Have you ever had a copilot users and a thing you can't do to congratulations of all users? Well, I had a thing with a job, see if it's done. Here's the first paragraph.
That's the way of the first copilot and a round of all of the humans, are the best way to do. AI chat such as ChatGPT, or copilot, makes them really close. That's 33 days left premium for teams and copilot is a chat sharing for all of the children. Here, there is a way to do: Er. 1: How did you get there? This is called a critter. Er. 2: It's a way you can't say is nothing. It would be really amazing. Er. 3: That's a thank of you and you can take a copilot of it, it's a way of speaking with it. Here's a way of the chat copilot, footballs, basketballs, tennisballs, cricketballs, and etc.
The first paragraphs knowns as AI. Here's a buch of different ways you can't known as a second paragraph.
The spiclaze of the game known as the AI what, known as copilot, such as ChatGPT. Here's the AI chat: Say "Hello!" to get an AI and the AI say "How about you?" You say "What's your name?" AI say "My name is a [name] thingy to help you to keep understand for some reasons. Here's a talk about it: It's a first way, and a copilot chat give you some reasons, pictures, videos, and more things with the ends. Here, it's the end. Here's the second thing with the chat copilot, footballs, basketballs, tennisballs, cricketballs, and etc.
The second paragraph is also the AI, but, the third paragraph was not the AI thingy. The third paragraph is a buch of all different things that are known as a first paragraph.
Copilot chat is a way of speaking such as Microsoft 365 copilot and it's a way of it. The capilatzied of all the ways of speaking such as "Hey, nice to see you. What's new?" He says "I'm new to see that it's a great idea." So he says, it's a best thing to do with chat copilot. The layers of the things of here as such as "Say?" or the ways. Here, it's the end. Here's the second thing with the chat copilot, footballs, basketballs, tennisballs, cricketballs, and etc.
The fourth paragraph is NOT a chat Copilot. It's in the classroom!
Here in our classroom, WE SAY...
"How can I improve?"
"Let me try a different way."
"Mistakes are part of learning."
"Have I done my best work?"
"Learning takes time."
"How can we learn from one another?"
"I like a challenge."
"My effort and altitude are everything."
The fourth paragraph does not describe the AI. Here's the fifth paragraph.
You can create an image, simplify the topic, write a first draft, design a logo, predict a future, improve writing, improve communication and draft an email of all by copilot.
That's it. The end.
a You cant be reserved
DNA is a double stranded molecule that stores the genetic code needed for the development function of all living things. It's sequence of nitrogenous bases (A,T,C,G) codes for proteins by determining the order of amino acids. DNA is essential as it provides the instructions for making proteins which control the cell function.
tRNA, transfer RNA, is a small molecule that helps decode the mRNA sequence during translation. Each tRNA carries a specific amino acid that has an anticodon that matches a complementary codon on the mRNA strand. This ensures that amino acids are added in the correct order to form a polypeptide, making tRNA essential for accurate protein synthesis.
mRNA, or messenger RNA, is a single stranded molecule that plays a key role in gene expression by carrying out the genetic code from the DNA in the nucleus to ribosomes in the cytoplasm. It's sequence of bases are read in codons, which determine the order of amino acids during translation to build a polypeptide. This makes mRNA essential for protein production, as it allows the information in DNA to be used to make proteins that carry out functions.
Protein synthesis is the process where cells build proteins based on the instructions encoded in DNA. It involves transcription, where mRNA is made complementary to the DNA template strand, and translation, where tRNA uses the mRNA to assemble amino acids into a polypeptide.
A metabolic pathway is a series of enzyme controlled reactions where the product of one chemical reaction is the reactant for the next. The enzymes are made during protein synthesis and the instructions to make a specific enzyme are on the DNA. There can be as little as 2 steps or hundreds of steps depending on how complex the process is. The basic formula is that gene 1 carries the instructions to make enzyme 1 which converts substrate A into an intermediate molecule. Gene 2 then carries the instructions to make enzyme 2 which converts the intermediate into the product (final molecule). If gene 1 has a mutation and enzyme 1 can't work, then substrate A cannot be converted into the intermediate molecule therefore, the product will not be produced. Substrate A will then accumulate. If gene 2 has a mutation and enzyme 2 can't work, the intermediate cannot be converted into the product. The intermediate with then accumulate. Any accumulation or product not being produced can have serious effects on the cell or organism especially is that product is essential for survival.
