Dionysius 

In the first two weeks of my training I was able to work collaboratively with my new classmates to create and perform a piece of theatre about Dionysius. I found this to be an incredibly enjoyable and effective way to begin my journey at the Conservatoire. We did lots of ‘get to know each other’ exercises and games to meet each other properly which quickly broke the ice and within the first week we all had started to form bonds with each other, and a strong sense of connection had already begun to develop within the group. When I discovered we were creating a performance around Dionysus and Greek theatre I was slightly confused as I didn’t have any prior knowledge on the topics. However, we quickly learned that Dionyius is the Greek god who created theatre back in the sixth century. This was such a fun way to celebrate theatre while also learning about the origins and forming new bonds with our classmates. 

Throughout the fortnight, we explored a range of improvisation and devising techniques in small groups. Esther gave us stimulus tasks which involved observing a short/small piece of work and developing it without any further context. I really enjoyed the creative freedom Esther allowed our groups to have in developing our stimulus’ as it allowed us to fully communicate with our new peers and develop creative ideas between us without relying on the help of a teacher. As a result of working in a team environment we formed strong connections with each other at such an early stage of our 1st year in the course which in turn laid the foundations for a great year ahead. In groups of 4, we were also given creative tasks. These tasks involved devising our different takes/ understandings on Greek theatre and picking out the parts that interested us the most. As a class, we created numerous of these short performance pieces based on themes from Dionysus and Greek theatre, which we merged together into a final 20-minute ensemble performance. I found this collaborative approach to be very effective. Everyone’s ideas were incorporated and valued, and we were able to create a cohesive, well-structured piece well within the timeframe of the final performance..

Working with Esther was a highlight of the process. I really connected with her style of devising and found her guidance inspiring. Having her as our teacher during these initial two weeks made the transition into full-time drama school not only smooth but exciting. I’m truly grateful for the range of devising and improvisation skills I was able to develop in such a short period.

Movement – Zoe 

In our first term with Zoe, we were introduced to a range of stretching techniques that helped us develop greater awareness of key areas of the body, such as the head, spine, and pelvis etc.  These sessions enabled me to identify and understand where my body stores stiffness and tension, as well as identify which areas of my body are least flexible.  

Zoe’s class taught me to warm up fully and correctly to avoid injury.  The class has had a huge impact on my awareness of my posture at all times while also helping me relax physically during performances.  

The calm, focused atmosphere Zoe created each week was so appreciated. Her classes became something I genuinely looked forward to each week during the first term, the time offered a moment of stillness and self-connection after a hectic and demanding week of training and adjusting to such a busy timetable and my new student lifestyle. 

Thanks to this class I’ve learned how vital it is to check in with my body for physical and mental wellbeing. Taking that time for myself is essential in order to stay grounded, avoid burnout, and continue performing and learning at my best.  As a student actor, I can sometimes become so absorbed in learning that I forget how important movement, body awareness and self care truly is. As a former competitive dancer over the past year, since I have stopped dancing as regularly I’ve noticed a decline in my flexibility. I am so thankful that Zoe has given me a wide range of exercises to help rebuild my flexibility to a high standard. Zoes class was exactly what I needed in my first term.  It was a supportive environment where I really valued the calm space she provided before the start of each busy week.  I was grateful to have this class scheduled at a time where it was of the most benefit.

Voice – Jo 

Voice class this year has taught me about the different ways I use my voice and the crucial role breath work plays. Coming from a long and intensive dance background, I’ve developed bad habits of holding tension in my stomach and shoulders, and I tend to breathe from my chest opposed to my diaphragm. 

This has limited my vocals, especially when I am under pressure. Our teacher, Jo, has helped me break the patterns of holding my breath and holding onto unnecessary tension by introducing techniques to release tension such as splat breathing, intonement, and long controlled breathing. 

Over the year, I’ve noticed real progress. I’ve become much more aware of how I hold my breath particularly when performing in front of an audience and especially when I am anxious, nervous or under pressure. By simply recognising this tendency has made such a distinct difference and has helped me gain confidence. I’ve learned to concentrate on controlled, diaphragmatic breathing while delivering lines in various emotional and physical states such as out of breath, neutral, nervous, shouting, and more. This has helped me build muscle memory so that correct breathing becomes instinctive, no matter how my character is delivering lines. 

