Transcript AS Unit 1 Live Theatre and Set Play

AS Unit 1
Live Theatre and
Set Play
• Unit 1 assesses Assessment Objectives 2, 3 and 4.
AO2
• “demonstrate knowledge and understanding of practical
and theoretical aspects of drama and theatre using
appropriate terminology”.
AO3
• “interpret plays from different periods & genres”.
AO4
• “make critical and evaluative judgements of live theatre”.
Section A (Live Theatre Production Seen) assesses AO2
and AO4 with weightings of 10% and 20% respectively.
Section B (Prescribed Play) assesses AO2 and AO3 with
weightings of 10% and 20% respectively.
Each question is out of 50.
Quality of written communication (QWC) will form an integral part of the
quality of your answer and the Band you will be awarded.
Band 1 AO2
• The candidate demonstrates clear knowledge and understanding of the
style and form of the chosen production
• There is evidence of a sound theoretical understanding of the production
aims of the production team
• There are many purposeful references to specific aspects
• Information is well-organised, making the candidate’s meaning very clear.
Expression is very clear, including a confident and accurate use of
terminology; there are few, errors in spelling, grammar & punctuation
Band 1 AO3
•The candidate’s interpretation is clear and coherent and entirely
compatible with the action of the nominated section
• Purposeful reference made to period/genre
• Focused attention given to creating specific effects for the audience
Band 1 AO4
• The candidate displays a good degree of discrimination in selecting a
production which is entirely appropriate to the question set
• There is sound critical appreciation of production elements
• Purposeful evaluation of the success of the production
The questions will be similar to the ones
here, although the wording, and possibly
the focus of attention, will differ.
Questions 1 and 2 are on design;
3 and 4 are on the actors.
Question 1 Outline the set design(s) in one live production that you have seen
where the designer adopted a non-naturalistic approach, and evaluate the
success of the designs in creating a suitable setting for the action, at particular
moments from the play.
The question wants you to:
• Clearly explain and outline the nonnaturalistic set design
• focus upon the set design’s creation of a suitable setting for the action of the
production at particular moments
• an evaluation of the success of the design, related to particular moments from
the production
You will be expected to comment upon how well the set:
• - created a specific location or period
• - suggested an interior or exterior setting
• - suggested a time of year, or of day - to suggest a specific social atmosphere
• - support the themes/issues of the production
• - created an abstract/stylised or symbolic setting for the piece
You will be expected to illustrate this by commenting upon
• - choice of staging form
• - the use of colour, texture, shape, levels
• - the use of flats, furnishings, set dressing, doors, windows, drapes, floor
cloths - the use of steps, revolves, flown scenery, trapdoors, 3D structures
• - the use of gauze, cyclorama, screens, projections, placards
• - particular moments from the production where the design created a suitable
setting for the action
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AO2
Candidates demonstrate knowledge and understanding of practical
and theoretical aspects of drama and theatre using appropriate
terminology (out of 17)
- informed reference to the non-naturalistic style and form of the production
- examples where the set design created a suitable setting for the action
- theoretical understanding of the production aims (reflecting style and
genre) - accurate use theatre Terminology
AO4
Candidates make critical evaluative judgements of live theatre AO4
(out of 33)
- experience of an appropriate production, where set design made a
significant contribution to the production
- a critical appreciation of design fundamentals as deployed in the nonnaturalistic set design
- personal evaluation of the success of the set design
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Question 2 Outline the use of period styling, colour, condition and accessories
within the costume design of one live production that you have seen and assess its
success in communicating character to the audience. You should consider the
costumes worn by at least two characters at particular moments in the play.
The question wants you to consider:
• costumes worn by at least two characters
• the success of the costumes in communicating character to the audience
• reference to particular moments within the production
You will be expected to comment upon
• the types of character, i.e. historical context, gender, age, social status, profession,
nationality, conformity.
costume design fundamentals, for example:
• - the period and style of the costumes
• - the use of colour, fabric and texture
• - the fit and condition of the costumes
• - hemlines, necklines, waistlines, lapel width, trouser shapes, jacket shapes
• - accessories, for example, wigs, masks, make-up, hairstyles, shoes, accessories,
ornamentation and specific terminology, ‘boat neck’, ‘raglan sleeve’, Eton collar
You will be expected to illustrate this by commenting upon
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- identifying characters as members of the same ‘group’
- the effect of the costumes upon movement to create character
- costumes and accessories used to communicate characteristics, i.e.