Практичне застосування асертивності виходить далеко за рамки простих прохань чи відмов; воно стосується вирішення конфліктів та здатності витримувати емоційний дискомфорт. Справжня асертивність вимагає мужності, оскільки вона часто передбачає конструктивну конфронтацію – ситуацію, якої пасивні люди намагаються уникнути за будь-яку ціну. На відміну від агресивного підходу, де мета – "перемогти" опонента, або пасивного, де мета – "втекти", асертивний підхід має на меті "вирішити" проблему, зберігши при цьому повагу до обох сторін. Це означає вміння активно слухати точку зору іншої людини, підтверджувати її почуття (що не означає погоджуватися з її позицією), а потім чітко і спокійно викладати свою власну позицію та шукати взаємовигідне рішення. Однією з найскладніших навичок у цьому процесі є вміння витримувати мовчання та спокійно реагувати на захисні реакції іншої людини (наприклад, гнів чи образу), не відступаючи від своєї позиції та не переходячи в агресію у відповідь. Це вимагає високого рівня емоційної регуляції та впевненості у своєму праві на власну думку.
Важливо також розуміти, що асертивність не є маніпуляцією. Мета асертивності – чесність і прозорість, тоді як мета маніпуляції – отримати бажане прихованими, непрямими методами, часто граючи на почутті провини чи страху іншої людини. Асертивність є культурно залежною; те, що вважається прийнятно асертивним в одній культурі (наприклад, пряма відмова), може сприйматися як грубість в іншій, більш колективістській культурі, де пріоритетом є гармонія в групі. Тому ефективна асертивність вимагає також соціального інтелекту та здатності адаптувати свій стиль комунікації до контексту, не втрачаючи при цьому своєї автентичності. В кінцевому підсумку, асертивність – це не одноразова техніка, а життєва філософія. Це заява про те, що ви поважаєте себе достатньо, щоб бути видимим і почутим, і водночас поважаєте інших достатньо, щоб надати їм таке ж право. Це безперервний процес навчання, який будує не лише здорові стосунки, але й, що найважливіше, міцну, здорову та чесну взаємодію із самим собою.
Асертивність — це фундаментальна комунікативна навичка та, водночас, життєва позиція, яка полягає у здатності людини чітко, впевнено та з повагою висловлювати свої думки, почуття, потреби та переконання, водночас не порушуючи права та гідність інших людей. Це здатність відстоювати себе та свої інтереси у прямий, але неагресивній формі. Асертивність часто описують як "золоту середину" на спектрі комунікативних стилів, що лежить між двома неконструктивними крайнощами: пасивністю та агресивністю. Пасивна поведінка характеризується уникненням конфліктів будь-якою ціною, нездатністю сказати "ні", придушенням власних потреб та почуттів заради задоволення інших. Це призводить до накопичення внутрішньої образи, тривоги та втрати самоповаги, оскільки людина постійно нехтує власними правами. З іншого боку, агресивна поведінка полягає у відстоюванні своїх прав шляхом домінування, залякування, приниження або ігнорування прав та почуттів інших. Хоча агресія може принести короткостроковий результат, вона неминуче руйнує стосунки та створює атмосферу ворожості. Асертивність же пропонує третій шлях: шлях взаємної поваги.
В основі асертивності лежить глибоке переконання у власній самоцінності та у цінності іншої людини. Асертивна людина визнає, що вона має право на власні думки (навіть якщо вони відрізняються від думок більшості), право на свої почуття (і на їх вираження), право на встановлення власних пріоритетів та право говорити "ні" без почуття провини. Ключовим інструментом асертивної комунікації є використання "Я-повідомлень" замість "Ти-повідомлень". Наприклад, замість того, щоб сказати "Ти ніколи мене не слухаєш!" (агресивне звинувачення), асертивна людина скаже: "Коли мене перебивають, я відчуваю розчарування, тому що мені важливо поділитися своєю думкою". Таке формулювання не атакує співрозмовника, а натомість чітко описує ситуацію, ваші почуття та ваші потреби, залишаючи простір для конструктивного діалогу. Асертивність також включає вміння приймати та надавати зворотний зв'язок (як позитивний, так і критичний) у спосіб, що не ранить, а допомагає розвитку.
Розвиток асертивності — це процес, який вимагає свідомості та практики. Він починається з самоусвідомлення: необхідно навчитися розпізнавати власні потреби, емоції та кордони. Багато людей, схильних до пасивності, настільки звикли ігнорувати свої потреби, що їм спершу потрібно заново з ними "познайомитися". Наступний крок – це практика встановлення кордонів. Це може бути щось просте, як-от ввічлива, але тверда відмова на прохання, яке ви не можете або не хочете виконувати, без довгих виправдань. Важливо розуміти, що асертивність не гарантує, що ви завжди будете отримувати те, що хочете. Інші люди все ще мають право сказати вам "ні". Однак асертивність гарантує, що ви будете почутими, що ваші потреби будуть заявлені, і що ви збережете самоповагу незалежно від результату. Переваги асертивності величезні: вона знижує рівень стресу (оскільки ви не накопичуєте образи), покращує якість стосунків (оскільки вони стають більш чесними та прозорими) і значно підвищує впевненість у собі та загальне задоволення життям.
