DEVISING

There is a process that can be outlined and followed when devising a drama from stimulus to presentation. It is recognised that areas such as offering ideas, reviewing, evaluating and problem solving will be continuous throughout the work.

Responding to stimulus Offering ideas Discussing and selecting ideas for situations and roles Agreeing form, structuring and devices Setting up space Rehearsing Reviewing Adding theatre arts Presenting to an audience Evaluating

STIMULUS
All drama is a response to stimulus. A stimulus is anything which suggests ideas that can be developed into a presentation.

Examples of stimuli:-

Pictures Props Scripts Location Costume Stories People Newspaper articles Words Situations
No kids out on the street today You could be living on the moon. Maybe everybody packed their bags and moved away Gonna be a long, long, long, Sunday afternoon.

From Blood Brothers by Willy Russell

Lyrics Poems Music Sound FX

CREATING and PRESENTING

Creating and Presenting is the process which begins with stimulus and concludes with summative evaluation.

Creating involves the evaluation of content and roles through

practical investigation, experimentation and problem solving.

Presenting involves review of the results of the creating

process, decision-making, rehearsal, presentation and evaluation.

EVALUATION
Evaluation is the process of reflecting, reviewing and targetsetting. Evaluations can be continuous or summative and can be of self or others. Continuous involves evaluation during the Creating and Presenting process, without which the drama cannot develop. Summative involves retrospective judgement in order to learn from experience and set future targets. The experience of evaluation is gained through: Individual reflection Group discussion Written tasks Teacher input Taped responses Video/audio review Evaluation should involve: Outlining the work undertaken/seen Giving opinions of effectiveness Justifying these opinions

 Proposing improvements

GRADE RELATED STATEMENTS

You are continually assessed against a range of statements. These statements are criteria - sentences that give the standards of how your drama work is measured. For the Extended Grade Related Criteria, see the end of this booklet. The following statements are from the EGRC and apply to: Devising Stimulus Creating and Presenting Evaluation
Foundation Candidates Will respond to a range of stimuli with some simple ideas, which do not often offer opportunities for exploration. They may have difficulty in developing the ideas of others and may tend to accept rather than instigate ideas. Their contribution to the creating and presenting process may be more passive than active and seldom innovative. These candidates evaluative work may contain valid but obvious justifications with repetitive and/or rudimentary vocabulary and concepts. General Candidates Will respond to a range of stimuli with several ideas, which offer opportunities for development. They may be able and willing to develop the ideas of others. Their participation in the creating and presenting process will be valuable and, at times, enhance the work undertaken. These candidates evaluative work may consist of valid judgements which are regularly, if not consistently, justified. Well-observed concepts are supported by appropriate vocabulary. Credit Candidates Will respond to a range of stimuli by offering a range of appropriate and demanding ideas, developing and expanding upon those ideas and upon ideas offered by others. These candidates will often be the source of inspiration and leadership throughout the creating and presenting process.

 Their evaluative work will show ability to marshal ideas and evidence
and may show occasional insight. Vocabulary used will be appropriate, opinions stated will be fully justified.

LANGUAGE and VOICE

The use of LANGUAGE and the use of VOICE are very important concepts in Drama. Without an understanding or awareness of language and voice you would be struggling to create dialogue for scenes. You would not be able to work on scripts and you would be leaving out a large chunk of work that is important to your self-development as well as the Standard Grade coursework itself. What you should know Language and voice are methods of expression and communication. Language is WHAT we say or write (vocabulary choice and order). Voice is HOW we communicate verbally (meaning and expression) Language and voice are dependant of situation, role and purpose. Language activities can be rehearsed, improvised or scripted. Voice is given meaning and expression through use of:

Accent Pace Volume Clarity Emphasis Pause Pitch Tone Articulation Fluency Intonation

Register Appropriate use of language and voice in characterisation can communicate information about: Age Personality Mood Opinion Intention Sex Status Relationship Education Background

You must be able to show awareness of audience needs by appropriate use of language and voice.

You must be able to use the above in the CREATION and PRESENTATION of a drama.

MOVEMENT
Knowledge of movement is important for the understanding and critical appreciation of the Creating and Presenting processes of Drama.