melodramatically sweeping capes, nervousness involving cuffs and ties
AO2
• evidence of knowledge and understanding of the aims of the costume
designer for the chosen production, based upon:
• informed reference to the style and form of the Production –
• examples from the production where the costume design was intended
to communicate character
• theoretical understanding of the production aims of the production team
• accurate use of appropriate theatre terminology
AO4
• critical and evaluative judgements of the costume design used in a live
production seen, based upon:
• - experience of an appropriate production, where costume design made
a significant contribution to the production
• - a critical appreciation of design fundamentals, period styling, colour,
condition and accessories, as deployed in the costume design
• - personal evaluation of the success of the costume design in
communicating character
Question 3 Explain how one or more performers used vocal, physical and facial
expression to engage the audience at particular moments within one live production
that you have seen, and assess the effectiveness of their performances.
The question wants you to consider:
• an explanation of how one or more performers used vocal, physical and facial
expression to engage the audience
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reference to particular moments within the production
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an assessment of the effectiveness of the performances
You will be expected to comment upon:
• the characters being performed and how they engaged with the audience
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the physical appearance of the performers, age, height, build, facial features
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costume and/or make-up to enhance physical and facial expression
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expression of emotion, tension
• the use of vocal expression by the performer(s), pitch, pace, pause, projection, accent
• singing, chanting and vocal ensemble work
• non-verbal vocal work such as shrieks, cries, howls and laughter
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You will be expected to illustrate this by commenting upon physical expression,
movement, gesture, posture, gait, idiosyncrasy
interaction with other characters
use of dance, physical theatre, mime
demonstration of physical qualities such as poise, balance, strength, timing
use of facial expression and eye contact
relationship with the audience (direct address, asides, inner monolgues)
audience response
AO2, “demonstrate knowledge and understanding of practical and
theoretical aspects of drama and theatre using appropriate
terminology”
• informed reference to the style and form of the production
• examples from the production where the performers used vocal,
physical and facial expression to engage the audience
• theoretical understanding of the production aims of the production
team
• accurate use of appropriate theatre terminology
AO4, “make critical and evaluative judgements of live theatre”
• experience of an appropriate production, where one or more
performers used vocal, physical and facial expression to engage the
audience
• a critical appreciation of the vocal, physical and facial expression
employed by one or more performers
• personal evaluation of the effectiveness of the Performances
Question 4 Explain how the performers used both their props and the setting within one
live production that you have seen and assess their contribution to the creation of a
sense of realism at particular moments within the production.
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The question wants you to consider:
explanation of the use of props and the setting by performers
reference to particular moments within the production where the performers used
props and the setting
an assessment of how the use of props and the setting contributed to a sense of
realism within the production
You will be expected to comment upon how the props were used realistically:
working with hand props such as spectacles, bags, papers, letters, books, wallets,
eating and drinking; use of crockery and cutlery, cups and glasses
adjustment of costume pieces such as shawls, hats, gloves, coats
the performers’ realistic use of setting,
sitting in chairs, sofas, on stools
using doors, windows, curtains, lamps
using items of set dressing, typewriters, fires, stoves, kitchen equipment
use of mirrors
use of bedding, blankets, beds
reacting to sources of light; using radio/television
use of space within the setting in a realistic way
AO2 Candidates demonstrate knowledge and understanding of
practical and theoretical aspects of drama and theatre using
appropriate terminology
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evidence of knowledge and understanding of the aims of the
performers in their use of props and the setting within the
production, based upon:
• informed reference to the realistic style and form of the production
• examples from the production where the use of props and the
setting contributed to a sense of realism
• some theoretical understanding of the production aims of the
production team
• accurate use of appropriate theatre terminology
AO4, “make critical and evaluative judgements of live theatre”
• experience of an appropriate production, where the use of props and
the setting contributed to a sense of realism within the production
• a critical appreciation of the performers’ use of props and the setting
• personal evaluation of the contribution made to the creation of a
sense of realism
Take a break
Unit 1 Section B
(Antigone)
1(a) Explain how you would perform the role of the Sentry, in each of his two
appearances, in order to reveal his change of attitude from his initial fear for
his own life to his relief as he brings a guilty Antigone before Creon. [In some
editions, the Sentry appears as the Soldier or Guard.]
