Devising Process Journal

Entry #1- Pitch for performance ( the one your are doing)
https://docs.google.com/a/amersol.edu.pe/presentation/d/1FyCpmEs3
tGUQQ9AvYgaRCXsT8XU0e27jX-ed72VCc0A/edit?usp=sharing
Entry #2- Action plan (Your schedule)

REGIME OF ILLUSIONS SCHEDULE

May 4 -Choose characters.
-Playwrights prepare script.
-Everyone else investigates their independent
production roles.

May 9 -Script is done.

-Begin scene rehearsals.

May 11 -Practice scenes. (Everyone continues

production roles individually)

CWW

May 23 -Practice scenes.(Everyone continues

production roles individually)

May 25 -Practice scenes. (Script must be memorized

by this point, all designs for the production
roles must be done)

May 30 -Practice scenes (All production roles must

be done and ready to be executed)

June 1 -First dress rehearsal (many if there is time)

June 6 -Second dress rehearsal

June 8 -First technical rehearsal (many if there is

time)

June 13 -Third dress rehearsal.

June 14 FINALS START (Play must be ready)

Entry #3- Link to the script
Script:https://docs.google.com/a/amersol.edu.pe/document/d/1qMMJKC4DTqbk4GWQJJqcv9R
5e8GFrOIx5sQI_x1lqBI/edit?usp=sharing
Entry #4- Your designs : This means production elements (first
designs and pictures of final)

CostumesandPropsDesigns:

Character: Costume: LackofProp(s): Justification ActualCharacter

Actor withCostume
Movements

Father-Pablo Gun(Hand):To Fatherscostumeis

killMilica,Son uniqueandismade
tobesimilarto
thatofadictator,
toshowthe
absolutepower
whichhepossesses
overthecountry

whichherules.To
breakthe
audiences
attention,
connectiontothe
playandallow
themtoreflect
(intendedpurpose
ofBrechtian
theater)theGun
usedbyPablo
whenportraying
Fatherwillbe
madewithhis
hand.
FathersSon- TheFathersson,
Alonzo playedbyAlonzo,
willbesportinga
redshirtandblack
pants.Thered
shirtwillsymbolize
power,andhow
powerispassed

frompersonto
person.Itwillalso
representthefact
thatFatherssonis
liketheministers
(onelevelbelow
theFather),but
theredinsteadof
whiteshowsthat,
duetohaving
grownupexposed
tohisfathers
nature,Alonzos
characteris
corruptedbyhis
fatherandhis
environment.

Secretary Iigowillweara
Generalofthe whiteshirt,a
Communist blazerandblack
Party-Iigo Placardswillbe pants.Although
usedto working

differentiatethe underneathFather,
Ministerof
differentcharacters hesportsablazer
Communicatio thatwearsimilar unliketheSoviet
ns-Iigo
costumes.The Ambassadorand
placardswillbe Milicawhoonly
Ministerof madeofpaperand wearawhiteshirt.
Foreign willhavethename Thisisbecause
Relations-Iigo ofthecharacter althoughheworks
currentlyportrayed underneathpower
theministershave
Ministerof
morepowerthan
Defense-Iigo
theSoviet
Ambassadoror
Milica.Thewhite
shirt,andblack
pantsareuniform
 foreveryone
working
underneathFather,
inajobregarding
thegovernment.
Thisistoshowthe
uniformityof
governmentslike
theonewetryto
portray.
Governmentsthat
willdoanythingto
giveofftheperfect
image,evenifit
meanslyingtothe
people.Havingthe
Ministers,
Ambassadors,and
Advisorswearthe
sameclothes,only
addstothisperfect
image.Lateron,
Iigoscharacter
(SecretaryGeneral)
willwearFathers
costume,to
representthe
transitionof
power,andhow
powerand
corruptionin
governmentslike
thesedontcease
easily.Iigodueto
actingseveral
roles,willbethe
onlyactorsporting
Placards(name
tags)toshow
whichcharacterhe
isatthemoment.
Thisallowsusto
maketheaudience
separate
themselvesfrom
theplay,andallow
themtothink.This
 isdonebecause
firstofallhavinga
largeamountof
peoplelook
identicalis
somethingwhichis
notusuallyseenin
therealworld
makingthe
audiencestepback
fromtheplay.The
additionof
placardsallowthe
audiencetosee
Iigostransition
fromcharacterto
character,further
emphasizingthe
impactofour
Brechtianstyle
play.