Насилля, з точки зору соціальних наук та психології, є набагато ширшим поняттям, ніж просто фізична агресія. Всесвітня організація охорони здоров'я визначає насилля як навмисне застосування фізичної сили чи влади, погрози або фактичне, яке спрямоване проти себе, проти іншої особи, групи осіб чи спільноти, і яке або призводить, або має високу ймовірність призвести до тілесних ушкоджень, смерті, психологічної травми, вад розвитку або депривації. Це визначення є ключовим, оскільки воно включає не лише очевидні фізичні дії, але й погрози та застосування влади, що призводить до шкоди. Таким чином, насилля поділяється на різні форми: фізичне (побиття, використання зброї), психологічне або емоційне (залякування, приниження, маніпуляції, ізоляція), сексуальне (будь-який сексуальний акт без згоди) та економічне (контроль над фінансами, заборона працювати, позбавлення ресурсів). Розуміння цих форм є критично важливим, оскільки психологічне та економічне насилля може бути таким же руйнівним, як і фізичне, хоча його наслідки часто є менш видимими для оточуючих і складнішими для доведення.
Психологічні та соціологічні теорії намагаються пояснити коріння насилля, і більшість сходиться на тому, що це складний біопсихосоціальний феномен. Не існує єдиного "гену насилля". Натомість, це результат взаємодії багатьох факторів. Біологічні фактори можуть включати особливості функціонування мозку (наприклад, активність мигдалеподібного тіла, що відповідає за страх і агресію, та недостатній контроль з боку префронтальної кори), а також вплив гормонів. Психологічні фактори включають особистісну історію, особливо досвід, отриманий у дитинстві. Теорія соціального навчання, розроблена Альбертом Бандурою, переконливо демонструє, що агресивна поведінка часто є набутою. Діти, які спостерігають за насиллям у родині або в медіа, можуть засвоювати його як прийнятний спосіб вирішення конфліктів. Соціальні фактори, такі як бідність, безробіття, соціальна нерівність та доступність зброї, створюють середовище, в якому насилля стає більш імовірним. Таким чином, насилля – це не просто індивідуальний вибір, а часто симптом глибших суспільних проблем.
Одним з найбільш руйнівних аспектів насилля є його здатність до самовідтворення, відома як "цикл насилля" або мі поколіннєва передача травми. Дослідження чітко показують, що діти, які стали свідками або жертвами насилля в сім'ї, мають значно вищий ризик стати або жертвами, або кривдниками у дорослому житті. Це відбувається не тому, що вони "погані" люди, а через засвоєні моделі поведінки, нездатність по-іншому регулювати емоції та вирішувати конфлікти, а також через глибоку психологічну травматизацію. Насилля порушує базове відчуття безпеки та довіри до світу. Наслідки для жертв є довготривалими і можуть включати посттравматичний стресовий розлад (ПТСР), депресію, тривожні розлади та проблеми з формуванням здорових стосунків. На societalьному рівні, насилля створює культуру страху, руйнує соціальний капітал і вимагає величезних ресурсів для ліквідації наслідків, замість того, щоб ці ресурси спрямовувалися на розвиток.
Окрім прямого міжособистісного насилля, існує менш очевидна, але не менш руйнівна форма – структурне насилля. Цей термін, введений соціологом Йоханом Ґалтунґом, описує спосіб, у який соціальні структури, інститути та політики завдають шкоди певним групам людей, позбавляючи їх базових потреб та можливостей. Структурне насилля є непрямим; у нього немає одного конкретного кривдника, оскільки воно вбудоване в саму "тканину" суспільства. Прикладами можуть бути системи, що увічнюють бідність, нерівний доступ до якісної освіти та охорони здоров'я, дискримінаційні закони або економічна політика, яка систематично ставить у невигідне становище певні класи чи расові групи. Результатом структурного насилля є скорочення тривалості життя, вищий рівень захворюваності та обмежені життєві шанси. Це насилля є "тихим" і часто нормалізованим, але його наслідки є абсолютно реальними і вимірюваними. Визнання цієї форми насилля є ключовим для побудови справді справедливого та мирного суспільства.
a quick brown fox jumps over the lazy dog. a quick brown fox jumps over the lazy dog. a quick brown fox jumps over the lazy dog. a quick brown fox jumps over the lazy dog. a quick brown fox jumps over the lazy dog.
The cool evening air drifted softly across the field, carrying the faint smell of rain. In the distance, crickets chirped, and the moon rose bright and steady, lighting the quiet night with a gentle silver glow.
The warm morning light spilled gently through the curtains, waking the quiet room. Outside, the trees swayed slowly in the soft breeze, and a bird began to sing, marking the calm start of another peaceful day.
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Introduction:
My group’s chosen stimulus was the quote “never let the truth get in the way of a good story” by Mark Twain and our chosen practitioner was “Frantic Assembly”. For our piece our aim was to educate the audience to the inhumane treatment of women within mental asylums in the 19th century, as well as show how many of the more disturbing parts of history are often forgotten or deliberately left out. As an acting candidate I played the characters of Grace Marks, the Nurse and was also a member of the ensemble.
