Year 13 5 different parts of ourselves stimulus for Character work

Five parts of us:

1 What image we try to present to others
2 What we think of ourselves, privately
3 What we don't know about ourselves
4 What others think of us?
5 What are our dreams?

SWED Year 13 first draft deadline Monday 2nd Nov

SWED notes tips

Supporting Written evidence

How is the initial material being researched and developed at significant stages during the process of creating drama?

You need to analyse how you have used your stimulus. (The Freud article) and the message of the piece. “Why is the fear of isolation so powerful in man?”

How have you used it in the piece, give examples from one scene and the whole vision of the piece and how it has affected your plot and structure of the play.

Then discuss your research into Jung and Michael Wesch and Mad V and how that has developed the structure and choices of the piece. Give examples from scenes and how you have developed the ideas.

Discuss practitioners e.g. Artaud and how you are using his techniques to develop the piece. Again give examples and analyse.

How effectively are you personally exploring and developing your roles?

You need to analyse your character development using practitioners, eg Stanislavski or Brecht or through ritual and Grotowski e.g. Arbitrary cycle.
Give examples from the scenes and analyse how they are developing through your rehearsal process.

How did you and your group explore the possibilities of form, structure and performance style?

Discuss and analyse using specific examples from scenes, workshops done with me and then how you utilised them in your scenes. Give detailed analysis don’t just describe scenes or techniques and make sure you use quotes from practitioners to back up your examples. This really refers to use of space, communication with the audience and design and visuals as well as practitioners.

How did the work of established and recognised theatre practitioners, and /or the work of live theatre, influence the way in which your devised response developed?

Analyse Shunt’s money and how that influenced your ideas on use of space and form and style and communication to audience and your response to the message. Then analyse how you have developed the work using Artaud and Grotowski and Brecht. Give detailed examples from scenes and relate them to the play and practitioners, using quotes to back up your points.

How Successfully did the final performance communicate your aims and intentions for the piece to your audience?

Give specific detailed examples of scenes and show what your intentions and aims were for the scenes and overall vision and then analyse how well they were communicated and why. Give quotes from audience responses and analyse to back up your points.

How effectively did the social, cultural, historical/ political context of the piece communicate to your audience?


Give detailed analysis of what your intended aims were in relation to cultural etc context and then give specific examples of how that was realised in performance.

The experimental performance collective Shunt aren’t short of a bob or two. Having started life just over 10 years ago, holed up in some dingy railway arches in Bethnal Green, their relocation to a vast labyrinth of vaults beneath London Bridge station in 2004 coincided with support from various funding bodies. Next year, Arts Council England will be stumping up a handsome £150,000 to keep them in business.

I’m not pointing this out in order to demand they account for every penny - though some may emerge so baffled and bemused from their latest show, Money, a radical response to Zola’s 1890 novel L’Argent, that they rail against the idea of their receiving a single sou in subsidy. However there’s such a huge gulf between the resources lavished on the technical aspects of this production and the detail invested in the text you’re forced to think about the cost of it all. And that, oddly enough, intentionally or otherwise, takes you to the heart of Zola’s work, which was inspired by the notorious collapse - in 1882 - of the Union Generale. By leaving you feeling awed by its big-bucks spectacle and short-changed by its hard-to-follow script, the piece makes you consider the nature of scams.


Without wishing to give too much away, half-way down Bermondsey Street, round the corner from their London Bridge vaults, Shunt have set up a second home in an old tobacco warehouse once owned by Fidel Castro. Inside stands a towering metallic edifice, wreathed with stairways and steaming piping. Absurdly guarded by modern riot-police clutching colourful helium-balloons, so that it resembles an outlandish fun-fair attraction, it fills the air with much ominous grinding, clanking and rumbling.

Summoned inside this three-storey ‘abandoned relic of Victorian technology’ - and instantly bamboozled by an infernal round of pitch-darkness and deafening noise, you’re introduced to a handful of locations that combine 19th-century and modern ambiences. Figures prowl above and below you, glimpsed through ingenious sections of transparent flooring, engendering a vague mood of suspense and debauched excitement.

In a plush ante-chamber you watch comically incompetent beret-wearing guards handle a bearded entrepreneur who is seeking to win the backing of an inscrutable Jewish banker in order to get impossibly rich quick. In a champagne-bar upstairs, you’re invited to hurl plastic lotto-style baubles about the place, while eavesdropping on mysterious conversations taking place in a parlour and sauna below.

What does it all mean? Even Zola would have been stumped. There’s so much cryptic nonsensicality coursing through this 90-minute affair that it’s probably best to relax and let it wash over you. That way you can emerge none the wiser yet curiously refreshed.

Stimulus for devised piece year 13

Does this make us an internet community and have a stronger voice as an individual or are we still isolated?

Stanislavski Exploration Notes Ist Draft Deadline 3rd November 2009

Evaluation Notes tips

The social, cultural, historical and political context

· Write about Norway at the time of Ibsen

· Women’s place in society

· Laws relating to fraud

· Social rules of society at that time

· Clothing / housing/ life of the middle classes

Language

· Give examples of the use of language in the play which helps the reader :

Understand the style of the play eg: Naturalism

Explores the class of the character

Reveals information about the characters personality and or relationship with other characters

Non Verbal Communication

· This should look at the use of subtext in the writing and give examples of that

· Also explore the super objectives of the characters and their units and objectives in the scene that you worked on for your presentation

Vocal Awareness

Explore your response to playing middle class women and how approached the language in terms of clarity / vocal expression and centreing of the voice. Use practical workshop and performance and rehearsals for scene

Characterisation

Write and analyse character choices you made using the Stanislavski techniques and how you developed your character for the scene give examples and quotes from the text and Stanislavski to back up your points.

Include:

Given circumstances

Character biographies

Magic If

Truth and belief

Character five step

Units and objectives

Emotion memory/imaging

Adaption/ communion

The visual, aural and spatial elements of production

Write and analyse all features which make it a naturalistic play and how they add to the themes and message of the play

Set

Costumes

Lighting

Props

Type of staging

Relationship with audience

The response to a practitioner

Explore the difference between Realism and Naturalism and what makes the Dolls house a naturalistic play.

Give examples from your rehearsals and performance on how you worked using the Stanislavski techniques and how it enabled you to create a believable 3 dimensional character and evaluate your understanding of the practitioner and what you learnt about him.

Interpretation

Explore and evaluate the choices you made about the scene and how you chose to show the characters and themes and message of the play through the scene you worked on

Give examples from your rehearsals and performance and analyse all aspects in detail.

*This all should be written in the first person and should be a personal exploration of the work that you have done and evaluation of the play and practitioner you have worked on.

EX Student working with Oily carte Theatre Company

http://www.oilycart.org.uk/complex_disabilities/current/

Take a look at their hydrotheraphy play designed for children on the Autistic spectrum

stimulus for devised piece year 13 Michael Wesch Anthropology

Drama and theatre studies course power point

Drama and Theatre Studies specification

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