ANCIENT AND CONTEMPORARY THEATRICAL CONVENTIONS

Key purpose: Acknowledging how theatre has changed over time leads us
to appreciate not only the lasting impact of ancient texts
and conventions but also engages us with the necessary
considerations practitioners make when exploring texts in
the contemporary context.
Rubric - (Ancient and contemporary theatrical) Techniques
connections: and conventions
- (methods practitioners have available to them for
consideration when) Staging plays for a contemporary
Australian audience
Journaling What is necessary from a production nowadays to engage a
questions contemporary audience? How has theatre changed over
time to better engage audience? What conventions remain
relevant and engaging?

ANCIENT AND CONTEMPORARY THEATRICAL CONVENTIONS

Key purpose: Acknowledging how theatre has changed over time leads us
to appreciate not only the lasting impact of ancient texts
and conventions but also engages us with the necessary
considerations practitioners make when exploring texts in
the contemporary context.
Rubric - (Ancient and contemporary theatrical) Techniques
connections: and conventions
- (methods practitioners have available to them for
consideration when) Staging plays for a contemporary
Australian audience
Journaling What is necessary from a production nowadays to engage a
questions contemporary audience? How has theatre changed over
time to better engage audience? What conventions remain
relevant and engaging?
MASK, CHARACTER AND THE CONTEMPORARY CONTEXT
Key purpose: - Characterisation on stage has the potential to connect or disconnect
the audience with the ideas and issues being expressed. Therefore
practitioners must carefully consider the conventions used and the
symbols selected in their representations of character in order to allow
the protagonist’s plight to successfully impact the audience.
- Practitioners must decide what remains relevant from historical styles
and what to rid themselves of or adapt old conventions for the new
time and place they’re in. If the representation of character is poorly
conceived the communication for the remainder of the play will be
hindered
Rubric - (how symbolism can be used in design and/or characterisation to show)
connections: the controlling nature of the protagonists plight
- (how) individual tragic heroines and heroes (can be represented
differently) in light of the political, social and cultural (climate in which
the play is performed)
Journaling How does the manner in which characters are represented onstage engage
questions and/or disengage an audience?

MASK, CHARACTER AND THE CONTEMPORARY CONTEXT

Key purpose: - Characterisation on stage has the potential to connect or disconnect
the audience with the ideas and issues being expressed. Therefore
practitioners must carefully consider the conventions used and the
symbols selected in their representations of character in order to allow
the protagonist’s plight to successfully impact the audience.
- Practitioners must decide what remains relevant from historical styles
and what to rid themselves of or adapt old conventions for the new
time and place they’re in. If the representation of character is poorly
conceived the communication for the remainder of the play will be
hindered
Rubric - (how symbolism can be used in design and/or characterisation to show)
connections: the controlling nature of the protagonists plight
- (how) individual tragic heroines and heroes (can be represented
differently) in light of the political, social and cultural (climate in which
the play is performed)
Journaling How does the manner in which characters are represented onstage engage
questions and/or disengage an audience?
 REPRESENTATION OF PROTAGONIST (ACTING STYLE)
- CONTEMPORARY VS ANCIENT
Key Acting is a revelation of something deeply personal in
purpose: front of an audience. “Good actors allow their characters
to have moments of self-evaluation, where internal
questions are posed and answered. These moments
reveal the character, intensity the story, and give the
audience a more affecting performance.”* This can be
achieved in all styles of performance, based on the skills
of the actor and their willingness to connect with the
depth of the characters inner and outer journey.
(*The Actor’s Menu: A character preparation handbook)
Rubric - Performance styles
connections: - give expression to a tragic vision of human experience
- (an individuals capacity to represent) the essence of
tragedy and the controlling nature of the protagonist’s
plight
Journaling Experience centred questions:
questions - How are the acting styles of Ancient Greek performance
and naturalistic modern performance similar/different?
- Were you able to or did you see another performer
connect with the performed character in a deeply
personal way? What made this performance personal?
What was the immediate and lasting effect of this
performance on the audience?
- What is the relevance of acting style to the presentation
of modern and historical tragic texts?
Rubric centred Questions:
- Are the voices of these characters stereotypical,
archetypal, caricaturised or something else? Use a
quote as evidence.
(Medea, Prior - self-determining individuals)
Ext: Fatally flawed individual - Oedipus
- How does the style of performance/delivery shift the
audience’s perception of the protagonist and their
plight/situation/issues?
 SOCIETY – AUDIENCE RESPONSE (‘THE ROLE OF THE CHORUS’)
Key purpose: In ancient Greek drama the chorus watched, reacted, collaborated, anticipated
and ultimately shared in the protagonist’s tragic journey. The chorus’ responses
to the action contributed significantly to shaping the responses of the audience.
They were the essential link between dramatic fantasy and audience
engagement. In contemporary society much debate exists around the relevance
and power of the chorus and this link is believed to have lost the significance it
once held.
Rubric - Performance styles
connections: - plays give expression to a tragic vision of human experience
- the role of fate, suffering, hubris and moral responsibility
- social aspects of that experience
Journaling - What is the relevance of the chorus to audience engagement in
questions performance?
- Why could we refer to the chorus as a ‘socially’ significant convention
of tragic drama?
- How does the chorus use the elements of drama to express a tragic
vision of human experience in your play text?
- Did the chorus emphasise the protagonists fate, suffering, hubris or
moral responsibility in your excerpt?
- Reflecting upon today’s experience how could a chorus be employed in
your contemporary play text?

