A brief summary of my process in workshops and rehearsal: 
I will focus on my findings and review of the performance, Bloody Influencers, a one woman show comedy about influencer whose double life leaves an impact on her health, and she goes on a journey of finding something real in a world where everything she has is fake. 
I will sum up the rehearsal process of the performance, in which this play was created through the MA Acting for Stage and Screen classes at the University of East London. It was further developed through the Artist mentorship program ‘Project on A Bus’ and additional workshop hosted by East London Theatre Collective, such as clowning. Additional workshops in writing, improvising and comedy were the most significant during my process. However, the whole Festival program of 'Project on a Bus' supported the main development of the one woman show, Bloody Influencers. With information I gained from the workshops I would always look for the way to implement it in show creating. For example, in a writing workshop at UEL I learned that when looking for words to draft a script, to simply start writing freely without any form. Freewriting can free the writer from the ‘writer’s block’, by keeping things simple ‘starting with a rough idea, but without pre-planned details, a writer opens themself up to discovery and newfound inspiration’ (masterclass, 2021). Another main element of the ‘Project on A Bus’ workshops was showcasing and testing my material in front of a live audience. Among those workshops, the most influential was improvisation with another actor. Working with other actors, observing how they improvise on the theme I have chosen for my play, and reading the script in front of others for the first time helped develop the first showing of the performance. What these parts have in common is that there was an audience which gave me critical feedback. I discovered that as much as this is incredibly nerve wracking, sharing progress with others is the best learning process.  

An evaluation of your performance/live or filmed presentation: 

Even though I was creating a comedy, I wanted to create a play that makes people think about the impact of social media on mental health. In the post-performance survey, I received multiple responses from the audience about their thoughts including the following: 
‘This play made me think about the dangerous side of social media. Yes, technology is amazing because we can connect with friends from all over the world, and we can share stories from our lives with family that live far away, but it gets ugly when we crave social media for validation and self-worth. We tend to lose sight of important values, such as being humble, and caring for those around us’ (Appendix A, 2022). 
Even though I was creating a comedy I wanted to create a play that makes people think. In the post-performance survey, I received multiple responses from the audience about their thoughts including the following: ‘This play made me think about the dangerous side of social media. Yes, technology is amazing because we can connect with friends from all over the world, and we can share stories from our lives with family that live far away, but it gets ugly when we crave social media for validation and self-worth. We tend to lose sight of important values, such as being humble, and caring for those around us’ (Appendix A, 2022). 
This review showed that the play did not just leave an impact on the way the audience see Instagram influencers, but also encouraged them to think about contemporary social media and technology nowadays overall.  

· An account of which ideas from the literature review were most inspiring, helpful or relevant to your work: 

In order to create this play I read various research on social media, including dissertations about social media influencers. Thesr analysts were a great addition to my survey; one important idea was learning how people often see influencers as role models. According to Festinger’s Social Comparison Theory (1954), people engage in comparison in order to explore how they measure up against others’. Furthermore, the research shows people ‘engage with influencers due to their desire to change themselves and to become similar to the influencer or the desire for confirmation’ (Gajevski, 2019, p. 27). This is just an example of the relevant part of the research which allowed me to base my show on real findings. The dissertation about Social Media Influencers has been a text I kept coming back to, because it is extended research on the relevant topic and it covers some of the questions I asked in my survey in 2022, for example: ‘How’s your life ‘behind the camera’ different than what you show on the Instagram? Does making posts and being liked give you confidence?’ 
This is just an example of the relevant part of the research. The dissertation about Social Media Influencers has been a text I kept coming back to, because it is extended research on the relevant topic and it covers some of the questions I asked in my survey in 2022.  
Another important literature was Intermediality in Theatre and Performance: Definitions, Perceptions and Medial Relationships by Chiel Kattenbelt which helped me to understand intemediality and relationship between the arts and media. According to Kattenbelt ‘the arts and media should not be studied in their own historical developments and with their own rules and specifications, but rather in the broader context of their differences and co-relations.’ This is because the modern world is highly influenced by social media, ‘our contemporary culture has become a media culture, with all the performative features that this entails’ (Kattenbelt, 2008, p. 21).  
Because I worked on a comedy, and I had a lot of elements of the physical comedy that helped to build the character, I have found Wright’s ideas in Why is that so funny? particularly important. 
One of the basics is always having an intention, and the intention needs to be clear in physical comedy too. ‘It’s the impulse to move that’s the vital component of physical comedy and not the movement itself. (Wright, 2007, p. 23). Another reason why this book has been inspiring is because it is dealing with laughter, and what exactly is funny and why. Wright;s writing motivated me to try to evoke natural laughter, ‘visceral laugh’, the situation in the theatre which he describes as follows: ‘I believe it. But I also recognise preposterous behavior, so I feel free to laugh at you. This is what I call the visceral laugh’(Wright, 2007, p. 21). 
When it comes to comedy, Intermediality, surveys and any research on social media, the theory is there as knowledge that needs to be tested in practice. The insights and understanding Intemediality helped me to understand that in practice I need to interact with both projector and the audience to make it effective. I have performed the scene in several different ways and that way, in practice, I could confirm what works and how audience need to always feel engaged. In needs to be interplay, interaction between performer and the screen and in my play it became even more exciting when there was interaction between performer, screen and the audience.  
In terms of the comedy, I have learnt that pace is one of the most important factors. I rehearsed both by myself and with the director, but the best sense of the pace I would get when I had more audience members to try my material in front. In one of the sessions by David Jackson I have learnt I have to allow the joke ‘to land’ and ‘listen’ to the audience. When performing a one woman show it is very much a duologue between the audience and a performer as there are no other live performers. I also learnt how I need to be free with physical comedy and allow myself to use big movements and big gestures that help me portray the character. Also in my process overall, it was very important to have the director and have that fresh pair of eyes, someone to guide me and give me feedback.  