Soviet Mauricios WEDIDN'T

Ambassador- character,the TAKEA
Mauricio Soviet PICTUREOF
Ambassador,will HIMBUTITS
useawhiteshirt SEENINTHE
andpant.Wemade VIDEO
SocialClasseshave
thesamecostume
asinBrechtian
theatrecostumes
oftendenotethe
charactersroleor
functioninsociety.
Byhavinghim
wearthesame
costumeas
everyoneelsein
hissocialclass,will
showthe
uniformityofa
perfect
government,which
iswhatFatherand
hisMinisterswant
toshowatalltime.
 Italsobreaksthe
illusion,andshows
thatonlyfather
trulymattersas
hestheonlyone
whoistruly
differenttothe
rest(basedonhow
thecostumes
look).

Milica(Advisor Gun(Hand):tokill Alexcharacter,

fromtheSoviet Ministerof Milica,theAdvisor
Union,Really Communications fromtheSoviet
USSpy)-Alex Union,willbe
wearingawhite
shirtandpants,
muchlike
Mauricios

character.Thisis
toshowasocial
classonthesame
levelastheSoviet
Ambassador.We
madeSocial
Classeshavethe
samecostumeasin
Brechtiantheatre
costumesoften
denotethe
charactersroleor
functioninsociety.
Thepurposeisthe
sameasintended
fortheSoviet
Ambassador.To
showuniformityof
aperfect
governmentledby
Father,aswellas
breaktheillusion
andshowhow
fatheristrulythe
onlyonethat
matters.Dueto
Milicabeinga
femalecharacter
 therewereslight
alterationstothe
costume.Although
usageofskirt
wouldbecommon
forafemale
character,dueto
theactorbeing
male,theskirt
wouldmakeit
comedic.Byusing
pantswemakeit
moreloyaltowhat
Brechtiantheater
is.Alsoinsteadof
aregularmens
whiteshirt,itwill
beawomens
whiteshirt.This
willallow
differentiationof
thecharacters,
withoutmakingit
toocomedic.At
onepointMilica
willkillthe
Ministerof
Communications.
Muchlikeallother
handgestures,this
servestoeliminate
theillusionofthe
playbeingreal,and
toallowthe
audiencetostep
backandreflecton
whattheysee.

Boris(worker WaterJugand Thebrown

atthePalaceof Cups(Imaginary) costumessported
aThousand byBorisand
Hammers)- Zarko,represent
thelowestlevelof
Joaquin
thesocial

hierarchy.Wemade
SocialClasseshave

thesamecostume
asinBrechtian
theatrecostumes
oftendenotethe
charactersroleor
functioninsociety.
Thebrowncoloris
torepresenthow
theyarethe

closesttoEarth
astheyholdless
power.Italso
servesasawayto
showtheirsocial
classingeneral.
Thepoorersocial
classesareusually
requiredtowork
harder,thiscanbe
easilyrepresented
throughbrown
clothesastheygive
offafeelingof
dirtiness.Both
ZarkoandBoris
wearthesame
costumetoshow
uniformitywithin
thesocialclasses,
andhowthe
governmentmay
ormaynotlimit
theirchoices
(similarclothesact
asametaphorfor
thegovernments
limitsonsociety).
Theuniformityof
costumeswill
allowtheactorsto
easilybreakthe
illusionoftheplay
beingreal,allowing
theaudienceto
stepbackand
reflect.Something
whichis
emphasized
 throughtheuseof
handgesturesas
alternativesto
props.

Zarko(worker WaterJugand Thebrown

atthePalaceof Cups(Imaginary) costumessported
aThousand byBorisand
Hammers)- Zarko,represent
thelowestlevelof
Patrick
thesocial
hierarchy.Wemade
SocialClasseshave

thesamecostume
asinBrechtian
theatrecostumes
oftendenotethe
charactersroleor
functioninsociety.
Thebrowncoloris
torepresenthow
theyarethe
closesttoEarth
astheyholdless
power.Italso
servesasawayto
showtheirsocial
classingeneral.
Thepoorersocial
classesareusually
requiredtowork
harder,thiscanbe
easilyrepresented
throughbrown
clothesastheygive
offafeelingof
dirtiness.Both
ZarkoandBoris
wearthesame
costumetoshow
uniformitywithin
thesocialclasses,
andhowthe
governmentmay
ormaynotlimit
theirchoices
(similarclothesact
 asametaphorfor
thegovernments
limitsonsociety).
Theuniformityof
costumeswill
allowtheactorsto
easilybreakthe
illusionoftheplay
beingreal,allowing
theaudienceto
stepbackand
reflect.Something
whichis
emphasized
throughtheuseof
handgesturesas
alternativesto
props.