SOCIETY – AUDIENCE RESPONSE (‘THE ROLE OF THE CHORUS’)

Key purpose: In ancient Greek drama the chorus watched, reacted, collaborated, anticipated
and ultimately shared in the protagonist’s tragic journey. The chorus’ responses
to the action contributed significantly to shaping the responses of the audience.
They were the essential link between dramatic fantasy and audience
engagement. In contemporary society much debate exists around the relevance
and power of the chorus and this link is believed to have lost the significance it
once held.
Rubric - Performance styles
connections: - plays give expression to a tragic vision of human experience
- the role of fate, suffering, hubris and moral responsibility
- social aspects of that experience
Journaling - What is the relevance of the chorus to audience engagement in
questions performance?
- Why could we refer to the chorus as a ‘socially’ significant convention
of tragic drama?
- How does the chorus use the elements of drama to express a tragic
vision of human experience in your play text?
- Did the chorus emphasise the protagonists fate, suffering, hubris or
moral responsibility in your excerpt?
- Reflecting upon today’s experience how could a chorus be employed in
your contemporary play text?
 TEXTUAL EVIDENCE AND CHARACTER (TEXT COMB)
Key purpose: To explore the relationship between tragic text character traits and how these
can be demonstrated in a performance context.
Rubric - individual tragic heroines and heroes
connections: - the role of fate, suffering, hubris and moral responsibility
- individual tragic heroines and heroes should be considered in light
of the political, social and cultural aspects of that experience
Journaling Reflect upon what the playwright shares about the representation of tragic
questions heroes or women in theatre through their text:
Who are they?
What is the tragic plight of this protagonist?
How does the author want this character to be played?
What in the text told you to play the character this way?
EXT: Analyse from your experience and findings, what does the author believes
the essence of tragedy is?

Students reflect as a director how they would advise an actor to use their
performance skills and the elements of drama to highlight these key features:

EXT Q: How does the protagonists plight, as expressed in your text findings,
connect to the audience:
- politically?
- socially?
- culturally?
TEXTUAL EVIDENCE AND CHARACTER (TEXT COMB)
Key purpose: To explore the relationship between tragic text character traits and how these
can be demonstrated in a performance context.
Rubric - individual tragic heroines and heroes
connections: - the role of fate, suffering, hubris and moral responsibility
- individual tragic heroines and heroes should be considered in light
of the political, social and cultural aspects of that experience
Journaling Reflect upon what the playwright shares about the representation of tragic
questions heroes or women in theatre through their text:
Who are they?
What is the tragic plight of this protagonist?
How does the author want this character to be played?
What in the text told you to play the character this way?
EXT: Analyse from your experience and findings, what does the author believes
the essence of tragedy is?