In the future I plan to work on performer’s awareness, improving the sense of interaction with the audience. This show brought to my attention how important this is, especially in a one-person show. A one-person show is the most challenging form and I thoroughly enjoyed that challenge and reward of conveying the whole story being the only person on the stage. It was particularly important to populate the story with other characters and voices which make Daisy’s world even more fulfilled. I want to develop the play into a longer story and continue to play with sense of the duration and pacing in the comedy. The whole process of making Bloody Influencers has been a great lesson, and next time I would be even braver to share my material even earlier than I did this time. The courage of this comes with experience. Another important lesson for me was that improvisation is one of the most effective ways for me to explore the material and character. It has also been important to try the versions of the script in front of an audience (which included other artists in the festival) and get feedback and guidance.  

An analysis of the importance of your findings: 
I have fulfilled the goal of creating an entertaining show, but also doing interesting research on portraying the doble world of the Instagram influencers through the comedy. My findings are that social media truly has a side that is sociological issue of the double world we live in. This is very relevant theme for the 21st century as a whole and, as a result, the show could have a future of touring, especially for a younger audience 16-30. Also, part of my research was to explore how comedy strengthens or jeopardies the ability to tackle the "double world" of an Instagram influencer as theme. According to the feedback comedy appeared to be an excellent way to approach the subject. One comment read: ‘loved the humour in the play, as it brought out the extremities that people go to show off their “perfect” lives online, and how silly it is when we really think about it’, ‘It felt as it made the topic more digestible’. Another person wrote: ‘Humour is a good way to keep the audience engaged’ (Appendix B, 2022). After finishing the website for the Bloody Influencers I am planning to develop the play into 40-60 minutes show. As I previously mentioned, with interaction with the audience being an important part of the comedy, I am planning to explore that further and introduce a fully interactive part where the audience can influence the show. This will require even more flexibility from the performer, and strong improvisational skills. I could explore Intemediality further and integrate the live camera in one part of the performance and see how that changes the acting and the story.  
I would like to go even more into detail to explore and portray how mental health can be affected in people who seem perfect on the outside. I would like to explore how the audience would respond to this; if they had the power to tell the influencer (performer) what to do. Marina Abramovic had gone possibly too far in Rhythm 0 when she gave the audience complete power: ‘The experience I drew from this piece was that in your own performances you can go very far, but if you leave decisions to the public, you can be killed’ (Graf, 2022). Certainly, I am planning to draw the line, but to experiment with the question: what would the audience do? This might give a further and more accurate reflection on the world we live in. How cruel or how kind would audience be to an Instagram influencer?  
Next, I would also like to explore the imaginative future of the influencers, potentially do research on how people think our lives are going to continue to be influenced by social media. There are many questions on this subject and different routes I can take when continuing to work on this show. The practice as research is a project that I can, and plan to, continue further through Bloody Influencers.