What you should know

Movement is a way of exploring and expressing ideas, emotions and relationships. Movement can be naturalistic or stylised: o Naturalistic movement techniques (as in characterisation) This can be achieved through:

Body language Facial Expression Gesture Eye-contact Posture Use of space o Stylised movement is more the expressing of abstract ideas (dance drama, mime, dance, mask). This can be achieved through:

Balance Speed (pace) Timing Positioning Use of levels Use of space Rhythm Stance Use of direction

Appropriate use of movement in characterisation can communicate information about: Age Personality Mood Opinion Intention Sex Status Relationship Education Background Movement can be improvised or rehearsed. o Rehearsed movement may allow ideas to be developed, or brought into a more stylised form of movement. o Improvised movement allows personal response to a stimulus The movement of characters on an acting area must take into consideration o Sight lines o Positioning o Grouping o Upstaging o Scissor movements o Masking Mime is a stylised form of movement which gives an illusion of reality. This can be achieved through the above with awareness of: Slow, Precise, Exaggerated, Clear, Simple Neutral/shaped/release Showing Weight, Size, Shape, Temperature, Texture

 You must be able to show awareness of audience needs by moving appropriately in the given space. You must be able to use the above in the CREATION and PRESENTATION of a drama.

ROLE-PLAY
Role-play is a means of exploring attitudes and beliefs. It is an activity in which you investigate and develop an imaginary situation either as yourself of from the point of view of someone else. You are simply putting forward a point of view. This point of view may not reflect your own actual point of view or opinion. Role-play is open-ended, it has no defined course or outcome. However, it is important to know what the starting point and the purpose of the role-play is. Role-play is a language based activity which allows you to use language appropriate to simulated situations.

What would.. Do?

They say? Feel?

What would.I say? Do? Feel?

CHARACTERISATION
Characterisation is the investigation and portrayal of a specific character. It can build on role-play by adding individual physical and vocal characteristics. Further development may include exploration of emotions, attitudes and motivation. Theatre Arts such as costume, make-up and props may be used to develop and present a character. A variety of techniques can be used to investigate characters:

F
Character cards Improvisation Role-play Hot-seating Voices in the head Writing in Role Thought tracking Thought Tunnel

In characterisation, consideration should be given to the: Relationships with other characters Portrayal in terms of language, voice and movement Status and changes in status Social, economic and cultural background

PURPOSE
It is important that the drama has a purpose, i.e. a reason that it is being presented. Without a purpose it is not possible to put across a meaning. Focus will identify key (important or significant) moments or scenes, key characters, key relationships and/or key events within a drama. When you are planning your drama, you should be considering a target audience. That is an identifiable group of people at whom the drama is aimed. This should have a direct link on purpose and focus. There are a variety of purposes for a drama. It may be a single purpose or in combination to:

F
Communicate a message Entertain Tell a story Educate Explore a theme or issue

Explore and experience (e.g. through audience participation, forum theatre)

FORM and STRUCTURE

Form is the overall style of the drama. That is: F G C

A play, scripted or improvised Dance Drama Mime Monologue Movement Musical Pantomime Comedy Tragedy Docu-drama Forum theatre

Within these forms, each of which has features associated with it, there is the opportunity to experiment with the structure and the conventions which may enhance it.

Structure is the way in which time, place and action are sequenced. Linear structure means the action unfolds from beginning to end (no flashbacks) in chronological order. Non-linear structure means the action unfolds through shifts in time (back and forward) and/or place.

Conventions are different way of presenting part(s) of a drama: F G C

Flashback Flashforward Freeze Frame Frozen Picture Mime Monologue Movement Slow motion Narration Voice over

Aside Soliloquy Tableau (credit term for Frozen Picture)

Scene Three Two hours later, the managers office. In mime!

Mood, Atmosphere and Dramatic Tension

Mood and Atmosphere concern the feelings and emotions brought on by the drama and therefore involve an audience response to what is being seen and heard. There is a link between mood and atmosphere and tension. Tension is the driving force of the drama. It causes others to want to know what happens next and sustains interest and momentum. It creates challenges and prevents the drama becoming boring.