Students reflect as a director how they would advise an actor to use their
performance skills and the elements of drama to highlight these key features:

EXT Q: How does the protagonists plight, as expressed in your text findings,
connect to the audience:
- politically?
- socially?
- culturally?
STAGE DIRECTIONS AND THE AUTHOR’S INTENTION
Key purpose: Engaging with the authorial intention is important in productions. Famous
playwrights like _ have bound the licencing rights to their texts based upon the
licensees agreement to 100% abide by the text, which highlights the
significance of remaining true to a text as a director as well as a performer. Text
guidelines for actors often exist in the dialogue wherein text guidelines for
directors live in stage directions.
Rubric - essence of tragedy
connections: - explore the techniques and conventions
Journaling - What techniques/conventions are employed in the stage directions?
questions Highlight these in different colours to differentiate if they’re ancient
and/or contemporary.
- For each significant stage direction you’ve listed explain why it is
relevant to the author’s tragic vision of society, culture or politics?
EXT: Judge the relevance of this tragic vision in today’s world? Would
this message still carry/be clear?

STAGE DIRECTIONS AND THE AUTHOR’S INTENTION

Key purpose: Engaging with the authorial intention is important in productions. Famous
playwrights like _ have bound the licencing rights to their texts based upon the
licensees agreement to 100% abide by the text, which highlights the
significance of remaining true to a text as a director as well as a performer. Text
guidelines for actors often exist in the dialogue wherein text guidelines for
directors live in stage directions.
Rubric - essence of tragedy
connections: - explore the techniques and conventions
Journaling - What techniques/conventions are employed in the stage directions?
questions Highlight these in different colours to differentiate if they’re ancient
and/or contemporary.
- For each significant stage direction you’ve listed explain why it is
relevant to the author’s tragic vision of society, culture or politics?
EXT: Judge the relevance of this tragic vision in today’s world? Would
this message still carry/be clear?
PREVIOUS PRODUCTIONS
DESIGN – COSTUME – SET – PROMOTION (RESEARCH)

MAKING
DESIGN – COSTUME – SET – PROMOTION (COLLAGE, WHITE CARD MODEL, SKETCH, DIGITAL DESIGN
(CANVAR)

Key purpose: Texts written outside of our current context can require reinterpretation to
engage the audience in the ideas, issues and concerns explored in the play. As
practitioners we are inspired through our exploration of previous productions
reinterpretations. We take on their use of symbol, space, design, place/time,
situation, structure and language to create our own dramatic meaning for
audience engagement.
Rubric - Consider the essence of tragedy
connections: - give expression to a tragic vision of human experience
- dramatic forms, performance styles, techniques and conventions
Journaling - Which previous productions inspired you through their use of symbol,
questions space, design, place/time, situation, structure and language?
(In your response state how the practitioners from this previous
production used the above elements)

PREVIOUS PRODUCTIONS
DESIGN – COSTUME – SET – PROMOTION (RESEARCH)

MAKING
DESIGN – COSTUME – SET – PROMOTION (COLLAGE, WHITE CARD MODEL, SKETCH, DIGITAL DESIGN
(CANVAR)

