annotated biblio y2t2

Debord, Guy. The Society Of The Spectacle. New York: Zone Books, 1994. Print.

I referred to this book during two projects this term. Firstly during my personal project investigating choreography as a type of power and then in the cabaret week. Researching mass choreographies and dance trends evident in music videos linked to the idea of the Spectacle; an image-saturated and controlled/ mediated way of life seems an appropriate comparison or point of reference. Debord describes the obedience of people to the Spectacle, which I found to mirror my ideas of mass choreography as a means of controlling a population.

This book also aided the creation of my piece for the cabaret showcase. The world my short performance was set in links to Debord’s description of an ‘Intergrated Spectacle’, a recent manifestation of the Spectacle which has ‘irradiated into everything and has absolute control over production and over perception’. My character’s equalising of commodities, political stances and activists movements reflects this. The idea of ‘never enough’ and massive excess of unnecessary commodification, laid out by Debord in this book was illustrated in my performance through the listing of objects. The quality in quantity outlined by Debord as he writes about commodities was also nuanced through the large number of objects and items my character ticked off to be deemed ‘cool’ and ‘current’.

McDonough, Tom. Guy Debord And The Situationist International. Cambridge, Mass.: MIT Press, 2002. Print.

The creation of our short-form cabaret performance, during the week we spent with Marisa Carnesky, evolved from an exercise in which we critiqued a corrupt system of our choice through subversion. Marisa had explained that the nature of cabaret; transgressive with performances often politically engaged and challenging every day ideas and I felt I needed to get some more background information on subversive art forms.

This book helped me to understand the concept of ‘détournement’, a tool I used in creating my performance. I discovered that détournement performance can use a variation on previous work or ideas, resulting in work which is antithetical to the original, reusing some of the characteristic elements in the original (mimeses). In doing this, the images produced by the Spectacle get altered and subverted so the meaning opposes what was originally intended. From this research I was able to look into ‘Culture Jamming’, what some writers refer to as a present day détournement.

 I also learnt that the Situationists critiqued advanced capitalism, a theme present in my cabaret piece. After reading about the SI’s attack on the fake models advertised by the mass media, and Debord’s description of ‘spectacular rebellions’ (‘dissastisfaction itself became a commodity’) I made the choice to use the image of Vice, a stereotypically anti establishment media company to critique the trend-politics (this is the idea of ‘jumping on the bandwagon’ of a political movement or idea simply because it is ‘cool’ at the time).

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Statement of Goals y2 t2

-stay organised and self motivated; create a gantt chart to help

-frequently seek peer feedback and commentary

-use the skills of peers to my advantage

-don’t focus on the end product, instead on my learning process

-use a variety of sources including live performance

-develop practical film editing skills in adobe after effects

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draft casting assistant cv


To assist Casting Directors and be the main point of contact for agents, producers and directors for internal and external productions, representing the Casting Department. To make arrangements for casting sessions, liaise with agents, deal with correspondence and carry out other general office duties.


Setting up and co-ordinating casting sessions.
Dealing with general administrative tasks including replying to hundreds of actors, agents and presenters who write in on spec.
Sending out script breakdowns from a large database either via email or fax and dealing with and sorting the massive mailbag that this generates.
Communicating last minute changes promptly to all parties involved in casting sessions or offers. Dealing with actors booked who drop out at the last minute.
Dealing with late scripts or schedules – for example, when scenes come in for filming next day, it often means sending out last minute offers/scripts, some of which get refused.
Keeping files and databases up-to-date.
Some necessary visits to showcases during busy May & June Drama School period to help cover the number of students seen. You’ll also be expected to go to the theatre to broaden knowledge of acting talent.
To source young actors and hold sessions when appropriate.

To cover some casting sessions if required.




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Theatre Making Portfolio

Passenger 2013- Writing, choreography, visual design, sound design

“Leatherhead Performing Arts opened with Passenger, a new play by young writer and actress Rosie Lloyd, which depicts the personal responsibilities of modern youth within the establishment and its current social turmoil.”

Leatherhead Advertiser


Passenger Revisited 2015- Re-design

Recently I revisited  ‘Passenger’, a play I wrote a few years ago, to try to discover new ways it could be performed. In this re designing, I focused on costume and set. As the play is intended to be very physical, I styled the costumes to accommodate the nature of movement, researching Cirque Du Soleil designers.

To rework the set, I looked at the work of Katrin Brack, a German set designer. Amongst other styles, she used large foam blocks as set for a show about war. As the performance ran, the blocks got dirtier and chunks fell off and became more and more ragged. I really loved how the perishable nature of the set reflected the nature of the piece they were used in.

As Passenger consists of many scenes, broken apart by scenes on the London underground, I felt foam blocks could create a stylised yet appropriate set. Not only could they be moved and positioned by the performers, but they would have the ability to look hard at times (for example when they made the walls of the train and the building site), and also soft and squishy at times (when actors sat on them in the care home scene).


A leotard based on business men and women. The colours, black white and grey, emulate a suit while remaining quite abstract. The newspaper print presents ideas of information, fact and organisation.

A lifelike builder’s outfit and a stylised builders leotard. The fluorescent colours and reflective strips hint at a high visibility vest.

Looking at what colours we perceive as ‘old’. These colours are mostly muted. Browns, beiges and mauve all feature prominently.

Shapes are all very frumpy and rounded.

As it would be hard to create a ‘frumpy’ leotard, I instead looked at textures which would evoke ideas of age.





Totally Over You- Choreography, Visual Design, Sound Design Assistant Director

I worked as assistant director to Ian Ganderton-Norton for Totally Over You, written by Mark Ravenhill and performed by Leatherhead Performing Arts.

I was involved in set design choices, lights and costume. My main role was as choreographer for the opening sequence and the boy band performance. choreograph the opening movement piece and the boy band concert.


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Acting Portfolio

Spotlight Link

rose lloyd performer cv 2015 pdf


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Bibliography and Annotated Bibliography

Bibliography y2 t1 pdf


Annotated Bibliography y2 t1 pdf

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C1, sections 2 and 3

An outline of further independent research (2)

a critical account of the way in which the activities were developed in final piece (3)

c1-2 and 3 pdf

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