay in their character from the moment that sat down and they couldn't leave until he said we were. And we could ask questions from the previous activity to find out more. I knew in my head that I wanted my character to come of as confident and not afraid to query what anyone asked.

When I went to the chair I knew that a lot of what they were going to ask me I would have to improvise most answers. When they asked why I kept the key to my old house, I said I still had some things there. They asked what were they and why I didn't get them, and I said they were dolls with notes in them I hid them under floorboards and in small places I found when I was bored as a child, and I wanted people to find them, I kept the key because I felt the house still partly belonged to me. Although this would never be mentioned into the Pillowman it shows I have a strange attachment to my childhood, similar Katurian's. I know that I'm an alcoholic like my father, and this could be why I hate Katurian so much. Because I feel guilt for my job taking over my life and then being drunk when I'm home, but that I feel guilt, and I assume Katurian does it on purpose and writes stories about it as if it was nothing bad, giving me a reason to hate Katurian.

This role play hot spot activity really helped me think of my character in a different light, making my character more than just a 2 dimensional character from the script I gave her back story and reasons to treat Katurian the way she does.


Returning to 'The Pillowman' 

After our break, we returned to script. As Emily had to leave for this part of the lesson, it was cast one's turn to block through it. For parts I stood next to Ciara to get the positioning into my head, but I thought it would be better to write down certain stage directions and then when Ciara had to leave I could take over and that way Ciara was more focused and I wasn't getting in the way.

Katurian gets to confident in the way she's speaking, so when Tupolski stands up and does a flat hand gesture it shows her attempt at gaining more power, and making it clear she's intelligent as she does understand the story. Using the reassuring tone allows Katurian to be confused because Katurian doesn't know if Tupolski does get it or not. When Tupolski says the line stood behind Katurian, I must emphasise 'who' because that gives the hint later on when we mention the child murders we suspect Katurian doing all of the actions of the stories. Although Katurian does not understand this implication, it will make sense to the audience once all the pieces fit together.

I say this into Katurian's ear, and lean in, to make sure it sinks in that what I do is planned, I know how this investigation is going to work and she simply needs to cooperate. When I pull the gun out it creates an intense atmosphere and lets Kelly react to it and splutter her words more making it a more intense. But because I smile when I have the gun in my hand and stare at her, it creates an element of comedy because there's no immense part of conflict before I go to the gun. When I put the gun away and instead return with a box it brings curiosity to the stage and therefore the audience now have something else to discover. The loud scream that comes from off stage gives Tupolski a perfectly good reason to not answer Katurian's question, and can simply put the box on the table.

The sarcastic reaction when I'm 'listening' creates comedy, because I make a gesture that I can't hear the screaming, even though it is obvious. The next line is also comedic even though it's sadistic and uses taboo language. The way Tupolski asks Katurian the question at the end when Tupolski doesn't know something puts Katurian in an awkward place. I emphasise the 'I' to show the comedy of Tupolski's word play. She never said Ariel wouldn't hurt Michael. When Katurian finds the extra part where there is no clever word play at hand, Tupolski simply lays down the truth whilst cleaning her work, showing her work is more important than honesty. This makes it clear to the audience that Tupolski can't be trusted, and raises questions within the audience to if Tupolski is lying or keeping anything else held back. 

This whole sequence is 'play acting'. It creates black comedy because we're winding Katurian up and the audience have to find it funny because we're being so light hearted about something that in truth is quite sadistic. At first, I avoid answering by picking on Katurian's mistakes in her speech because of her power standings. When I answer, I'm more vague and talk more about Ariel than her brother. I also say it quite casually as if it's not a bad thing to do which winds Katurian up and could make the audience feel sorry for her, or laugh at how I'm putting it across to her. When Katurian goes for Ariel, Ariel swings around and creates a little bit of an action piece, this is done while I'm still casually speaking about Ariel's choice of torturing methods and their faults leaving Katurian a wreck. The audience may not feel sorry for Katurian any more  because they may have made up their own minds on whether they think Katurian is guilty of something. Whether it being her sick stories or another crime.

When I emphasise 'definitely' is creates humour because we've already been brutal to Katurian and the audience have witnessed it. This shows the last bit of humour before I abruptly change my tone to asking the next question introducing an extra feature to the plot, and showing what we really want to know from Katurian.

This is where we ended the lesson before the introduction of the next story. We then went over the blocking of everything with our cast teams to make sure we knew what we were doing.