1) Did you presentation and workshop have the effect you intended? Why? Why not? 

Our intention was to educate people about Greek Comedy. Based on the participation we received at the end of the class, I feel that our presentation and workshop had the effect we intended. This is so because the other members of class knew what to do when on stage because they had learned about Greek Comedy in the presentation and so were able to apply what they had learned to their acting.

2) What changes would you make to improve? 


Next time, I would make sure that our group does a full run through of the oral presentation because when we did it for the rest of the class, it turned out to be 20 minutes which was a bit long. So, to be able to change this time I would do a full run through and then change parts where needed so that the presentation does not exceed 15 minutes. Also, I would change the presentation so that the audience does not need a whole lot of time to copy down everything, which slowed the whole presentation down quite a lot. I would change the presentation through making sure only the most important points are on the PowerPoint and that any other points are said verbally so that the audience only copies down the important points and not every point in case they cannot differentiate which points are more important.

3) What areas of the presentation and workshop were you responsible for? 


I was responsible for the political, social, cultural, and economic ideas that influenced Greek Comedy, as well as key features of; costumes, characters (the different types), and acting. Nobody was really assigned to being responsible for the physical part of the workshop; however, I suggested the two activities, and later, introduced them together with Robin.

4) Did you group show successful or unsuccessful collaboration skills? Give an example. 


I think that in general our group was successful collaboration wise because everybody had quite good knowledge about what everybody else was doing and everybody was able to do a part in the activities. However, I do think that for the presentation, not everybody was as prepared or involved with what they were doing as others, for example, some people were just reading off the board, whilst others were explaining what was on the board. Also, I think that not everybody put as much effort or worked together as much as they could have.

However, I do feel that our group did not have very effective communication at the very start of this project because we did not decide on a theme until about two weeks before the performance, therefore, I feel that if we were to have good communication, we should have communicated on time and made sure that everybody had contributed ideas so that we could have decided on a workshop sooner.

5) What key features caught the most attention of your audience? 


I believe that the different types of characters were the most eye-catching because after our PowerPoint when we did the improvisation everybody was able to use these characters well, showing that they had paid good attention to that part and that they understood it. Also, I think that the key features of acting were quite interesting for the audience because when on stage improvising with the different characters, everybody was able to incorporate at least one of the key features of Greek Comedy; whether it was movement, voice or character. Therefore, I believe those two features were the most eye-catching to the audience as they showed that they really understood them during the improvisation.

6) What key features were the most effective when used in rehearsal and performance?

In my opinion there were two key features that really stood out when the rest of the class were doing the improvisations; physical contact, and the different types of characters. One of the most important features of Greek Comedy was the physical contact between two actors because it made the audience laugh, during the improvisations, every time there were new people on stage, at least one person made contact with another; whether it was a push, or a nudge, almost everybody really applied that important part of the Greek Comedy. The class was told about nine different stock characters; these were also printed on the sheet of paper given to the audience before the improvisation. Every time a new person would come into the scene, they would take on one of those characters and had to use Greek Comedy features to make it clear to the audience who they were. I think these two features were the most effective during the improvisation because they were used the most, the audience really understood them and knew how to use them, and they really helped show Greek Comedy (and they made everybody laugh, which was a big part of Greek Comedy so it was successful). 

World Theatre Workshop #1 Class Response

B) During the workshop about Wayang Topeng, there were many interesting things that stood out to me, the ones that stood out to me the most were;

            Social;  that Wayang Topeng lasted from 3 hours up to several days which stood out to me because that is much longer than regular theatre or dance performances today which are typically only one-and-a-half to three hours in duration.

            Political; that even in this masked dance there is a clear differentiation between upper class and lower class. This stood out to me because It shows that even back then (when Wayang Topeng was created in 16th century Bali), there was such a difference between classes, also, because they liked to really make it clear who was prettier and who had more power with the colors they used and the facial structure of the masks. (eg. nobles had hard and tight masks with delicate chins and pointed noses, which are all very delicate details on a face, looking prettier and showing that more time is spent on noble class)

            Culture; What I found interesting is that it was found in so many different countries; Singapore, Malaysia, Indonesia, and that it developed the traditional puppet theatre. I found this interesting because it shows how this theatre style changed the culture and developed another theatre form (puppetry).

