Introduction.
This portfolio reflects my growth and development as an actor during this Actor-creator module, exploring a variety of performance approaches, including Shakespeare, contemporary monologues, Uta Hagen’s techniques, and screen acting. Through these different areas, I have learned how to connect text, thought, and physicality, and how to adapt my performance to suit the style and medium I am working in. The module challenged me to engage deeply with both classical and modern material, developing skills such as clarity of intention, emotional honesty, and spatial awareness. By combining practical exercises, research, rehearsal, and reflection, I have gained a stronger understanding of how to make confident and informed performance choices. This portfolio demonstrates how I have progressed from initial uncertainty to greater self-awareness, technical control, and adaptability—skills that are essential for professional acting.
Shakespeare Skills
My development with Shakespearian acting during this module marked a significant shift in both my technical skills and personal confidence as an actor. Entering Tyrrell Jones’ Shakespeare monologue classes, I had little prior experience with classical text, particularly in comparison to contemporary performance. The initial focus on Hamlet’s “To be, or not to be” soliloquy (1600) introduced me to the concept of “thinking on the line”, where each thought operates as a clear, active unit, rather than a poetic block of language. We learnt the walking-on-the-line exercise—physically changing direction or stopping at the end of each thought— this enabled me to embody the structure of Shakespeare’s language and clarified intention through movement. This practical approach reinforced the idea that an actor must work from inner thought to outward behaviour, aligning with McKee’s assertion that character is created “from unspoken, even unconscious thoughts and feelings out to surface behaviour” (McKee, p.253).
As my focus shifted to Juliet’s “Gallop Apace” monologue from Romeo and Juliet (1597) Act 3, Scene 2 at the Capulet household, I encountered deeper challenges surrounding intimacy, vulnerability, and sexual confidence. Using in-class advice, as well as contextual resources such as Romeo and Juliet: Shakespeare Monologues for Women (Dixon, 2014) and No Fear Shakespeare, I developed a clearer understanding of Juliet’s psychological state—her impatience, erotic anticipation, and youthful intensity. Dixon’s breakdown encouraged me to engage sensorially with the text, exploring how imagery, physical desire, and imagination drive the language rather than treating it as ornamental (Dixon, 2014, p.100). However, despite this preparation, I initially struggled to embody Juliet’s sexual openness in front of peers, revealing a personal barrier that directly impacted my performance. This video recorded on 14 October 2025 illustrates this difficulty through the walking on the line exercise, showing hesitation in my physicality, limited eye focus, and a visible self-consciousness that disrupted the emotional flow of the monologue. Tyrell advised me to begin by improvising an introduction to the monologue to access the character’s emotional state rather than focusing prematurely on the text. Following this lesson, I conducted independent research into the role of improvisation for actors and found a practitioner-led video which supports Tyrell’s advice. The video demonstrates how improvisation enables actors to respond truthfully in the moment, to access authentic emotional impulses and develop a deeper connection to character (How Improv Strengthens Your Acting Technique, 2025). Donnellan’s argument that characters cannot rationally “define and number all [their] feelings” (Donnellan, 2002, pp.163–165) also helped reframe my process. Instead of intellectualising Juliet’s desire, I learnt how to allow contradictory emotions coexist by trusting impulse over control.
Blocking sessions with Dermot further deepened this understanding. I realised I was attempting to impose myself onto Juliet rather than allowing the character to act through me. Exploring where impulses originated in my body and grounding movement in intention unlocked greater physical freedom and emotional truth. This approach also reduced my self-consciousness, as action replaced self-monitoring. Later experimentation with Original Pronunciation and performing the Juliet monologue in my native British Gibraltarian accent removed the restrictive “baggage” of Received Pronunciation and allowed the text to feel more immediate and personal. The attached voice recording in my own accent proved particularly effective in supporting my line learning, as repeatedly listening to the monologue in my own accent strengthened my memorisation and sense of vocal delivery.
