DR1: Devised Practical Performance

TASK ONE: Devised Performance (40%) Candidates will participate in a practical presentation that will be a group-devised drama. Themes: 1. The Nightmare OR 2. Parisfal 1by Anselm Kiefer OR 3. Handbags and Gladrags (song by Mike dAbo) Candidates should include work on the ideas/theories of Brecht. Candidates may choose to perform from text-based references or an improvised piece devised by the group or a mix of both of these approaches as appropriate. The length of performance should be guided by the following approximate timings: Four and five candidates: between fifteen and twenty minutes TASK TWO: Devised Practical Performance Report (20%) Candidates will write a report of up to 1,500 words using the following structures. ACTING (a) Rationale: reasons for choice of theme and practitioner/genre, influences and examples of live performances and content of the piece; (b) Development: character development, use of different rehearsal techniques (hot seating, thought tracking, conscience alley, etc.), development of group work, ideas on technical design elements; (c) Performance: evaluation of individual performance, evaluation of group performance, evaluation of technical and design elements, evaluation of effective finain relation to the chosen theme and genre/practitioner. Candidates may carry out research and initial preparation for their report outside of the classroom. The report should be written under formal supervision and should take between four to five hours to complete.

The Process
1. Decide which theme you wish to explore. 2. Brainstorm as many different ideas as you can come up with and improvise around these. Once the general ideas have been discussed in the group, you should each could carry out some individual research, bringing in some relevant documentation on what you feel would be relevant for the performance, including newspaper cuttings, video, extracts from books, pamphlets, etc. Historical Textbooks Diaries / biographies Novels / poems / films Newspaper articles Paintings Thematic Interviews Pamphlets Television or film documentaries Newspaper articles Literary Novels Poems Film and TV adaptations Paintings Photographs

3. Once individual work has been completed, the group will then need to work collaboratively to narrow down the choices on the proposed ideas. You should start with practical experimentation immediately and not to spend too much time discussing possibilities. All thoughts and ideas should be logged at these early stages. 4. Another important early step is for each group to allocate tasks to different group members. These tasks may include research, technical elements, script development, direction, etc. Although many of the tasks will involve the whole group, it is advisable for one person to

coordinate the various elements in each area.

Early Stages
When things work well in practice, record it closely in written or audio/video format. Consider work you have seen in the theatre or by others in your class, it may give you some inspiration. Finish sessions that dont seem to work with a clear plan for the next session moving in a different direction. Use your research and refer to it frequently. Think outside the box.

Later Stages
Do you have a clear structure? Is it coherent? Be prepared to scrap an idea even at the late stages. Video your work and watch it objectively in relation to the assessment criteria. Ensure that you have developed your characterisation. Ensure that you have kept to the time limit and the piece refers to the theme/practitioner/genre.

Final Stages
Ensure that all technical requirements have been planned effectively before the tech rehearsals. Check all equipment properly and that all costume and make-up works effectively for your performance.

Things To Consider
Devising techniques: Monologues Voice over Freeze frames Flashbacks Structure Plot (Beginning, middle, end) Message to audience Climax Characters function Character Narrator Choral work Masks

Dramatic pause Theatricality Narrative Entrance and exits

 Motivation Interaction Technical aspects Lighting enhancing performance and structure Choice of acting area (i) ground plans for various stages (ii) strengths and weaknesses (iii) experience from actor / audience Sound atmosphere and linking

Voice Movement

scenes Style of production (i) set (ii) costume (iii) masks (iv) make up

Brecht - Techniques Episodic Nature Direct address to audience Symbolism to suggest location Protest: Placards / Songs / Newspapers Political message

Multi role Narrator Shock tactics Screen and Power points

Stanislavski - Techniques Given circumstances Emotional memory Imagination / creating the life of the character Costume and influence Objective Motivation Stanislavski Practical Skills Magic if Improvisation Hot seating Voice for character Physical Theatre - Techniques Physicality of objects. Use of objects in a symbolic manner Masks. Use of puppets and dolls Disjointed structure

Monologues Alter ego Physicality Sub-text

Use of sound/instruments Use of Ritual. Fast Forward/Slow motion Dream sequences Animal characteristics

"Handbags And Gladrags" Ever seen a blind man cross the road Trying to make the other side?

Ever seen a young girl growing old Trying to make herself a bride? So what becomes of you my love When they have finally stripped you of The handbags and the gladrags That your poor old Grandad had to sweat to buy you Once I was a young man And all I thought I had to do was smile Well you are still a young girl And you've bought everything in style So once you think you're in you're out 'Cause you don't mean a single thing without The handbags and the gladrags That your poor old Grandad had to sweat to buy you Sing And Four And a song of six-pence for your sake drink a bottle full of rye and twenty blackbirds in a cake bake 'em all in a pie

They told me you missed school today So what I suggest you just throw them all away The handbags and the gladrags That your poor old Grandad had to sweat to buy They told me you missed school today So what I suggest you just throw them all away The handbags and the gladrags That your poor old Grandad had to sweat to buy you