Entry #5- Answer the following question:

a. share the progress of your designs/work.
The progress is shown above in the table.
b. show how are they related to the theatre style.
First of all, our theater style is brechtian theater also known as epic theater. In this form of
theater the costumes actors use show a typical character and costumes are not individually
identifiable. Fathers costumes was typical for a military costume for a dictator, it shows it
absolute power that he has over the country. To break the audiences attention, connection to
the play and allow them to reflect (intended purpose of Brechtian theater) the Gun used by
Pablo when portraying Father will be made with his hand. Fathers son will be dressed with a
red shirt and black pants, similar to the ministers. The similarity between fathers son shirt and
the ministers shows how power is passed on from generation to generation. The red though,
show how he has grown exposed to father's nature and this character is already corrupted by
his father. The ministers will be wearing a sport blazer, white shirt and black pants. His sport
blazer shows how has more power then the soviet ambassador and also milica who are both
just wearing black pants and white shirt. How it connects to epic theater is the fact that he will
be playing different actors, meaning that he will have placards indicating which actor he is. This
makes the audience separate and disconnected from the play, this is done because in the real
world not everyone looks the same and with the addition of placards it makes the audience
realize that he is playing different characters. The soviet ambassador used typical outfit for a
social class worker because in brechtian your costume often denotes your social class. Next is
Milica, she will be using same outfit as mauricio to show that their are in the same social class
and position of power. Showing how much power Milica has gained throughout the play. Then
Boris and Zarko use the same brow outfit, meaning how low their social power is. It also shows
their social class because, it is seen that low social class workers usually do the labor work
meaning that they get dirty so brown is a perfect color.

Entry #6- Final Reflection

After the final performance has concluded, respond to the following
prompts in your process journal (approximately 150 words each):

My group's performance would not have been the same if I hadn't

added:

The addition of the costumes in the play was well thought out, everything linking back to
epic theater style. Me and Alex worked together and finished the table you can find in entry#4.
The table helped us organize each character and place their plan for the props. The justification
column shows why we did what we did, it also helped us to never forget to link it to brechtian
theater. The fact that their was a column for the final product of each character helps us see a
before and after meaning that we could see what we planned and what came out. Finally, the
play will not have been the same without the costumes and props, absolutely everything had a
reason to be their and was perfectly thought out to accomplish the brechtian goal to break the
illusion from the play and make the audience reflect.

Another performance that I was intrigued with was Mayas Play. I particularly liked the
group's choices to include a narrator. It worked toward creating a different depth of perspective
ti the play. It also worked towards the flow of the play, it helps the audience understand what is
going on. It is a brechtian technique that helps the author know that this is a play and reflect
upon the serious topic of the play. This worked perfectly since the play was about suicide and I
hope the intent was to make the audience realize and reflect upon this topic.

My growth as a theatre artist this year is because of the three key experiences
- Learning my script
- Rehearsing
- Inspired from film Good Bye, Lenin!

These developed my skills and understanding by:

Since I was young I have been going to theaters in school and around the world with my parents
but I never thought I would act on one. This helped me develop skill that I had been working on
throughout the whole year in drama, rehearsing was complicated, sometimes disorganized but
we got the work done. Something I hadn't done since 6th grade Shakespeare monologue was
memorizing lines, it helped me develop strategies that I hadn't worked upon in a while.
Consider how we started the year in reflection and what voice you
should use for each response.

Purpose
The purpose of a process journal is for you to reflect on your creative, collaborative, and
presenting skills as you devise your production. The process journal should discuss and show:
creative and/or directing choices
how you present your ideas and what discoveries you make after you get feedback or
direction
share how you are practicing your skills and what is informing your skill development
growth over time
evidence through written responses, photos, excerpts, video, designs, prompt book
pages, research with source citations

Reflective Writing for Drama

Theatre artists must do two kinds of reflecting: that which is in action (during the process or formative)
and that which is on action (after the process or summative).

When writing reflections in Drama you should choose one of the following perspectives or lenses to
consider your work:

A. Asking questions (and explaining their origins)--AS ACTOR. Whether these come from confusion or
informed wondering, its important to recognize when you have those question marks popping up in
your head and to be able to identify why they are there.

B. Making connections--As ACTOR, DIRECTOR, or CREATOR: Whether you are making a connection to
your own life, to another book or movie etc., to an historical event or social trend, or to something else
within your study of theatre, take a moment to document this connection.

C. Making inferences/creating vision--AS DIRECTOR or CREATOR: In what ways are you reading
between the lines? How are you putting different pieces of information together to begin to draw
conclusions about characters, theme/concepts, vision.

D. Writing like a THEATRE CRITIC: What do you notice or admire about _____ work? A particularly
descriptive passage detailing the work, an example of _____, authentic criticism discussing strengths and
weaknesses, recommendations...
E. Reacting as an impassioned AUDIENCE MEMBER: What is your emotional response to this work?
Does it thrill or excite