A major task we have focused on this year has been creating our own vocal warm-up. Jo explaining the fine details of each exercise and understanding the purpose of each part of the warm up I have found incredibly valuable and interesting.  

Before joining the conservatoire, I had an idea of how to warm up my voice, but I didn’t fully understand the purpose behind each part of the warm up. I also mistakenly thought voice warm-ups were primarily for singing and I was not aware of the importance for warming up before acting. I now understand the importance of warming up the voice properly before any performance, this not only helps to improve clarity and diction but a thorough warm up also will protect and sustain my vocal health.

A key learning point for me is that if I were to book a theatre role requiring me to project my voice to a large audience night after night, I’d need to ensure I’m doing so safely and sustainably. Thanks to Jo’s teaching, I now feel confident in my ability to do that. I believe I have gained a much deeper and more practical understanding of voice.  

Acting – Alex 

This year, working with Alex in acting has been extremely valuable for me as a well rounded performer. His classes have significantly improved my skills and deepened my understanding of performance. 

One of the most valuable learnings that Alex has integrated into our lessons has been opening my eyes and mind to shift my perspective using Uta Hagen’s techniques.  A key technique we have learned and implemented into our work is the use of the fourth side, a technique that allows the audience to step into the character’s/ plays world. 

In class, we used post-it notes as visual markers to represent different viewpoints or objects the character might see beyond the physical stage or set provided. By imagining each point with vivid details and intention, we created a world that extended far beyond the space in front of us. This makes the scenes more believable and immersive. As actors rather than simply staring out into the audience, we were taught to see and react to a world just beyond the fourth wall. This not only enhanced the atmosphere but added realism and a more naturalistic feel to the scene.

We have applied this technique in our scenes from “Until the Stars Come Down’, The scene is set between John and Maggie, two characters attending a family wedding who step outside for a long overdue conversation about their feelings for one another. At first, my natural instinct was to deliver every line directly to my scene partner especially because it is a scene only between two partners. However through the use of the fourth side and saying lines outwards while envisioning other elements in the environment in detail I found that the scene became far more authentic and interesting to watch. It really is a captivating technique that makes the audience feel immersed in the characters’ reality. As an actor I found it so strange that I had never thought to do this before. As humans we don’t look at the one person the whole entire time during a conversation, so why would we in a scene? It made me realise how unnatural it is to stare at one person for an entire conversation, something we’d never do in real life. I definitely feel this technique allows for greater audience connection, as they could see both characters’ reactions more clearly. It’s now become second nature when performing my scenes and something I incorporate instinctively without having to think about it.

Another concept we focused on was endowment.  Again like the fourth side this is something I had never truly thought about before. Endowment  is a technique when an actor’s body, emotions and character reacts to something it does not possess, such as an object or place that they imagine and makes the performance feel real and believable.  

This could include pretending to drink hot tea from an empty mug, searching for a lost item you already know the location of, speaking convincingly on a fake phone call, or convincingly acting like the character is freezing whilst standing in the rain while you are actually standing in a warm studio or theatre. 

We had to be fully engaged in class due to the precision and detail required in these exercises that were extremely challenging.   At first, I found this technique to be quite difficult. It demands a great deal of imagination and commitment to truly believe in something that isn’t physically present. However, observing my classmates became an incredibly helpful part of the learning process. Watching others work through the exercise allowed me to see clearly what was effective and what wasn’t, which gave me practical insight into how to apply the technique successfully in my own performance. The progress across the class was amazing. It was impressive to see how much everyone developed from the first attempt to the final run. As we all became more confident with the concept of endowment, the realism in our performances noticeably improved, making our scenes far more believable and engaging.

I found this block incredibly fun, most importantly eye-opening. I’ve gained a completely new set of acting tools that I now consider crucial to enhance my character choices. Alex’s teaching has pushed me to think more deeply about my choices as a performer and has fundamentally changed how I approach my scenes as an actor.

