Other Worlds – Young Actors

Facilitator & Copyright: Belinda Clarke (Lemair)

Focus: Physical theatre, improvisation, character creation, devising, and performance.

Outcome: An original ensemble performance featuring characters from imagined worlds.

The workshop culminates with the characters stepping into the same world and interacting in an improvised ensemble performance. Perfect for young creatives ready to push boundaries and dive into the unknown.

The program culminates with the characters stepping into the same world and interacting in an original, ensemble performance. Perfect for young creatives ready to push boundaries and dive into the unknown.

Please bring the following on your first day of class:

• Comfortable clothing suitable for movement (e.g. track pants, t-shirts)

• Water bottle

• Notebook and pen/pencil

• A folder or small binder to keep scripts and character notes

• Closed-toe shoes for movement (or be ready to work barefoot if indoors on safe flooring)

Character/Costume Items

Each student should bring a few costume pieces or accessories that could help shape their original character. These don’t need to be full outfits — think creative and suggestive, not literal. ALL IN A CLOTH BAG FOR DAY 3.

Examples:

• Cloaks, capes, scarves, robes

• Hats, headbands, hoods, masks (non-obstructive)

• Belts, arm cuffs, gloves, unusual jewellery

• Glasses, goggles, eye patches

• Boots or character shoes (if available and safe to move in)

• Items that can be layered or adapted rather than complex costumes are ideal.

Props (optional but encouraged)

Small, hand-held items that might inspire character behavior or world-building.

Examples:

• Trinkets, crystals, old keys, pouches, small boxes

• Toy tools, compasses, gadgets, futuristic-looking objects

• Scrolls, old books, symbolic objects

• Recycled materials that can be turned into “tech” or “artifacts”

Craft/Creation Materials

Basic materials will be supplied, but students are welcome to bring:

• Fabric scraps, ribbons, elastic, safety pins

• Cardboard, paper towel rolls, lightweight materials for prop-making

• Tape, string, paper, markers

• Face paint or costume makeup

All items should be clearly labelled with the student’s name.

Students should avoid valuable or fragile items.

Costumes and props will evolve with the process — the goal is to support creativity, not to create finished “sets” or outfits.

Suitable for everyone.

NOTE: THIS IS A PLAN ONLY AND SUBJECT TO CHANGE

Day 1 – Movement, Improvisation, and Play

Objectives

• Build ensemble connection

• Explore physical theatre techniques

• Begin improvisation and Meisner-based exercises

• Establish a sense of play and imagination

Activities

• Group warm-ups and movement games

• Improvisation exercises focused on presence, spontaneity, and physical expression

• Introduction to Meisner technique (repetition and truthful response)

• Imaginative exploration of invented environments and alien gestures

• Short improvised scenes in fantasy or science fiction settings

• Group discussion: characteristics of compelling characters

• Written prompt: begin drafting an original character idea to bring in tomorrow

Day 2 – Character Creation and Physical Expression

Objectives

• Develop original characters

• Use voice, movement, and gesture to define identity

• Explore relationships between characters

Activities

• Physical character-building using posture, movement, and spatial dynamics

• Voice and speech exercises to find character rhythms and tone

• Partner work: in-character interviews and dialogue improvisation

• Written character development: background, motivation, powers, flaws

• Begin experimenting with short scenes involving multiple characters

• Introduce visual references or props to support character design

• Students bring in one item (costume piece, object, or drawing) related to their character for the next day

Day 3 – Story Development and World Building

Objectives

• Establish the shared world of the story

• Define character relationships, tensions, and objectives

• Begin devising a cohesive narrative

Activities

• Ensemble discussion and drawing: map or define the world characters inhabit

• Improv-based group exercises: conflict, alliance, and discovery

• Small-group scene creation based on character needs and stakes

• Identify a central conflict or theme that connects all characters

• Workshop early versions of scenes with group feedback

• Assign small groups to begin shaping key moments or story beats for performance

Day 4 – Rehearsal and Refinement

Objectives

• Structure the story into a performance-ready format

• Block scenes, refine transitions, and clarify storytelling

• Strengthen ensemble coordination and clarity

Activities

• Warm-up in character and group energy exercises

• Rehearsal of devised scenes with blocking and notes

• Focus on vocal projection, spatial awareness, and timing

• Introduce any light, sound, or prop elements available

• Run-through of the full piece with feedback from facilitator and peers

• Refine opening and closing moments, transitions, and ensemble scenes

Day 5 – Final Rehearsal and Performance

Objectives

• Finalise the ensemble performance

• Present to invited audience

• Reflect on the creative process and celebrate outcomes

Activities

• Final warm-up and focus exercises

• Dress rehearsal with full transitions and ensemble participation

• Performance for invited guests (approximately 3:30–4:00)

• Group discussion and feedback

• Distribute certificates or mementos

• Reflection on process and next creative steps