Overall, the workshop was very good and I learned a lot from it. I liked how they had us learn the dance at the end and how they incorporated a video in their presentation, which really helped the audience understand what Wayang Topeng is. What they could improve on for next time is to make sure to speak slowly and articulate well at all times as well as giving the audience enough time to catch the main points. Also, their actual workshop was not very organized because they were not very sure about what to do once they presented their powerpoint (it was a bit messy). However, I do think that they were very smart and quick to have a plan to fill up the rest of the class with Wayang Topeng related activities, which was good.

C) In general I just found all of the information very interesting and it gave me a wider view about the different types of theatres there are. However, I was shocked about the duration of the Wayang Topeng performances just because I wonder how somebody could create a dance for days to entertain people. I think I found this shocking because I just cannot imagine doing a masked dance for such a long time.

E) The biggest link I had to my previous knowledge of drama is theatre almost always has movement in it, which linked to this workshop because there is a lot of movement in it since it is a dance. Other experiences I have is that of dance shows which really linked to the Wayang Topeng workshop because it was still dancing, but just a different type, expanding my knowledge about different types of dance.

G) I found the whole world theatre in general very interesting, however, I feel like there is not that much more to go in depth about, and therefore I do not really have anything that I would like to further learn besides one thing. This is the idea of using masks to shows differentiation amongst people (or groups of people) as well as creating a mask to show this. I would like to create a mask because then we would also be going in depth of how masks are used to express emotions and certain themes, as well as actually learning about it through practical work so that it shows whether we really understand it. Therefore, the only thing I would really like to focus on would be the masks because the way the group presented it as well was very interesting as well as being interested in masks in general because they can express a lot you normally are unable to express so easily.

•satire
•deception (pretending to be someone you are not, double life)
•status and occupation
•marriage and courtship
•loyalty
•materialism and idealism
•food
•idealism
•importance of names
•smoking as a custom
•taking tea and dinner parties
•ambition
•customs

How are these themes shown today?
Everyday:
•status and occupation (people are judged by their occupation and are out into social groups based on that: for example an actor is considered higher status than a maid) also, nowadays there are more ways to become popular than just being born into a good family: if you are an actor you are automatically a higher social class whereas in Earnest you are of high status if you are born into a high status family
•marriage is an important part of life but nowadays people get married for love more often instead of gaining status and money. Also, the ambition to get married is not as big as in earnest because marriage is not always only about gaining money and status.

Social issues:
•status today links with the different levels of respect people have towards each other. It creates certain groups in the bigger society and people are divided into social groups based on how much money they have and their names just like in Earnest. These status groups are still found in schools, governments and jobs. Also, actors nowadays are always considered high status

Global issues:
•food nowadays is all about selling to the market but is not about caring about the health of the buyers, food is all about bringing people together and getting money.

What was your intention in this performance? How did you want the audience to view your character and react to your performance?

In the beginning of the performance I wanted to make the audience feel sorry for me and empathize with me because I was being accused of something that I said I did not do, in the end of my monologue I wanted the audience to be scared of me because I was cursing at the king and because they found out that I was a witch so all there was left to do before I died was scare them and thus my intention was to scare the audience. I wanted the audience to view my character as being falsely accused at the start and then being a liar and being scary in the end.

Did you want to make them laugh? Cry? Be angry? Be touched? Did you want the audience to empathize with your character or dislike them? Why?

I did not want to make the audience laugh at all; I wanted them to feel sorry for me (empathize with me) in the beginning, and in the end I wanted the audience to feel scared of me. In the beginning I wanted the audience to empathize with me because I was being accused of being someone that I was not –a witch. And thus, because I did not want to die for being a witch, I tried to act as innocent and victimized as possible, which is why I wanted to make the audience empathize with me, so that they would also be convinced that I am not a witch. In the end I wanted the audience to feel scared of me because I was not able to convince them that I was not a witch, and thus the only thing that I could do before dying was scare them through cursing them and hoping they die (because I could not have convinced them anymore anyways). My intention worked because nobody laughed throughout the performance and they all seemed to understand my play as well as they commented that they liked my change in characters (meaning they understood my intention since they were able to comment on it) and thus I believe that my intention was successfully reflected in my final performance.

What was your level of satisfaction with your own performance – what you felt worked well and what you can improve, what changed did you make in rehearsal and why?

I felt that some parts of my performance went well whilst others could have been a bit stronger; therefore my level of satisfaction with my own performance was not very high but not low either. I felt that I remembered my lines well and made good use of meter as well as making good use of gestures and movements because every movement that I made had a purpose; it would always help describe my character or help the audience understand my character and performance. Also, I feel that I made a few good uses of pause in which I would then have a change of tone such as when I end with being confident and arrogant about who the father of my child is so that they will believe me, into having a pause and then changing to being desperate and not being afraid to show it because I want to live so bad. I think this was good for my performance because it helped understand my character and helped show the audience how desperate I was and that I would do anything to live and convince them I am not a witch.