 For example, Alex’s class has taught me to appreciate how small details can make the biggest difference in a scene. His approach encourages us to think more deeply about our choices as actors and to stay curious and throughout the process. Some of the most valuable notes I’ve taken from class include:

These insights have made me much more mindful of how I approach scenes and characters, and they’ve given me practical tools to push through blocks in my performance.

Acting for screen 

This year in Acting for the Screen, I’ve developed a wide range of new skills that have made a real impact on my growth as a performer. I’ve found Phil’s class incredibly helpful and engaging, especially as someone who is already signed with an agency and receives regular self-tape requests. The difference in the quality of my tapes since applying the techniques I’ve learned in class has been significant and noticed by my agent.

Having the opportunity to be “on set” each week, with short turnarounds to learn scripts, has been invaluable. In the professional world, self-tape deadlines are often super tight, often less than a week so learning to prepare and deliver quality work quickly has mirrored real industry demands. This class has helped me build confidence in handling fast-paced preparation while maintaining quality.

One of the most impactful and valuable lessons Phil taught us was the concept of entering a scene with light energy, regardless of the script’s content. Rather than approaching darker material with an immediate sense of “doom and gloom,” Phil encouraged us to start lighter and allow the weight of the scene to unfold naturally. This prevents the performance from becoming predictable and gives the scene somewhere to build and create suspense. Initially, I was skeptical, our natural instinct as actors is often to match the vibe of the scene straight away. But after watching playback of both mine and my classmates’ scenes, the difference was undeniable. The second takes, directed with this lighter energy, were deeper, more suspenseful and vastly more intriguing and interesting.

This approach also made me reflect on real life. We don’t always show what we’re feeling on the surface at all times. For example, I’ve laughed out of anger or masked sadness with a smile. If we behave this way in real life, why wouldn’t our characters? Since adopting this mindset, I’ve been making more interesting, character choices by resisting the obvious emotional reaction straight away. Of course, this won’t always be the right choice for every scene but when it works, it brings colour, variety, and unpredictability to the performance, making it far more engaging for an audience and more fun for myself as the actor.  Therefore, if I can justify a lighter approach going into a scene, I will now actively consider this first. It allows for greater depth, variation, and most importantly a more engaging and layered performance from the audience’s perspective.

Another incredibly useful exercise Phil introduced was one focused specifically on building strong character choices. This tool has been particularly helpful when I find myself stuck or unsure of how to approach a role in a bold or unique way. It’s given me practical steps to break out of familiar patterns and experiment with fresh, dynamic choices that bring characters to life more fully.

This exercise gave me the freedom to make bold character choices and artistic freedom without feeling restricted by the original lines. It allowed me to imagine the character’s world and backstory on my own terms, which actually helped when returning to the actual script. Often, when I went back to the written scene, I found my improvised choices offered new layers or a completely different tone than I would have originally considered. It opened up possibilities and made the character feel more authentic.

Another benefit was that, since the initial take was mostly improvised (apart from the first line), it felt incredibly natural and relaxed on camera. In contrast, I’ve noticed that when the full script is introduced, especially with the pressure of the camera in front of me I tend to shift focus away from emotional honesty and instead fixate on getting the lines right. That often leads to losing the spontaneity and truth of the moment, which is obviously not ideal.

Of course, learning the lines is important, but it’s a shame when the life and natural energy of the scene often disappears the minute the script is reintroduced. This exercise helped me find a balance. By improvising first, I was able to release that initial nervous energy and discover my natural reactions. When returning to the scripted version, I could then blend those instincts into the performance, adjusting as needed to fit the context without losing the emotions of the scene.

Since learning this approach, I’ve found it much easier to relax into scenes. I now focus more on the character’s emotional journey rather than stressing over memorising the script. Ironically, the lines tend to come more naturally when I stop obsessing over them. This has been one of the most useful tools for me in screen acting so far, and it’s something I’ll continue to use going forward.