Section 1:
Throughout the performance I played Grace Marks, a real historical figure who was extremely misunderstood and who had been confined to an asylum after being wrongfully accused of murder. The role of my character was to help the audience understand that not everyone deserved to be treated the way they were. My intention was for the audience to connect emotionally with my character and to recognise the cruelty and injustice she endured both inside and outside the asylum.
Through my performance, I wanted to highlight her vulnerability and show how society’s harsh judgement contributed to her suffering. In order to achieve this and to ensure that the audience connected with my character I used controlled facial expressions, starting with a tense and downcast look to convey fear and vulnerability which later progressed to looking more angry as she reflected on the injustice of her treatment. Vocally, I began with a quiet, trembling tone to show her nervousness and fragility, allowing my voice to become shakier and more strained to convey her emotional suffering. My vocal choices, including variations in tone and pacing, highlighted the character’s awareness and emotional intensity, allowed the audience to fully grasp her frustration and the injustice she faced. Furthermore, in terms of physicality I adopted a closed, hunched posture and small, hesitant movements to emphasise her isolation, using sudden bursts of energy only when her emotions overwhelmed her. This posture also reflected her background as a servant who was used to being looked down upon and lacked confidence.
I developed this interpretation during my character research, particularly through reading Alias Grace by Margaret Atwood, a novel that blends fact and fiction to explore Grace Marks’ story. The book helped me understand her as a complex and misunderstood individual rather than simply a victim. Which influenced my performance by encouraging me to show both her vulnerability and strength through controlled movement, restrained emotion, and moments of stillness that reflected her inner conflict. In addition to this my character served as a contrast to the other 3 main characters of the play as she still maintained enough of her sanity and composure to appear enraged and understand the gravity of her situation. Additionally, while the other mental patients’ scenes were presented as flashbacks, my scenes involved direct address to the audience, which allowed me to communicate her mistreatment more personally and engage the audience emotionally.
As well as playing the role of Grace Marks I also acted as the Nurse in select scenes. The Nurse was a sadistic character whose purpose within the performance was to call attention to the cruelty that mental asylum patients faced at the hands of the nurses. Whilst playing this character my objective was for the audience to be simultaneously shocked and horrified at the Nurse’s dreadful treatment of those who she was supposed to be helping. When playing the Nurse I successfully communicated her menacing nature by keeping a closed-off, dominant body language and used sharp, angular gestures and excessive eye contact. Additionally, I used a dominant, bossy, and directive tone of voice that implied that I was in control and did not value input from others and I ensured that I had raised volume to express intimidation. In terms of my expressions I decided to furrow my eyebrows to ensure that they were drawn together and lowered, creating an intense, angry, stern look and I kept a rigid back with perfect posture.
Section 2
A successful moment in my piece was the opening scene where I effectively demonstrated the nervous, intense emotions of my character with the repetition of the exclamation “I didn’t do it”. On this line I emphasised “didn’t” which intensifies the statement and made my character’s denial more forceful and made sure that my diction was precise so that the audience could clearly understand my lines.. This scene began with all 4 main characters standing on a bare stage together with a glaring, bright white spotlight on the characters. Here we utilised the Frantic Assembly technique of choral repetition/ensemble work, which is where a group repeats the same lines or actions together, often overlapping, to create rhythm, tension, or a collective emotional effect. However, we slightly modified this by having the different characters repeat different lines and gestures which related to their situation and why they were imprisoned within the asylum.
I felt this moment worked particularly well because the overlapping dialogue and movements heightened the intensity of the scene, engaged the audience and made the varying emotions clear. To distinguish my character and highlight her fragile emotional state I projected my voice loudly whilst keeping a stressed, desperate tone and a fast pace and strained it in order to communicate how she had to constantly defend herself and was fearful. Additionally, I allowed my voice to trail off at moments to convey exhaustion and hopelessness. To show my character’s despairing state I slumped my shoulders and collapsed my chest inwards to reveal how she was carrying a significant emotional burden. My gesture was presenting my hands as if to show that they were clean of blood whilst also mimicking getting handcuffed. I felt that this was successful because it gave the effect that I was defending myself to the audience whilst simultaneously defending myself to the law. My facial expression was one of desperation and I also furrowed my eyebrows and squinted my eyes to express my fear and nervous state. This showed my character as wretched and revealed how she was scared of what would happen once she was in the asylum. This was efficacious because it implied to the audience that there were many rumours and stories about the cruelty and disturbing nature of the asylum. Furthermore, I kept my voice at a slow tempo and a slightly higher pitch so that it was clear that my character was distressed but my words were still clear despite the chaotic overlapping of statements.