What I feel that I should improve on is making use of my voice and when I need to get angry and curse them, I should really get angry and curse them because it will be more convincing. Also, I feel that I should have been more confident in myself because at times I was a bit nervous and was pacing around quite a lot and at other times I did not express emotion as much as I should have. Lastly, I feel that I can improve by making use of my voice, as well as space and pretend that I am directly talking to someone and especially make use of my pauses and move within my pauses (listening to what the other people have to say) so that it is clear that I am listening to them and thus it will be more effective if I have to change tone.

I changed my whole monologue in my rehearsal, I was first supposed to do another monologue from La Pucelle but then it was decided that I should change to this one so I changed. Besides the monologue itself, I did not change that much because I went according to the meter and script, I did put all my subtext and feelings and objectives onto my script which helped me shape character which gave me a better performance as well as creating gestures that would all fit with what I am saying and what I am trying to do because it would only strengthen my intentions. Therefore, other than gestures and subtext, I did not change much during rehearsals.

How you integrated your learning form the character development exercises, quoting specific examples 
Which character development exercise helped you most in preparing your monologue or duologue?

Through annotating the script thoroughly -subtext, feelings, purpose of pause, super objective, and individual objectives- I was able to successfully shape my character through integrating many aspects of my research and knowledge into the annotation which I would then use to shape my character. Also annotating my script through writing down the movements and gestures as a character development exercise helped me in my final performance because it gave me confidence about where to go when and about what to do when I am performing. Through walking in the black box and exaggerating certain features of your character I was able to focus on certain parts of my character and then in the end put them all together which gave me a better understanding of what type of character I am and how I act around others. Therefore, all the exercises we did in class helped me with my final performance because they all contributed to shaping my character.

I found that the subtext and super objective annotation exercise was the most helpful in preparing my monologue because through the subtext and super objective I was starting to fully understand what my character really wanted and what she was trying to do overall but also in certain parts for example where I say; “but issued from the progeny of kings, virtuous and holy from above….” I am trying to convince them/tell them that they cannot kill a holy person; I found this out through annotating the script using subtext and writing down the super objective. Thus, through annotating my script I was able to understand much more of my monologue and thus perform it better since I understood it better and therefore, I found that annotating my script using subtext and super objective(s) were the best exercise for character development.

How you used other techniques to help you with your characterization e.g costume, your prop, use of stage etc.

For this monologue I primarily used my space that I had on stage because I pretended there were the king and his people on one side of the stage to which I looked so every now and then to see what they thought and what their reaction was. I did not make use of props as I thought they would not have made a significant impact on my performance or on how the audience would see my character as well as since it is already Shakespeare, the primary focus was to make sure that the audience understood the monologue so I did not want the focus to be on the prop, but on the monologue. Costume would have been good to have done because it would have only enhanced my character from the moment I walked on stage since it would give the audience a hint about who my character is and where she is (including what time period it is) but unfortunately I was unable to get a costume that fitted for this particular monologue. I believe that my use of stage and the way I held out a particular part of the stage to look at as if there were people made up for not using a prop as well as the way I moved throughout the play giving a lot of character information so that the prop was not necessary in order for the audience to understand my character. 

What does my character want?

My character wants to convince the king that she is not a witch and that she should not be killed. Many times during the script my character tries to convince the king and his men about something that cannot legally be done, such as execute a saint or kill someone who is carrying a baby. She wants to live. 

What are other characters doing that prevent my character from having their objective?

The king is doubting my words and keeps on trying to make me confess to being a witch. Every time the king tries to execute my character, I try to come up with another reason for him to let me live each time. So, the king keeps on doubting me and trying to get me to say something that will be a good reason to let him kill me, he wants to kill me because he is sure that I am a witch and he is sure that I am not noble. 

Given that particular problem, what action does my character take to meet that objective?

The only action that my character takes to meet her initial objective of convincing them not to kill her because they think she is a witch is come up with new excuses the whole time which is guaranteed not allow them to kill her such as saying she is holy and saying she is with child. However, the action she does take is not very successful because everything she sais is not true and thus she can never back it up which in the end reveals her as lying to the king. I also curse the king and try to make them scared with saying that everything will go wrong for them if they kill me. Other than words, my character does not take any ‘physical’ action and the action she does take does not turn out well so she ends up being killed anyways.