Tension can be created through: Movement Shock or surprise Silence Action Conflict and confrontation Mystery Relationships and status Threat or pressure Dramatic irony

Acting techniques can be used to heighten tension and create mood and atmosphere through: -

F
Movement Pace Pause Silence Voice Eye contact Moves Physical contact

Contrast Positioning Timing Theatre arts can be used to heighten tension and create mood and atmosphere: -

F
Costume Lighting Music Make up (and masks) Props Sound Effects Set Special Effects Staging

THEATRE ARTS

Theatre Arts is the collective name for lighting, sound, costumes, props, make-up and set. It is best to have a hands on experience of Theatre Arts, but a theoretical (bare fact only) knowledge may be the way for some aspects of Theatre Arts. Taking responsibility for theatre arts involves the ability to: G & C only

Know the function of lighting, select effects and use a cue sheet know the function of sound, select music/SFX and use a cue sheet select, organise and use costume select/collate, organise, list and use props select, organise and use make-up produce a ground plan for a set

If you are responsible for a theatre art, the following process can be identified: familiarisation with script of scenario identification of requirements (what is needed!) liaise (meet and talk) with director, designers and cast prepare initial designs prepare/organise materials implementation refine and adjust in light of experience operation removal/striking/storage/resetting as appropriate

THE ACTING AREA

The acting area is that part of the available space occupied by the asset and used by the actors when acting. Staging is the position of the acting are relative to the audience. Types of staging are: F End on Theatre in the round Thrust Proscenium arch Avenue Promenade Areas of the stage indicate the division of the acting area into nine sections. The allocation of left and right is taken from the point of view of the actor facing the audience. Nine areas in word and initial (abbreviation) form: All levels USR USC USL CSR CS CSL DSR DSC DSL Up stage right Up stage centre Up stage left Centre stage right Centre stage Centre stage left Down stage right Down stage centre Down stage left G C

Set is the scenery and furniture on the acting area indicating the setting. To dress the set is to add soft furnishings and set props.

A ground plan is a birds eye view of the set, showing furniture, entrances/exits and the position of the audience An effective ground plan will show: An outline (delineation) of the acting area Position of audience Entrances/exits The viability (could it be used) of the set An indication of scale A key

All levels

An outline (delineation) of the acting area indicates the boundaries of the acting area. The conventional outline may be used or another outline which better shows the acting area used in specific place or for specific dramas. Position of the audience this may be indicated simply by the word audience in the appropriate place(s). No need to draw! Entrances/exits these can be indicated by a door symbol where a door flat would actually be used or by arrows when wall/doors are imaginary or do not exist. The viability (could it be used) of the set - sightlines must be considered, the set must allow actors to move around the acting area, entrances/exits must be clear and the audience must be able to see the action and actors. Indication of scale indicate the relative proportions (rough size) on the set and the amount of acting area they occupy.

Key Explanation of what the symbols on the ground plan represent. The following items should only be represented by

the undernoted symbols. Symbols for any other items may be designed, and should be clearly explained in the key.

SCRIPT

A SCRIPT consists of the written words of a drama. A script may be a published or original work. The conventions associated with a script include: C only

The division of the script into acts and/or scenes A description of the set for each act/scene An indication of changes of time and place for each act/scene The allocation of lines to characters The inclusion of stage directions Advice to actors on delivery of lines Recommendations on the use of Theatre Arts to enhance the action

These conventions should apply to the reading, writing and interpretation of scripts.

Act 1, scene 1 a drama studio, not unlike the one you are in now. A brilliant, young and talented drama teacher is taking a class of high flying 3rd year pupils. They are all listening intently to every word the teacher says. Teacher Excellent everybody. That is exactly the sort of thing that will make you Credit students. Please sir, can we do homework tonight? Not tonight, have you forgotten its the first

The School Room

Pupil 1 Teacher

DIRECTING

Directing is the process of one persons interpretation of a script or scenario and its realisation in performance, in conjunction with actors and design team members. Design concepts are a directors ideas on how theatre arts can reflect and emphasise the themes and issues of a drama, its characters, mood, atmosphere and tension. A director assumes responsibility for: C only

the interpretation of script/scenario, including punctuation inferences design concepts communicating/liaising with actors and design team casting blocking the rehearsal process