Although, a moment which I felt could have gone better was a scene where we used the Frantic Assembly technique of Round-By-Throughs. In this scene the character of Nelly Bly, the journalist, was reading out a journal entry which she had written describing the asylum and whenever she mentioned a character they would rise from where they were sitting and would do a round-by-through with her. Even though the scene was successful in showing how time was passing in the asylum and contributed to our artistic aim of highlighting the disturbing treatment of women within an asylum, I felt I could have done better in this scene. In the scene I was soft and gentle with my movements to show how I was not like everyone expected me to be, however I feel like this could have been more successful if I had shown closer proxemics to Nelly and had held eye contact with her. I think that the eye contact would have been greatly effective because it would have created more connection between the two characters as they both have their sanity more intact than the other characters and have a shared aim of escaping the mental asylum. Moreover, I neglected to consider my gait which could have been improved if I had walked quietly and in a straight line so as not to disturb anyone or risk unnecessary punishment whilst having a fearful expression on my face . This would have been more effective as it would have communicated to the audience how much fear had been instilled into the patients that they are even afraid to walk too loudly as they are afraid of disturbing the nurses. Additionally I think that the use of different levels would have elevated the performance showing that all of the different characters had different experiences and different stories.
Another aspect of the performance which was successful was my characterisation. I received feedback from the audience that throughout the piece my characterisation was great both whilst I was speaking and needed in a scene and whilst I was sat on the side. A specific instance of this was during a scene where the characters were seated performing actions which communicated their daily lives in the asylum. Despite the fact that there were no lines in this scene I made sure that the audience could easily interpret my character. My characterisation was that my character was furious at the injustice which she faced so I kept an angry facial expression. However she was also vulnerable and struggled from being so isolated from the outside world and so I kept a hunched posture revealing how she was scared of all of the hysteria and antics going on around her.
Section 3
As previously stated my group’s chosen stimulus was “Never let the truth get in the way of a good story” by Mark Twain. This stimulus encouraged us to think about how the uglier truth can often get covered up and how many more horrible parts of history are not often public knowledge. Thus, the stimulus inspired us to make a piece which explored the subject of Victorian mental asylums and specifically how many women were confined to them for groundless reasons for example; being intelligent, overly sexual behaviour, disagreement with husbands, novel reading and many more reasons. In particular we focused on the stories of four real women in history who were unjustly imprisoned and used the Frantic Assembly techniques such as Select Deletes in order to do so. This is because I felt that it would be best to communicate the high emotions of such poignant stories through physical theatre and that it would be best to support our piece which was a serious drama.
One specific moment where physical theatre was essential to our performance was a flashback scene where the character of Rose Williams was reflecting on her time
Another instance of Frantic Assembly use was a scene which used frantic assembly techniques to communicate the atmosphere and environment of the mental asylum effectively. In this scene we aimed to both educate the audience on mental asylums and the harsh treatment but also provoke shock and horror about how patients would be treated. Within this scene we used the Frantic Assembly technique select delete to highlight the harsh nature and strict rules of the mental asylum by using a series of gestures which imitated actions you would use to wash or dry your hands I thought that this would be effective because it showed to the audience the sterile nature of the asylum. As well as this as nurses we all entered the stage staggered and began to tell the rules of the asylum. On my line “Patients are strictly prohibited from conversing within the washhouse. Failure to comply will result in six lashes” I kept a rigid straight back and perfect posture whilst speaking with a clipped monotonous voice.I also projected my voice loudly ensuring that it sounded like a strong command. This revealed how the nurse was a strict, sadistic character who liked to keep dominance over the patients. Moreover, overlapping lines create a sense of chaos and tension which was perfect to show how the patients were overwhelmed by the sheer number of rules and punishments. This scene lined up with our intention for the piece as it communicated to the audience both the cruel character of the nurses and simultaneously demonstrated the strict rules of the mental asylum and how patients would be treated despicably for little to no reason at all. This scene ended up being extremely successful as I received feedback from several people in the audience that they were unaware that patients would have been subject to such strict rules in the asylum.
Introduction:
My group’s chosen stimulus was the quote “never let the truth get in the way of a good story” by Mark Twain and our chosen practitioner was “Frantic Assembly”. For our piece our aim was to educate the audience to the inhumane treatment of women within mental asylums in the 19th century, as well as show how many of the more disturbing parts of history are often forgotten or deliberately left out. As an acting candidate I played the characters of Grace Marks, the Nurse and was also a member of the ensemble.
Section 1:
Throughout the performance I played Grace Marks, a real historical figure who was extremely misunderstood and who had been confined to an asylum after being wrongfully accused of murder. The role of my character was to help the audience understand that not everyone deserved to be treated the way they were. My intention was for the audience to connect emotionally with my character and to recognise the cruelty and injustice she endured both inside and outside the asylum.