A figment is a short play written by Ron Weaver. This play is set in the present and is not part of a bigger production or script. There are not much things needed to perform this piece; no props are needed except for a cellphone and the costumes are from modern times.

Who are you? Make a profile of your character –age, sex, occupation, education, health…-
I am a woman in her early thirties and am older than the male character I am acting with.  My occupation is being an actress and based on the script my knowledge is quite limited to knowing a lot about acting and things such as the ‘fourth wall’. There is nothing in the script that shows that I am in bad shape or condition, I am happy with my job, am happy to perform in front of people and I only say things that are logic which shows that my mind is also in healthy state and that I am happy with my life and based on the fact that I am able to act (remember lines) it shows that I am able to remember things so I do not have any diseases which make me forgetful. Overall I am in good health. 

Where are you?

We are on a performance stage, a very average theater, an audience is present and there is no set so the stage is just plain the stage and us two characters.

Why are you here?

I am here because I am performing a piece to the audience, at first the audience does not know that it is a play but because I am trying to prove a point with the little play, in the end, I say the consequences and say goodbye to the audience which then tells them that we were performing a play.

What do you see and hear in your immediate and also in your more distant environment?

Because I am inside a theater performing to an audience, the only talking that I hear is that of the other character in the duologue. The only thing I see during the duologue is an imaginary ‘fourth wall’ which cannot be seen but can only be felt. The other sound I hear is that of my boss talking to me on the phone, but this is imaginary. My phone vibrates at one point in the play, which I only feel but I announce it to everyone around me. Other than that because we are in a theater, there are no sounds or sights from more distant environments because there is no distant environment.

What time of day or night is it? What season of the year and in what country?

The country is the United States of America and because it is inside a theater there is no day or night description as well as not knowing the season due to the theater being indoors and thus no information about that is given.

What is the journey of your character and how does she change in the course of the text?

There is no physical journey for my character but there is a journey of sharing. The purpose of my character is to inform the audience about ‘character assassination’ in the show business.  Therefore the journey of my character is purely based on how she starts off being a miss know-it-all because she keeps on talking about these things that the other character denies and keeps on saying that she is right, and she takes the journey of acting out character assassination with the other character to end up being a normal actress who was just doing her job whom completed the journey of sharing her story about character assassination. My character changes throughout the script because she starts out to be someone else than who she actually is since she is pretending to be someone, for the time that she is that person she stays the same but when she is herself again she changes to be more likeable and less know-it-all. 

Write a definition of subtext in your own words

Subtext is saying something or showing something without directly saying/showing it. Subtext refers to another theme/emotion within the dialogue or actions either between two or more people or within someone without directly mentioning it or saying/showing it. Subtext is used in theatre where one character might be feeling something else than they are saying but express it in a way that refers to another emotion, it is also used in movies to show more stories, themes, relationships and characters without directly showing the audience. Subtext draws the reader deeper into character and story, which is why it is always good to have subtext. 
An example of subtext is 'what have you been doing?' because if said excitedly, angrily, impressed, interested, disgusted or many more, it will mean different things and will portray another emotion within the sentence without directly saying that emotion. Another example of this is if you say 'not much' if someone asks you 'what's going on?', depending on how you say 'not much' you will be using subtext to express your feelings and emotions/situation and people will be able to infer what you really mean or what emotion you really want to express based on the subtext used.

How did writing subtext change your understanding and performance of your character?

I felt that when I started to think of subtext I was able to understand not only my character but also my play more because the subtext really showed what kind of character I am going to be because it showed that my character is very strong of opinion and even with subtext she always wants to point out that she is right and that everything the other character says is obvious (as if she is smarter than him), I am also more sure of how my character is supposed to behave now because through the subtext the attitude of the character becomes very clear as an actor because you are more aware of what kind of attitude you are supposed have and what kind of voice, body, movement and space I should portray so that it fits with my character. For example, I now know that I should be annoyed in subtext because Jake is not behaving the way I like (does not listen, is behaving stupid according to my character…) but also satisfied because I get to tell him the answers to everything because it makes me look smart which in subtext is me being obvious as well as showing off in some way and putting emphasis on the fact that I know things better than him. The subtext really enhances my performance and strengthens my character.

Have there ever been any times in your life where subtext has caused conflict? How and Why?