Overall, this class has had a major impact on both my confidence and my approach to screen work. I feel far more prepared to handle the demands of the industry and to deliver work that’s detailed, compelling, and true to life. Overall, this class has had a major impact on both my confidence and my approach to screen work. I feel far more prepared to handle the demands of the industry and to deliver work that’s detailed, compelling, and true.

Movement

Before starting movement classes, I was genuinely excited to try something new. Coming from a strict competitive team dance background, It was presumed I would find this class easy however I’ve found it challenging to move freely in the way movement class requires. I’ve grown up in environments where everything had to be clean, precise, and technically perfect so allowing myself to let go and be instinctual has been a big adjustment that I am still actively working on. Despite this, I’ve really tried to immerse myself in the work and remain open to the process.

As an actor, I naturally gravitate towards scene work, and developing character through dialogue and intention. While I understand the importance of physicality, I would much rather we block scenes and have those movements physically directed.  I find it difficult to take what we’re doing in movement and apply it to my acting work in a practical, usable way. The exercises often feel quite abstract, and although I know and respect they serve a purpose, I personally find it hard to see the connection between the work we do in movement class and the more detailed character physicalization I’m expected to use in scenes. I often receive notes to physicalise my character more, but I don’t always feel that we’re taught how to do that on a smaller, more realistic scale.

That said, I do appreciate certain aspects of the class. Eilon’s approach breaking the class into several smaller tasks and exercises helps keep me engaged and gives me the opportunity to explore different ideas. I like that if one exercise doesn’t resonate with me, we move on fairly quickly, allowing space to discover something new. While I haven’t always connected deeply with every activity, I value the variety and structure of the sessions.  This class is really helping me to try new things, however I often just find it too abstract compared to the scenes we get where I’m told to add movement in. The two classes are very separate to me.

What I’ve come to accept is that not every actor will connect to every exercise in the same way, and that’s okay. This class is still helping me stretch beyond my comfort zone and build resilience. I’ve realised that in auditions or future jobs, I’ll likely be asked to do things that feel awkward or unfamiliar so learning how to stay committed and open-minded is an essential skill in itself. Even though I wish there was more crossover between movement and acting, I recognise that this work is contributing to my growth, even if the results aren’t immediately clear.  

It’s really important to me to fully immerse myself in exercises, even when they feel uncomfortable or unfamiliar. I’m committed to giving my best effort in every lesson, regardless of how challenging it may be. I’ve come to recognise that the work we do in movement class is quite different from the acting style I naturally connect with and enjoy the most. Still, I understand the value of these skills and how they contribute to my overall growth as a performer. I just wish there was more of a direct crossover between movement and acting, so the connection felt clearer and more applicable.

Animal Studies 

This year, we also completed a block on animal studies, an area I was initially most hesitant about. I genuinely didn’t know what to expect, and the idea of fully embodying an animal felt so far outside my comfort zone I was struggling to see what value it would bring. As I’ve mentioned before, I often struggle to fully connect with exercises that feel abstract or disconnected from the more realistic scenario-based work we focus on in both theatre and screen acting. I was concerned that I wouldn’t be able to apply this kind of work outside of the classroom context or that it would feel too far removed from my acting process.

 I was worried I would not be able to connect to the work and apply it to anything outside of the class. However to my surprise I ended up really enjoying the entire block.  A huge part of this was due to the atmosphere Tilda created in the room. She was incredibly aware that this work was new and unfamiliar to many of us, and she approached the process with a sense of care, encouragement, and openness. Her lessons were perfectly paced, detailed enough for us to explore deeply, but also broken into manageable segments that kept the energy in the room upbeat and focused. It never felt overwhelming, and it gave me the space to gradually ease into the class.

When it came time to choose our animals, I found myself feeling unexpectedly stressed. I wasn’t sure what would make a “good” choice or how to even begin narrowing it down. Eventually, I chose a koala bear partly at random, but also because I thought it would offer a good balance between challenging and manageable. It turned out to be a really rewarding choice, giving me opportunities to explore a physicality that was unfamiliar, yet accessible.