Through my performance, I wanted to highlight her vulnerability and show how society’s harsh judgement contributed to her suffering. In order to achieve this and to ensure that the audience connected with my character I used controlled facial expressions, starting with a tense and downcast look to convey fear and vulnerability which later progressed to looking more angry as she reflected on the injustice of her treatment. Vocally, I began with a quiet, trembling tone to show her nervousness and fragility, allowing my voice to become shakier and more strained to convey her emotional suffering. My vocal choices, including variations in tone and pacing, highlighted the character’s awareness and emotional intensity, allowed the audience to fully grasp her frustration and the injustice she faced. Furthermore, in terms of physicality I adopted a closed, hunched posture and small, hesitant movements to emphasise her isolation, using sudden bursts of energy only when her emotions overwhelmed her. This posture also reflected her background as a servant who was used to being looked down upon and lacked confidence.
I developed this interpretation during my character research, particularly through reading Alias Grace by Margaret Atwood, a novel that blends fact and fiction to explore Grace Marks’ story. The book helped me understand her as a complex and misunderstood individual rather than simply a victim. Which influenced my performance by encouraging me to show both her vulnerability and strength through controlled movement, restrained emotion, and moments of stillness that reflected her inner conflict. In addition to this my character served as a contrast to the other 3 main characters of the play as she still maintained enough of her sanity and composure to appear enraged and understand the gravity of her situation. Additionally, while the other mental patients’ scenes were presented as flashbacks, my scenes involved direct address to the audience, which allowed me to communicate her mistreatment more personally and engage the audience emotionally.
As well as playing the role of Grace Marks I also acted as the Nurse in select scenes. The Nurse was a sadistic character whose purpose within the performance was to call attention to the cruelty that mental asylum patients faced at the hands of the nurses. Whilst playing this character my objective was for the audience to be simultaneously shocked and horrified at the Nurse’s dreadful treatment of those who she was supposed to be helping. When playing the Nurse I successfully communicated her menacing nature by keeping a closed-off, dominant body language and used sharp, angular gestures and excessive eye contact. Additionally, I used a dominant, bossy, and directive tone of voice that implied that I was in control and did not value input from others and I ensured that I had raised volume to express intimidation. In terms of my expressions I decided to furrow my eyebrows to ensure that they were drawn together and lowered, creating an intense, angry, stern look and I kept a rigid back with perfect posture.
Section 2
A successful moment in my piece was the opening scene where I effectively demonstrated the nervous, intense emotions of my character with the repetition of the exclamation “I didn’t do it”. On this line I emphasised “didn’t” which intensifies the statement and made my character’s denial more forceful and made sure that my diction was precise so that the audience could clearly understand my lines.. This scene began with all 4 main characters standing on a bare stage together with a glaring, bright white spotlight on the characters. Here we utilised the Frantic Assembly technique of choral repetition/ensemble work, which is where a group repeats the same lines or actions together, often overlapping, to create rhythm, tension, or a collective emotional effect. However, we slightly modified this by having the different characters repeat different lines and gestures which related to their situation and why they were imprisoned within the asylum.
I felt this moment worked particularly well because the overlapping dialogue and movements heightened the intensity of the scene, engaged the audience and made the varying emotions clear. To distinguish my character and highlight her fragile emotional state I projected my voice loudly whilst keeping a stressed, desperate tone and a fast pace and strained it in order to communicate how she had to constantly defend herself and was fearful. Additionally, I allowed my voice to trail off at moments to convey exhaustion and hopelessness. To show my character’s despairing state I slumped my shoulders and collapsed my chest inwards to reveal how she was carrying a significant emotional burden. My gesture was presenting my hands as if to show that they were clean of blood whilst also mimicking getting handcuffed. I felt that this was successful because it gave the effect that I was defending myself to the audience whilst simultaneously defending myself to the law. My facial expression was one of desperation and I also furrowed my eyebrows and squinted my eyes to express my fear and nervous state. This showed my character as wretched and revealed how she was scared of what would happen once she was in the asylum. This was efficacious because it implied to the audience that there were many rumours and stories about the cruelty and disturbing nature of the asylum. Furthermore, I kept my voice at a slow tempo and a slightly higher pitch so that it was clear that my character was distressed but my words were still clear despite the chaotic overlapping of statements.
Although, a moment which I felt could have gone better was a scene where we used the Frantic Assembly technique of Round-By-Throughs. In this scene the character of Nelly Bly, the journalist, was reading out a journal entry which she had written describing the asylum and whenever she mentioned a character they would rise from where they were sitting and would do a round-by-through with her. Even though the scene was successful in showing how time was passing in the asylum and contributed to our artistic aim of highlighting the disturbing treatment of women within an asylum, I felt I could have done better in this scene. In the scene I was soft and gentle with my movements to show how I was not like everyone expected me to be, however I feel like this could have been more successful if I had shown closer proxemics to Nelly and had held eye contact with her. I think that the eye contact would have been greatly effective because it would have created more connection between the two characters as they both have their sanity more intact than the other characters and have a shared aim of escaping the mental asylum. Moreover, I neglected to consider my gait which could have been improved if I had walked quietly and in a straight line so as not to disturb anyone or risk unnecessary punishment whilst having a fearful expression on my face . This would have been more effective as it would have communicated to the audience how much fear had been instilled into the patients that they are even afraid to walk too loudly as they are afraid of disturbing the nurses. Additionally I think that the use of different levels would have elevated the performance showing that all of the different characters had different experiences and different stories.
