Unit 1 from page to stage
- 2. From Page to Stage What is the Focus of the unit • The Focus of the unit is how a published script is brought to life for an audience. • The emphasis is on the original intention of the playwrite. NOT DEVISING
- 3. You will need to • Establish The Playwright’s intention • Establish the key features of the genre and related performance style • Identify the historical and cultural context and how that might impact on any performance. • Identify the design elements indicated in the script and adopt or add to these in a way that supports the interpretation decided upon • Develop and practice the necessary performance skills needed to deliver an effective performance of the interpretation of a chosen extract • Rehearse the developed piece for final performance.
- 4. Areas of Study You must show an understanding and appreciation of Areas of Study • Character, context and plot • Structure • Audience and Defining performance space • Improvisation • Genre, performance style and convention • The semiotics of Drama and Theatre To Bring the Script to life • You must explore the roles of – Designer – Director – Performer
- 5. You must develop and demonstrate an ability to: • Apply performance and production skills • Acquire reflective and evaluative skills in response to the Script • Work collaboratively and creatively to achieve shared dramatic intentions Workshop sessions • We will be taking part in workshop sessions to introduce you to the script and its main themes. • It is up to you to the take these ideas and develop them further
- 6. Assessment Assessment is in Controlled Conditions Again • You will be assessed on your working Record – These are all your ideas and workings leading up to your final performance. • Final performance of Extract – This is the culmination of your ideas based on the intention of the script and you ideas in your working record. • 20 marks • 40 marks • Total 60 Marks
- 7. The working process • The working process is designed to reflect the work of proffesionals and covers 5 stages needed to create a performance. The 5 Stages • Preparation • Exploration • Rehearsal • Performance • Review
- 8. 5 Sections in Brief • Preparation • Exploration • Rehearsal • Performance • Review • This is research • Trying ideas/ workshop lessons • Formulating all ideas ready for performance • Evaluation
- 9. Preparation and Exploration Preparation - Research • Examine the Social, Cultural and Historical context of the play • Identify the genre, performance style and Audience • Investigate the intention of the playwright • Areas of Study Exploration – Based on the script as written • Take part as a Performer and director in workshops of the script • Consider the Design Implications of the script and within the time constraints apply elements of design where possible
- 10. Rehearsal and Performance Rehearsal • Start of Controlled Conditions • Direct Sections of the script applying ideas generated from previous workshops or creating a new interpretation. • Prepare for performance as a Performer • Complete Second Section of Working Record Charting Rehearsals Performance • Perform the rehearsed section of Script
- 11. Review • Review of intention of Areas of study • Reflection on Performances • If I had more time • Review of another group
- 12. How to set out Working Record • There are many different ways to set out your working Record. • Outlined is just an example of how to do it.
- 14. Social, Cultural and Historical Research • On the Playwright • When Play was Written • When play was set – What was going on at this time • Is it still relevant now. – Other production – Costume • Anything that helps you form your own opinion • Playwright intention • Genre of The Script/Practitioner influences • Annotations of all you have found and how it has helped your understanding
- 16. During the read through Initial thoughts whilst reading through • This could be elements that highlight the playwrights original intention – This could be anything that highlights the theme – Enhances Character – Develops plot – Relates directly to historical event • Look for use of language – As it was written by the playwright – Crime and Punishment – Redemption – Societies views
- 17. Remember when annotating Don’t forget to say Why Why Why Why Why Why Why
- 18. Workshop session Keep a record of the workshop sessions • This could be exercises we have done • Character development exercises • Set • Props • Character relationship Reflect on the session • This is what you have personally found out from doing the sessions and should spark ideas of what section/ character you would like to work on.
- 19. Idea for development • Idea for a monologue piece and Why? • Idea for a duologue Piece and Why? • Idea for a group piece and why? Final Idea • What you are doing and how that fits with the playwrights intention
- 20. Areas of Study This is directly linked to your final Idea • Character, context and plot • Structure • Audience and Defining performance space • Improvisation • Genre, performance style and convention • The semiotics of Drama and Theatre
- 22. Throughout the Rehearsal • Description of Character in context must be coherent and justified • Ideas for use of performance space • Capture important essence of the script for performance • Semiotics combine sound, lighting, projection to combine in a unified way. • Practitioner influences on your work. • Subject vocab throughout.
- 23. Rehearsal This is what you are doing to get you piece ready for rehearsal • You can split this into sections if you want. • Script – Annotated • Costume • Set Design • Semiotics • Lighting • Staging And WHY!!!!!! • Or you can work through it session by session. • This is spread out not just on one page. • It is as long as it has to be.
- 24. Performance What I am looking for • Use and selection of stage space. – Integrated with the theme • Good Command of the demands placed on the performer by the script. • Use of Voice and gesture – Well crafted Characterisation – Works productively with others • Semiotics – costume/properties/te chnical aspects/ symbolism works with the theme of the text. • Gives insight into character, creates mood, adds layers and meaning for audience
- 26. Review Your own piece • Areas of study • Evaluate – Directing, Acting, Design • Context of text extract • All analysed with perception • If I had more time. Work of others • The practitioner influences • Ideas of others • How they brought the section to life.