I have had a few times where subtext has done something to the relationship of me and someone else. I often find this happening at school, it happened to myself a few times as well; because at school some people do not speak English very well or do not understand everything that you say or mean to say, if you use subtext they might misinterpret what you said to being something offensive or mean against them or someone they care about, which is not your intention. What happened a few times to me was when I said something with subtext (sarcasm) which is not even mean if interpreted wrong, but because other people do not understand and so feel offended whilst it is not meant to offend them and that something causes them to be a little mad or embarrassed. However, subtext like that has never done anything bad between me and someone else, it has only caused me to explain it to that person so that he/she understands what I meant. I have learned though, that because many people do not pick up on subtext, you really need to pay attention to who you are talking to using subtext so that a situation like that can be prevented. Other than those moments, subtext has often brought me joyous moments with my friends and family because subtext often gives another meaning, which really makes people laugh in certain situations which has only made my relationship with that person better and stronger. Overall subtext is really helpful because it can help you pick up on when a person does not feel like directly telling everybody that something is wrong, and if you pick up on this than it is a lot easier to help, so I find subtext to be very helpful but also sometimes annoying because some people never pick up on subtext.

1.
Yes, I believe that focus, mood, and situation really helped make our drama more effective because the focus of the play was mainly on the corrupt characters since they would do all the killing (corrupt people would always have gun), also made the drama more effective because it helped people concentrate on what was happening in our play, and the audience would know where to look, the last reason focus made our drama more effective is because the focus on certain parts/characters built tension between the characters which carried on to the audience and made the play more interesting to watch. The mood of the play was also an element that made our drama more effective because the mood throughout the entire play was quite dark (without looking at the production elements) and serious, the audience did not laugh throughout our play which was our intention since we wanted to represent how serious and easy it is to be corrupt. So, the mood strengthened our play. Thirdly, the situation of our whole drama in general was very effective because the situation in which the characters all were perfeclty depicted how easy it is to become corrupt which strengthened our drama since it enhanced our intention and concept.
The example of the production element that made our performance effective is a part in the court scene where Robin and I stare at eachother for about seven seconds, which makes everyone feel uncomfortable because the tension is building and the drama becomes more effective because the audience also feels the tension and builds curiosity about what will happen next. The court scene and the focus in that scene on the two characters (robin and I) really made the play effective since it got the audience more interested in the play.
2.

The most effective moment in our drama performance was the court scene because it had levels, tension, focus, status, and because it had strong formal/real-life conversation. It was the most effective scene because all the different drama elements and the techniques of drama were all represented strongly which made it more interesting for the audience to watch since it became a very big, symbolic scene which was executed very well.
3.

Our group went through a variety of drama conventions before we decided on our final ones that we would use for the final performance. We wanted to use flashback for the first part of our drama but it was too confusing for the audience to follow (after performing once, the audience gave us feedback that it was hard to follow) so we decided to change and leave out the flashback. Our group also wanted to use narration but whatever way we tried, we did not manage to find a way to fit that into our drama. The other drama convention we wanted to use, we used (split stage and voice-over)
4.

At first our play was about me becoming corrupt because my husband was cheating on me, but then because we wanted a more original story and a more interesting as well as more corrupt story, we changed it to becoming so that my husband did an illegal deal and got killed which was the reason for me becoming corrupt. Another change we made to our play was instead of only killing one person, three people were killed. We changed this because the whole storyline was a bit boring and dull at first, and because we needed to add more dialogue and action to create a longer drama (to reach the requirement) we decided to add two more kills and to show the reasons for the two extra kills (Sarah and Robin dying).
5.

Originally we had Saif cheating on me with Sarah, and I decided to kill Sarah, Robin saw me kill Sarah and thus I need to keep him quiet with 15,000 dollars, then the case goes to court and I am found not guilty.
We changed this drama because it needed to be more corrupt and interesting to watch and especially original since other groups had something similar. So, to make it more interesting we decided to change it to;
Saif doing an illegal deal with Sarah, Sarah kills Saif because he is no cooperating, I find out and decide to kill Sarah, Robin is whitness of when I kill Sarah and I keep him quiet with 15,000 dollars, the case goes to court and I plead not guilty, then because I want the money back and it is risky, I kill Robin in the end.
The second version was more interesting, was longer (so that we hit our time mark), was more corrupt and was more original.
6.