Another aspect of the performance which was successful was my characterisation. I received feedback from the audience that throughout the piece my characterisation was great both whilst I was speaking and needed in a scene and whilst I was sat on the side. A specific instance of this was during a scene where the characters were seated performing actions which communicated their daily lives in the asylum. Despite the fact that there were no lines in this scene I made sure that the audience could easily interpret my character. My characterisation was that my character was furious at the injustice which she faced so I kept an angry facial expression. However she was also vulnerable and struggled from being so isolated from the outside world and so I kept a hunched posture revealing how she was scared of all of the hysteria and antics going on around her.
Section 3
As previously stated my group’s chosen stimulus was “Never let the truth get in the way of a good story” by Mark Twain. This stimulus encouraged us to think about how the uglier truth can often get covered up and how many more horrible parts of history are not often public knowledge. Thus, the stimulus inspired us to make a piece which explored the subject of Victorian mental asylums and specifically how many women were confined to them for groundless reasons for example; being intelligent, overly sexual behaviour, disagreement with husbands, novel reading and many more reasons. In particular we focused on the stories of four real women in history who were unjustly imprisoned and used the Frantic Assembly techniques such as Select Deletes in order to do so. This is because I felt that it would be best to communicate the high emotions of such poignant stories through physical theatre and that it would be best to support our piece which was a serious drama.
One specific moment where physical theatre was essential to our performance was a flashback scene where the character of Rose Williams was reflecting on her time
Another instance of Frantic Assembly use was a scene which used frantic assembly techniques to communicate the atmosphere and environment of the mental asylum effectively. In this scene we aimed to both educate the audience on mental asylums and the harsh treatment but also provoke shock and horror about how patients would be treated. Within this scene we used the Frantic Assembly technique select delete to highlight the harsh nature and strict rules of the mental asylum by using a series of gestures which imitated actions you would use to wash or dry your hands I thought that this would be effective because it showed to the audience the sterile nature of the asylum. As well as this as nurses we all entered the stage staggered and began to tell the rules of the asylum. On my line “Patients are strictly prohibited from conversing within the washhouse. Failure to comply will result in six lashes” I kept a rigid straight back and perfect posture whilst speaking with a clipped monotonous voice.I also projected my voice loudly ensuring that it sounded like a strong command. This revealed how the nurse was a strict, sadistic character who liked to keep dominance over the patients. Moreover, overlapping lines create a sense of chaos and tension which was perfect to show how the patients were overwhelmed by the sheer number of rules and punishments. This scene lined up with our intention for the piece as it communicated to the audience both the cruel character of the nurses and simultaneously demonstrated the strict rules of the mental asylum and how patients would be treated despicably for little to no reason at all. This scene ended up being extremely successful as I received feedback from several people in the audience that they were unaware that patients would have been subject to such strict rules in the asylum.
world. people Oscar known "The Dorian "The Importance Earnest".
The environment in which a child grows up plays a vital role in shaping their character and future. In today’s fast-changing world, many people believe that life in a big city offers more opportunities for children to learn and succeed. However, I think the countryside provides a more nurturing environment that supports healthy growth and emotional balance.
First and foremost, the countryside provides children with direct exposure to nature and unstructured outdoor play. They can run freely, explore forests, and breathe clean air, which helps them stay physically active and mentally relaxed. Unlike the hectic pace of city life, rural areas provide serene surroundings that reduce stress and foster emotional stability. This peaceful environment supports healthy growth and a balanced lifestyle.
Moreover, countryside life teaches accountability and teamwork. Many children help with farming or caring for animals, which builds discipline and empathy. These experiences prepare them for real-life challenges and help them understand the value of diligence. As they grow, they become considerate and cooperative individuals who contribute positively to their communities.
In conclusion, while cities may offer more activities and services, the countryside provides deeper life experiences. It helps children cultivate strong values and a harmonious mindset. For these reasons, I believe that growing up in the countryside is better for children’s overall development.