Over time, I achieved fluency and clarity, culminating in a final recorded performance on the 29th of November 2025 shown below, in which imagery—particularly Juliet’s frustration with the sun—enabled me to access her teenage impulsivity and emotional volatility rather than focusing narrowly on sexual tension.
Through this process, I developed a broader understanding of Shakespeare as a performance discipline and its relevance to theatre. My aim after graduating from Leeds Conservatoire is to audition for Disney Parks as a performer. I initially questioned Shakespeare’s practical value and applicability for this pathway. However, research into Shakespeare and it’s audition technique for the industry highlighted the importance of bold, informed choices and textual intelligence (No Fear Shakespeare, pp.10–11). Therefore these lessons, supported by my independent research into Shakespeare’s theatrical world (Scott, 2006) and a visit to the Globe Theatre during my November reading week (see accompanying photographs below), revealed how Shakespearean tools such as imagery and “thinking on the line” exercises develop transferable skills, including clarity of intention, vocal specificity, and emotional responsiveness that I will use throughout my acting career.
Contemporary monologue sessions
Following my work on Shakespeare, I began applying the skills developed—particularly thinking on the line, clarity of intention, and physical specificity—to the exploration of a contemporary monologue. Initially, I was drawn to a monologue by Federico García Lorca, specifically the character of the Moon from Blood Wedding (1933), as shown in the accompanying images below. Although Lorca’s writing strongly resonated with me due to its heightened imagery and emotional intensity, I came to recognise that Blood Wedding (1933) operates within a more classical form of writing. Lorca’s poetic language and symbolic structure demand a similar analytical approach to Shakespearean text, particularly in relation to imagery, rhythm, and internal thoughts. As a result, I decided that this monologue would not sufficiently contrast with my recent Shakespeare work and therefore looked for material that would more clearly sit within a contemporary performance framework.
Through independent research in the university library, I explored a range of contemporary monologue collections and ultimately selected Elizabeth’s monologue from Catholic Schoolgirls by Casey Kurtti (1989), as it offered a clear thematic and stylistic contrast. This indecision during the selection process stemmed from my desire to move away from the overt sexual intensity of Romeo and Juliet and to demonstrate a different emotional and tonal range. I became increasingly aware that many female monologues centre on narratives of romantic longing or male‑centred relationships, reflecting broader gendered expectations and power dynamics in theatre that shape which stories are most performed and valued (Bhattacharjee, 2025). The Catholic Schoolgirls monologue allowed me to explore themes of faith, contradiction, and inner conflict, presenting an opportunity to engage with material that was both contemporary and psychologically complex.
During contemporary monologue classes with our teacher Esther Dix, I began experimenting with the Catholic Schoolgirls monologue, focusing on vocal presence, intentional delivery, and the distinction between stage and screen acting in terms of scale, stillness, and focus. Notes from these sessions, documented in the accompanying image, repeatedly highlighted the need to project fully and commit to the language. In a session on 9th December, our teacher Alex Palmer encouraged me to redirect the monologue towards God, immediately clarifying intention and raising the emotional stakes.
Practical in-class experimentation revealed the significant impact of spatial freedom. Initially, performing my monologue within a confessional box, restricted both my physicality and my emotional range. Following Alex’s feedback, I allowed the character greater movement, learning to direct energy upwards towards God and ground internal conflict, which produced a more controlled and truthful performance. This experience led me to research how physicality can change depending on your performance setting (National Theatre, 2012). I watched a YouTube video from the National Theatre which demonstrates how these in-class exercises helped me perform and contextualise the monologue across different spaces, highlighting how a clear objective can transform performance.
Overall, this stage of the module significantly strengthened my ability to make informed artistic choices, respond constructively to direction, and adapt my performance style to different contexts. Through the integration of tutor feedback, video analysis, and reflective evaluation, I developed greater confidence and intentionality in my contemporary monologue work. This process demonstrated clear progression from my earlier Shakespeare classes and reinforced the importance of versatility, adaptability, and critical self-awareness as an actor.