Regarding the script, I would not change anything because the script represents corruption very well and represents our concept. Acting wise though, I would definetely have made sure that we had a technical rehearsal before the final performance and just have more script rehearsals in general because often our characters were very flat and some of us were quite monotone at times since we would be thinking about what our next line is. Also, I would have changed the transitions so that they went a lot smoother and faster to keep the tension, mood and focus on certain parts of the drama, since our transitions were quite long and thus made the audience loose interest/focus/feel for the drama. I would make sure that our voices are projected throughout the whole play whilst still staying in character because I felt like when I was waiting for my cue behind the curtains that it was quite hard to hear the people on stage talk, but otherwise I felt that we made good use of the drama techniques, in particular pause, and body awareness. So the only thing I would have changed to our drama is rehearse more so that our group would have been able to present it in the best possible way.

Our group is working very well during class and we are getting the majority of the tasks done, however we have not yet done our technical rehearsal because someone is always absent in our group and our group becomes quite easily distracted. Also, not everybody knows all of their lines yet which is a problem since the performance date is coming up soon, our group needs to start working efficiently during class as well as outside of class and needs to have a full run through with tech and all to see how it is coming together.
The make-up designs are slowly being completed and are all good for strengthening the characters of everyone and for enhancing the play's theme of corruption. I really do feel that my make-up and hair designs are enhancing our performance and will be an important part in our play since the designs also symbolize certain things in our play. What I have come to notice is that there are some things that keep on popping up with every piece of research I obtained as well as my own designs which all have a 1950's feel to them. These things are symbolic to the 1950's and really represent the 1950's well:

• Big, volumnous hair with a big and sometimes tight waves
• Quite dark eyes but nothing too over the top (mostly) with one color lipstick
• For men, often sideburns and almost always hair slicked back with quite a lot of gel (often small poufs are created as well)

Some symbolic make-up and hair designs that do not only symbolize the 1950's but also symbolize corruption in our play are:

• loose hair for girls (shows that they are more bad than good, only characters with loose hair is corrupt)
• pinned up hair for girls (shows that they are more good than bad, when character has pinned up hair, she will not do anything corrupt)
• Dark lipstick to show that they are corrupt (the dark lipstick is symbolic because whoever is wearing dark lipstick (female) is corrupt or is soon becoming corrupt which is the major theme in our play and thus dark lipstick is symbolic for corruption.)

We did not have an official tech rehearsal, I practiced make-up on our actors, Sarah told us what costumes to bring, Robin made sure he had all the sounds, Abrar made sure that all the lighting was good and Saif made sure he would have the props for the final performance. However, I will reflect on my make-up rehearsal with everyone.

What I used this lesson was the make-up packages provided in drama class and used some of my own make-up including certain lipstick, foundation, and eyeliner (primarily for me and Sarah). The intention of the make-up designs is to show what kind of characters everyone is and to enhance these characters alongside costume, lighting, sound, set and script. Also, the make-up and hair will emphasize the concept (which is to show how easy it is for one to become corrupt and drag others down with him/her) and to show in what time period the play is set in (1950's). In this rehearsal I felt like I was on my way to representing these things. The male characters both quite looked like characters from 1950 movies such as grease because they both had side burns, and a little pouf in the front of their hair. Both the female characters in our play (Sarah and I) had certain make-up and hair traits that really symbolized the 1950's hair and make-up (the big volumnous hair and the eyes which were quite dark), therefore I feel like I am well on my way to succesfully representing our intention and concept of the play.

Since Saif did not look much like a man who is corrupt and would do deals illegally (his character), I needed to think of something that would make him look a bit more adult and grown up and corrupt. So, I decided to add a small moustache, which in the end added better to see that he is corrupt and made him look a bit more like the character he is playing. Also, since there are two character changes on the girl characters (both for Sarah and I) I decided that the make-up would stay the same after seeing the costumes because both the costumes would fit with both the make-up and hair designs and the make-up and hair enhances all the different character types which is why I changed it to being just one make-up design for each character .
(underline is the changes I made to my original designs today)

I need to apply Saif's moustache with more care because I was running out of time and decided to do it rush rush just to see how it would look. For the final performance I will need to take the time to do it so that it looks even on both sides and actually sticks on properly. Also, I used a peachy color for Robin which made him look too pink, so I need to change that color to something a bit less peachy pinky.

I got feedback that the foundation color for Saif looked very natural and that the sideburns looked quite natural as well when on stage, also, people commented on how Sarah looked like she was evil of somewhat which is good since it shows that the make-up is giving it's desired effect on people. However, people did comment on Saif's moustache which I will make better for the final performance and I will spend more time on it for the final performance like suggested. Overall this make-up rehearsal went quite well for me and I was able to test all of my designs under the lighting of the stage as well and so now I am able to succesfully create the final designs for our final performance next week.