This summer was one of the most rewarding experiences of my life. From working with undergraduate/graduate students from all over the world, to learning from theatre professionals in Britain, to the beautiful setting of Magdalen College at the University of Oxford, everything was unforgettable. I cannot say that everything about the program met my expectations but the experience in general exceeded them. Although the program lasted a short but intensive four weeks, I feel as if I am more determined to work in the field of acting and I am sure it is the place for me. One thing that has left me confused is my love for Shakespearean classical acting and modern acting. My Shakespeare class was taught by the lovely Paola Dionisotti. My only complaint is that we barely were able to discover anything outside of the text. We spent so much time analyzing and researching that we were unable to find the characters physically and vocally in class until the final week. On the other hand, we started getting up and acting right off the bat in my Modern class with Ian Woolridge. We worked intensely on Pinter and Beckett. I feel as if their work is ingrained in me now. At the program, this issue caused me to have an internal battle of which area I should be focusing on. I had a heartbreaking few days where I thought I had lost my love for Shakespeare. That quickly dissipated and I have realized that all of the physical and vocal training I got outside of my Shakespeare class and at the program with other people enabled me to put it all together myself. That might be the most beneficial thing I learned—not just one person should influence your acting. You must ASK for the advice of multiple people and you must use all of the information and training they are giving you to make a method (according to John Barton and Jane Lapotaire, methods don’t exist.). One of the best techniques I learned was the 7 levels of tension, developed by Jacques Lecoq. My teacher, Mick Barnfather, allowed each student to fully experience each level personally. The tensions are numbered 1-7 and they are as followed Catatonic, the Californian, Neutral, the excited BADA student (or the Alert), Suspense, Passionate (there is a bomb in the room), and Tragic (the bomb has gone off). I have been able to adapt this to each monologue and character that I have worked on since then. It is eye-opening to see how your character would react in all different levels of tension. I have never felt more alive, free, and drained in one day! Finally, I must address my voice class because I was absolutely smitten with my professor Michael Hayden. He made me realize that your body, mind and voice are all in one. My voice climbed mountains with his training. Not only did I learn to appreciate how important the voice and body are, I learned that you need to adequate warm up and you need to take care of yourself. He gave me so many tricks to use to get myself prepared and we even got to sing!!! After every class, I felt as if I had learned loads and that I could do anything! Being sufficiently warmed up (which takes a lot more time than I ever thought) makes me feel like superwoman! I will forever thank him for that feeling! Overall, I would say that the experience was one that I do not regret. I know I would have created a more open line of communication with some of my professors to tell that what I was wanting or needing from the program that was not being filled. The traveling and theatre-watching experiencing was like non-other and everyone needs to go to London or Stratford just to see the theatre. I am most looking forward to sharing my new knowledge with my pupils and I hope that what I have learned at BADA has really made a difference in my own personal craft. I am thrilled to get back to school, audition and be able to use these new techniques. I am craving to act. CRAVING! To end this, I would like to thank BADA-the faculty, the other staff, the students, and the beautiful city of Oxford. This summer was one in a million and I am so glad to say that I am a BADA alumni.