Uta Hagen technique
My exploration of Uta Hagen’s techniques during this module significantly deepened my understanding of truthful behaviour and purposeful action in performance. In class, we explored Hagen’s six steps and ten exercises from A Challenge for the Actor (Uta Hagen, 1991), which form the core of her technique and can be applied both to the actor as themselves and to character work (Barlow, 2006). Central to this practice was the principle that the purpose of rehearsal is not to indicate emotion but to discover the natural, truthful behaviours of a character through clear circumstances and active engagement. Hagen’s work challenged me to remain fully occupied onstage, even when “there is nothing to do or say”, by identifying authentic inner activity rather than relying on external gesture or demonstration.
One of the first exercises we revisited was the Phone Call, which I had not explored in depth since first year. This exercise required me to remain fully engaged in an imagined conversation, using detailed circumstances to sustain belief. A particularly successful exploration occurred when I imagined making the phone call while queuing for the Peter Pan ride at Disneyland Paris. Drawing on a familiar environment and switching naturally between my two languages allowed the behaviour to feel instinctive and unforced, reinforcing Hagen’s emphasis on specificity and personal substitution. This work aligns with McKee’s assertion that actors are not “marionettes to mime gestures and mouth words” but artists who work from subtext rather than text (McKee, 1997, p.253).
Over the November reading week, I prepared independently for Alex Palmer’s Uta Hagen class by developing the Outside Exercise, which explores how an actor behaves in an imagined environment without physical stimuli. I chose to place myself at a summer festival in the heat of Gibraltar, imagining the discomfort of spilling alcohol over myself. This exercise required sustained concentration and sensory detail to remain believable on a bare stage. Hagen’s question—what do you do when you have nothing to do but must still exist truthfully—became particularly relevant.
We explored Exercise 7: Waiting Alone, which highlighted how difficult it is to remain present without becoming demonstrative. Without objects or dialogue, I had to identify genuine behaviours that occur while waiting, such as shifting weight, scanning the space, or responding internally to other people, rather than inventing unnecessary action.
Alex’s in-class feedback emphasised that all movement must originate from thought rather than habit and that stillness can be just as active as movement. This challenged my assumption that acting must replicate real life, instead revealing that stage truth requires selectivity and clarity. By anchoring four clear landmarks within the space and understanding where I had come from, where I was going, and what I expected to happen, my ‘waiting’ exercise gained purpose.
Further work on 1 December 2025 reinforced the importance of fully committing to imagined circumstances without directly engaging with the audience. During our talking to the audience exercise, in which I imagined addressing new workers at a Disney boardroom, Alex encouraged me to deepen my circumstances by clearly defining who I was speaking to, what had occurred before the speech began, and why I needed to communicate the information, things that I had not taken into consideration in my rehearsal for this exercise as shown in the video below. We were told to avoid direct eye contact while placing individuals spatially within the room, this strengthened my focus and maintained audience engagement. This approach proved particularly valuable for my role as the Narrator in my third-year production of Into the Woods, where the audience functions as my scene partner. I also recorded my first rehearsal of my narrator lines but needed more guidance from these lessons. The two accompanying videos capture my experimentation with this technique and my decision to return to rehearsal when I recognised that my preparation was insufficient.
My extended research further reinforced this practical work. Donnellan’s assertion that actors cannot “do” emotion but instead allow emotion to arise through interaction with what they see, closely aligned with Hagen’s approach and Alex’s emphasis on protecting actors’ mental wellbeing (Donnellan, 2002, pp.162–165). Similarly, Barlow highlights that Hagen’s technique prioritises spontaneity and discovery, arguing that acting is not about reproducing natural behaviour, but about giving meaning to the ordinary through purposeful action (Barlow, 2006, pp.127–128). Through my research, i linked this to Stanislavski’s concept of psychophysicality, which emphasises the reciprocal relationship between mind and body in performance (Merlin, 2007, p.24).