ইসরায়েলের সঙ্গে টাটার সম্পর্ক শূন্য থেকে হয়নি। এটি ভারতের পররাষ্ট্র এবং প্রতিরক্ষা নীতির করপোরেট রূপান্তরের প্রতিফলন। ১৯৯০-এর দশক থেকে, বিশেষ করে নরেন্দ্র মোদির আমলে, ভারত নীরব কূটনীতি থেকে বের হয়ে এসে ইসরায়েলের সঙ্গে পূর্ণাঙ্গ কৌশলগত জোট গড়ে তুলেছে। আজ ভারত ইসরায়েলি অস্ত্রের সবচেয়ে বড় ক্রেতা—ইসরায়েলের প্রতিরক্ষা রপ্তানির ৪০–৪৫ শতাংশ ভারতের কাছে যায়।
ভারত–ইসরায়েলের যৌথ প্রকল্পগুলোর মধ্যে রয়েছে বারাক-৮ ক্ষেপণাস্ত্র প্রকল্প, যা আংশিকভাবে টাটার কারখানায় সংযোজিত; ভারত ইসরায়েল থেকে ড্রোন ও অ্যান্টি ট্যাংক ক্ষেপণাস্ত্র, যেসব অস্ত্র কেনে যা ফিলিস্তিনিদের বিরুদ্ধে ব্যবহৃত হয়। ভারতের কাশ্মীরে ব্যবহৃত অনেক নজরদারি ব্যবস্থাও এই সামরিক নেটওয়ার্কের অংশ। এভাবে একটি দখলদার শক্তি অপর দখলদার শক্তির সঙ্গে যুক্ত হয়। এ প্রক্রিয়ায় হিন্দুত্ব ও জায়নিজম মতাদর্শগতভাবে মিলে যায়।
উভয়ই ‘নিরাপত্তা’ ও ‘সন্ত্রাসবিরোধী’ বক্তব্যকে আগ্রাসন ও দখলদারির যুক্তি হিসেবে ব্যবহার করে। উভয়েই নজরদারি ও জাতিগত নিয়ন্ত্রণকে স্বাভাবিকীকরণ করে। সুতরাং টাটার এই সম্পর্ক শুধু বাণিজ্য নয়—এটি করপোরেট পুঁজি, রাষ্ট্রীয় শক্তি ও মতাদর্শের সম্মিলিত প্রকল্প।
When my love swears that she is made of truth, I do believe her, though I know she lies, That she might think me some untutored youth, Unlearned in the world's false subtleties. Thus vainly thinking that she thinks me young, Although she knows my days are past the best, Simply I credit her false-speaking tongue: On both sides thus is simple truth suppressed. But wherefore says she not she is unjust? And wherefore say not I that I am old? Oh, love's best habit is in seeming trust, And age in love loves not to have years told. Therefore I lie with her and she with me, And in our faults by lies we flattered be.
Have you ever had a copilot users and a thing you can't do to congratulations of all users? Well, I had a thing with a job, see if it's done. Here's the first paragraph.
That's the way of the first copilot and a round of all of the humans, are the best way to do. AI chat such as ChatGPT, or copilot, makes them really close. That's 34 days left premium for teams and copilot is a chat sharing for all of the children. Here, there is a way to do: Er. 1: How did you get there? This is called a critter. Er. 2: It's a way you can't say is nothing. It would be really amazing. Er. 3: That's a thank of you and you can take a copilot of it, it's a way of speaking with it. Here's a way of the chat copilot, footballs, basketballs, tennisballs, cricketballs, and etc.
The first paragraphs knowns as AI. Here's a buch of different ways you can't known as a second paragraph.
The spiclaze of the game known as the AI what, known as copilot, such as ChatGPT. Here's the AI chat: Say "Hello!" to get an AI and the AI say "How about you?" You say "What's your name?" AI say "My name is a [name] thingy to help you to keep understand for some reasons. Here's a talk about it: It's a first way, and a copilot chat give you some reasons, pictures, videos, and more things with the ends. Here, it's the end. Here's the second thing with the chat copilot, footballs, basketballs, tennisballs, cricketballs, and etc.
The second paragraph is also the AI, but, the third paragraph was not the AI thingy. The third paragraph is a buch of all different things that are known as a first paragraph.
Copilot chat is a way of speaking such as Microsoft 365 copilot and it's a way of it. The capilatzied of all the ways of speaking such as "Hey, nice to see you. What's new?" He says "I'm new to see that it's a great idea." So he says, it's a best thing to do with chat copilot. The layers of the things of here as such as "Say?" or the ways. Here, it's the end. Here's the second thing with the chat copilot, footballs, basketballs, tennisballs, cricketballs, and etc.
The fourth paragraph is NOT a chat Copilot. It's in the classroom!
Here in our classroom, WE SAY...
"How can I improve?"
"Let me try a different way."
"Mistakes are part of learning."
"Have I done my best work?"
"Learning takes time."
"How can we learn from one another?"
"I like a challenge."
"My effort and altitude are everything."
The fourth paragraph does not describe the AI. Here's the fifth paragraph.
You can create an image, simplify the topic, write a first draft, design a logo, predict a future, improve writing, improve communication and draft an email of all by copilot.
That's it. The end.
a You cant be reserved
Oui je crois que reprendre les apprendre et les cendres forment une rapide ronde de rouges roses