Key purpose: Texts written outside of our current context can require reinterpretation to
engage the audience in the ideas, issues and concerns explored in the play. As
practitioners we are inspired through our exploration of previous productions
reinterpretations. We take on their use of symbol, space, design, place/time,
situation, structure and language to create our own dramatic meaning for
audience engagement.
Rubric - Consider the essence of tragedy
connections: - give expression to a tragic vision of human experience
- dramatic forms, performance styles, techniques and conventions
Journaling - Which previous productions inspired you through their use of symbol,
questions space, design, place/time, situation, structure and language?
(In your response state how the practitioners from this previous
production used the above elements)
 STAGING – RESEARCH IN MOTION
Key purpose: The Polish director Jerzy Grotowski defines his theory of "poor theatre":
the Theatre that values the body of the actor and its relation with the
spectator and does away with costumes, decor and music. Growtowski’s
tendency towards transformational practise, using what’s available and
utilising the architecture of site specific spaces lends itself to adapting
texts within the contemporary Australian context because 1. We lack
funding for the arts and therefore rely upon creatives ingenuity to create
dramatic meaning with limited resources and 2. The development of non
realistic theatre excites audiences, as Australian audiences are excited
and engaged by risk taking and therefore they’re more likely to engage
with a reinterpretation that isn’t run of the mill.
Rubric - consider the implications of staging these plays for a contemporary
connections: Australian audience.
Journaling - How did you create meaning in a moment from (text) without the aid of
questions set?
- How did you create an engaging actor/audience relationship?
- What were the key ideas, images or concerns you wanted to highlight
in your interpretation?
- What needed to change or be highlighted to make this play text
accessible for a contemporary Australian audience?
- EXT: imagined production
Imagine applying this same task to your other play text. What needs to
be changed or highlighted to make this play text accessible for a
contemporary Australian audience?
STAGING – RESEARCH IN MOTION
Key purpose: The Polish director Jerzy Grotowski defines his theory of "poor theatre":
the Theatre that values the body of the actor and its relation with the
spectator and does away with costumes, decor and music. Growtowski’s
tendency towards transformational practise, using what’s available and
utilising the architecture of site specific spaces lends itself to adapting
texts within the contemporary Australian context because 1. We lack
funding for the arts and therefore rely upon creatives ingenuity to create
dramatic meaning with limited resources and 2. The development of non
realistic theatre excites audiences, as Australian audiences are excited
and engaged by risk taking and therefore they’re more likely to engage
with a reinterpretation that isn’t run of the mill.
Rubric - consider the implications of staging these plays for a contemporary
connections: Australian audience.
Journaling - How did you create meaning in a moment from (text) without the aid of
questions set?
- How did you create an engaging actor/audience relationship?
- What were the key ideas, images or concerns you wanted to highlight
in your interpretation?
- What needed to change or be highlighted to make this play text
accessible for a contemporary Australian audience?
- EXT: imagined production
Imagine applying this same task to your other play text. What needs to
be changed or highlighted to make this play text accessible for a
contemporary Australian audience?
 DIRECTOR’S CONCEPT
Key purpose: A directorial vision, based on careful play analysis and interpretation, takes
priority over working with performers. If the directorial vision of the play is
flawed, all work with performers – indeed, all the work preparing the play – will
be at best equally flawed and at worst disastrous because in theatre errors tend to
compound themselves. Thus your first function must be to ensure accurate play
analysis and interpretation. Make a plan that connects deeply with the key ideas,
issues and concerns in the text to maintain the playwrights integrity and at the
same time don’t forget to entertain. You are the balance between actor, audience
and playwright.
The Director's Vision: Play Direction from Analysis to Production
By Louis E. Catron
Rubric - consider the implications of staging these plays for a contemporary
connections: Australian audience.
- explore the dramatic forms, performance styles, techniques and
conventions
- consider the essence of tragedy
- give expression to a tragic vision of human experience
Journaling Write your directorial concept in paragraph form using your proposal scaffold to help you:
questions
A director’s concept outlines the director’s vision for the play. It outlines the key features of
the play, which have influenced the director to view the play in a particular way. It states
the approach to be undertaken in the production, which will have an effect on the
realisation and the look of the play on stage. If the setting (time and place) of the play
were to be changed, the director’s concept would say why those decisions had been made.
If changing the time and place of the play, the changes must be driven by internal aspects
of the text rather than being imposed on it without sufficient reason. If there is a particular
metaphor being implemented, the director’s concept should justify the choice. The director
may choose to portray the play adopting a particular syle for example surrealism or a
cartoon-like feel, minimalist, absurd etc. The director’s interpretation effects every decision
made in bringing the play to life.
L. Jinga UNSE 2012