Overall, my engagement with Uta Hagen’s techniques strengthened my ability to remain present, grounded, and truthful onstage. By focusing on circumstance, thought, and action rather than emotion, I developed greater control over my performance choices while maintaining spontaneity. This work has had a direct impact on my wider practice, particularly in screen acting and musical theatre, reinforcing the importance of preparation, repetition, and disciplined imagination. For the final stretch of my studies at Leeds Conservatoire, I will apply the lessons from these classes—especially within the rehearsal room for Into the Woods—as I anticipate moments when the director may provide limited guidance, requiring me to draw on my own understanding of character, intention, and spatial awareness. Through this process, I gained a deeper understanding of acting as a craft rooted in behaviour, intention, and human truth.
Screen Acting
My engagement with screen acting during this module was particularly impactful, as I had minimal formal experience in this area prior to attending Leeds Conservatoire. Before university, I had appeared in a small local Gibraltarian film in 2023, where I spent a full day on set and gained basic practical knowledge of screen etiquette (such as patience, continuity awareness and set discipline). However, this module provided an opportunity to contextualise these observations within a structured acting framework, transforming practical exposure into applied technique. As someone primarily trained in stage performance, screen acting presented a new and challenging mode of storytelling, requiring restraint, subtlety, and heightened attention to technical detail. During these lessons, I filmed myself multiple times performing a range of material, including a duologue from Standing at the Sky’s Edge, a period drama scene, a sci-fi film duologue, and my own choice monologue. This process allowed me to build from my initial attempts to deliver naturalistic actions while highlighting the challenges of miming when lines were not fully learned. The repeated filming emphasised how crucial preparation, internal justification and thorough understanding of the text are to achieving authentic and controlled performances on camera.
Duologue work on a period‑drama scene encouraged me to place the character into myself rather than imposing myself onto the role, reflecting Uta Hagen’s principles that truthful behaviour arises from genuine inner life driving external action rather than exaggerated gestures. Also, that an actor should live truthfully under imaginary circumstances to create authentic performance choices. Practical duologue filming exercises, such as using extracts from the musical Standing at the Sky’s Edge by Chris Bush (2019) emphasised the technical demands of screen work — particularly continuity, precise positioning and eye‑line management — which are essential for on-camera performance and differ markedly from stage acting, where broader gestures and projection are required (Sparks Arts, 2025). The videos taken from these sessions show how repeated takes and simplified stage business, such as minimal handling of props, were essential for maintaining clarity, while close-up shots reinforced the necessity of controlled physicality, as small inconsistencies are amplified on camera and must be consistently managed across takes. I have attached a couple recordings from these screen lessons below.
A key aspect of my learning involved exploring how the same monologue functions differently across stage and screen. Using the contemporary monologue Catholic Schoolgirls by Casey Kurtti, I recorded for screen on the 1st December 2025, as demonstrated in the accompanying video. Comparing this to my stage performance highlighted the contrast between mediums: screen acting requires subtlety, internal focus, and controlled physicality, while stage performance demands projection and broader gesture. The confessional box setting, which constrained my stage performance, proved effective for the screen, showing how spatial context and framing directly shape acting choices.
Beyond acting, this module offered opportunities to engage with other aspects of filmmaking, including directing, operating a camera, and continuity management. Participating in these roles deepened my understanding of how technical considerations influence performance. Understanding camera angles, shot composition, and scene rhythm enabled me to make informed choices in class and respond adaptively to the director’s feedback.
McKee’s assertion that true character is revealed through choice under pressure resonated strongly with screen acting, where subtle decisions define credibility (McKee, 1997). His concept of text as the sensory surface of film—comprising image, dialogue, and sound—reinforced the idea that performance exists within a highly specific visual and auditory frame (McKee, 1997). Industry-focused discussions with our teachers further enhanced my understanding of screen work, highlighting the importance of professionalism, patience, and perspective within the film industry. Using Nyman’s (2005) advice from The Golden Rules of Acting,recognised that time on set is permanent and every captured frame is a lasting record; prioritising truthful acting over external distractions such as hierarchy or pay is essential.