What I found most fascinating was how much insight this class gave me into physical transformation and character embodiment. We focused on so many intricate details.  We spent time observing the animal’s spine, movement origin (upper or lower body), the weight of their limbs, the rhythm of their breath, and their energy. One of the most powerful takeaways for me was the reminder that animals are always fully in the present moment…in the now. There’s no overthinking, just pure instinct, which is something I’m learning to bring more into my acting.

The exercise also encouraged us to find imaginative solutions when trying to be accurate, reminding us that if we believe in what we’re doing, the audience will believe it too. Rather than fearing the challenge, Tilda encouraged us to approach it with excitement, which helped calm my initial nerves. I now understand how exercises like this build essential tools for physical character work, and while I still find abstract exercises tricky at times, this class helped me start to connect the dots between movement and performance in a more useful way.

Conclusion

Looking back on my first year at the Conservatoire, I feel genuinely proud of the journey I have been on and the progress I have made, not only as an actor, but also as a person. This year has been transformative in ways I didn’t expect. Every class has offered a new perspective and equipped me with a different set of tools I can carry into the industry, and for that, I’m extremely grateful. I have felt myself growing in confidence, my choices, and my awareness of myself as a human being and as an actor I’ve noticed a clear shift in my confidence, my decision-making, and my overall awareness of what works for me as a performer and what doesn’t.

This year has continuously pushed me outside of my comfort zone, and while that’s been challenging at times, it’s also where the most meaningful growth has happened. I’ve learned that real development comes from allowing myself to be open to new techniques, new collaborators, and new ways of thinking. Embracing the unknown, even when it feels intimidating, has been a powerful lesson. I now move forward with a stronger sense of identity, not only in how I work as an actor but in how I navigate the creative process as a whole.

One of the biggest shifts for me this year came through screen acting. I had always believed I had a solid understanding of what acting for camera required, especially having done multiple self-tapes and having been fortunate enough to work on professional sets etc. However, this class revealed just how much more there is to discover within the principles of acting for the camera. We were introduced to a range of new techniques, but what really stood out to me was the idea of approaching a scene with a sense of lightness, rather than pre-empting the outcome. As I mentioned earlier, this subtle shift in energy has completely transformed how I perform on camera. It’s helped me unlock more honest, layered performances, and given me a more flexible and free approach to character work on screen. This insight alone has made a huge impact, and it’s something I will continue to carry forward in my work.

I can’t wait to put everything I’ve learned into practice, and I know I’ll carry these tools with me into future work on set. One of the most valuable lessons I’ve taken away from screen acting is that the writing will always carry the story, you don’t need to give away the character’s final emotion too soon. Letting the journey unravel naturally has made my work feel more truthful and I’ve noticed a real shift in the way I approach auditions now; I’m more relaxed, more connected, and more focused on being present rather than “performing.” I feel much more prepared for the demands of professional acting.

Another major highlight of this year has been the relationships I’ve formed within my class. From our very first Dionysius project, I felt an immediate sense of connection and collaboration. That bond has only grown stronger as the year has progressed. Being part of a group that supports one another, takes risks together, and genuinely wants each other to succeed has been one of the most meaningful parts of my experience. It’s made each rehearsal, performance, and even the tough moments feel easier and more fulfilling.

On a personal level, I’ve also learned so much about myself not just as an actor, but as a learner and creative. I now fully understand how important it is to take care of my body and voice, to listen openly to feedback, and to approach each class with curiosity rather than fear. I’m learning to trust my instincts more, and I’ve discovered new ways to explore characters that I’m excited to continue developing over the next two years.

As I finish my first year, I feel a strong sense of pride in the foundation I’ve built and also a bit of sadness at how quickly it’s flown by. This year has been transformative. I’ve learned how to connect more deeply with the work, and I’m stepping into second year with greater confidence, clearer direction, and a growing belief in myself. I’ve also become more aware of my strengths and weaknesses, which I’ve come to see as a positive thing. Every actor brings something different to the table, and that diversity is what makes this craft so exciting. Acknowledging the areas I find more challenging doesn’t mean I’m avoiding them in fact, I’m learning to embrace them, even in discomfort.

I’m truly excited for what lies ahead and ready to face new challenges that will continue to shape me into the actor and person I hope to become.