Overall, this screen acting module significantly expanded my performance toolkit, developing my ability to adapt technique, scale, and intention to suit the camera. By integrating practical filming experience, reflective video analysis, and technical experimentation—whether as actor, director, or continuity supervisor—I gained a clearer understanding of the collaborative and precise nature of screen storytelling. This process strengthened my adaptability, professionalism, and awareness of cinematic performance, directly supporting my development as a versatile actor prepared for contemporary industry demands. The accompanying videos collectively document this journey, showing the progression of skill, technical awareness, and reflective practice throughout the module.
Overall
This module has provided a rich and varied foundation for my continuing development as a performer. Working across Shakespeare, contemporary text, Uta Hagen’s methods and screen acting has helped build confidence, focus and the ability to adjust my performance for different contexts and audiences. Reflecting on feedback, rehearsal processes and theoretical study has strengthened both my practical skills and my critical thinking, showing how reflection and analysis can improve performance. This experience has prepared me to approach future professional acting opportunities with greater versatility, creativity and awareness. All these lessons have provided me with very valuable tools to help me develop and continue to grow as an actor across stage and screen.
Bibliography:
Barlow, A. (2002) Handbook of Acting Techniques. London: Bloomsbury. (Accessed: 20th November 2025)
Bhattacharjee, D. (2025) Power, Performance, and the Embodied Ideal: Exploring Gender Dynamics in the Theatre Industry. Sociologica, 19(1), pp. 83–107. Available at: https://sociologica.unibo.it/article/view/19490 (Accessed: 15th November 2025)
Bush, C. and Hawley, R. (2019) Standing at the Sky’s Edge. Musical. Sheffield: Sheffield Theatres. (Accessed: 2nd October 2025)
Dixon, L. (ed.) (2014) Romeo and Juliet: Shakespeare monologues for women. London: Nick Hern Books. (Accessed: 29th September 2025)
Donnellan, D. (2002) The Actor and the Target. London: Nick Hern Books. (Accessed: 13th October 2025)
Federico García Lorca (1933) Blood Wedding [PDF]. Available at: https://www.philartistscollective.org/uploads/4/3/3/2/4332324/blood_wedding.pdf (Accessed: 10th November 2025)
Hagen, U. (1991) A Challenge for the Actor. New York: Free Press. (Accessed: 5th October 2025)
Kurtti, C. (1989) Catholic School Girls. New York: Samuel French. (Accessed: 27th October 2025)
McKee, R. (1997) Story: Substance, Structure, Style, and the Principles of Screenwriting. New York: ReganBooks. (Accessed: 1st October 2025)
Merlin, B. (2007) The Complete Stanislavsky Toolkit. London: Nick Hern Books. (Accessed: 24th November 2025)
National Theatre (2012) Movement Direction with Vanessa Ewan. YouTube. Available at: https://www.youtube.com/watch?v=1RRc4tq2kpE (Accessed: 25th October 2025)
Nyman, A. (2005) The Golden Rules of Acting. London: Methuen Drama. (Accessed: 14th October 2025)
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Shakespeare, W. (1597/2008) Romeo and Juliet. Edited by G. Blakemore. London: Penguin Classics. (Accessed: 1st October 2025)
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Sparks Arts (2025) Screen Acting vs Stage Acting: 7 Important Differences. Available at: https://sparksarts.co.uk/screen-acting-vs-stage-acting-7-important-differences/ (Accessed: 2nd November 2025)
The Houde School of Acting (2025) How Improv Strengthens Your Acting Technique. YouTube. Available at: https://www.youtube.com/watch?v=emPNI5FhLEI(Accessed: 10th October 2025)