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The question wants you to consider:
focus on each of the Sentry’s appearances,
concentrating upon the Sentry’s change of attitude from fear to relief
from a performer’s perspective
Include performance ideas which reveal the Sentry’s change in attitude
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You will be expected to comment upon:
the context of the Sentry’s appearances
the Sentry’s role and function within the play
his initial fear of Creon; his relief when handing over the real ‘guilty party’
the Sentry’s physical appearance, age, height, build, facial features
vocal qualities, pitch, pace, tone, accent; possible change in quality in the
second appearance
interaction with others, eye contact, spatial relationships, physical
contact; use of space movement, gesture, gait, posture,
energy, demeanour and facial expressions
choice of costume/make-up/mask
use of props, if appropriate
specific performance ideas, clearly intended to reveal his change in attitude
thematic/theoretical aspects, genre and style; original cultural context
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AO2, “demonstrate knowledge and understanding of practical and
theoretical aspects of drama and theatre using appropriate
terminology”
- dramatic invention within practical performance suggestions
- theoretical understanding of the play informing practical decisions
- knowledge and understanding of the play’s potential in
performance
supported by apt textual illustration - accurate use of appropriate
theatre Terminology
AO3, “interpret plays from different periods and genres”
appropriate interpretation of the character
- the Sentry’s role and function
- the play’s period, genre and style (or justified transposed period)
- the revelation of the Sentry’s change in attitude
1 (b) What effects would you wish to create for your audience at the end of
the play? Explain how you would direct the section from the entrance of
Eurydice to the end of the play in order to achieve your aims.
The question wants you to consider:
Specific effects to be achieved for the audience at the end of the play.
A director’s perspective and strategies to achieve the intended effect
You will be expected to comment upon the:
preferred effects which might include creating, a sense of
anticipation/tension, a sense of Catharsis, a pity and fear, a sense of
waste; sympathy or Eurydice, for Creon, for Haemon and Antigone;
shock at the final outcome
directorial suggestions which might include ideas for the actors’
performances as well as ideas for use of the setting, for costume/mask, for
technical elements to support the interpretation of the section
choice of staging form; set design, furnishings, if appropriate
the physical appearances of the characters in terms oft age, height,
build, colouring, facial features, perhaps with reference to the solemnity of
the Messenger, the dignity of Eurydice, the altered state of Creon, the
unified look of the Chorus
AO2, “demonstrate knowledge and understanding of practical and
theoretical aspects of drama and theatre using appropriate terminology”
appropriate selection and application of directorial methods,
demonstrating:
- dramatic invention within practical directorial suggestions
- theoretical understanding of the play, informing practical decisions
- knowledge and understanding of the play’s potential in performance
supported by apt
textual illustration
-accurate use of appropriate theatre Terminology
AO3, “interpret plays from different periods and genres”
appropriate directorial interpretation for the final section of the play,
compatible with:
- the characters and their situation at the tragic close of the play
- the play’s period, genre and style (or justified transposed period)
- the candidate’s preferred effects for the audience
Tips on writing an essay
Before you start, make a plan….
Bullet-point these 3 questions in your plan…..
1. ANSWER THE QUESTION!
Write down the key points the question wants you to address.
2. Then write down the Style and Genre AND your Dramatic Intentions.
Keep referring to your Dramatic Intentions (as director, designer, etc.)
What is your ultimate aim? To create sympathy for a character, to use the body
as a tool for physical expression, convince the audience to ‘suspend their
disbelief’, create debate, etc.
3. Then think….what specific moments in the play illustrate your dramatic
intentions AND reflect the genre and style? These are your Key Moments
(choose at least 3)
Now you know what to write about…how do you go about it?
One way is to use the PEEL formula
P point (Dramatic Intention)
E evidence (SCRAP THOSE)
E explanation (Refer to DI, what is the result?)
L link (with the next paragraph)
Use SCRAP THOSE, to help illustrate your POINT/Dramatic Intentions
• S- Style and Genre, including the period
• C-Communication-how characters communicate themes, use voice, physical skills
• R-Relationship –relationship with each other, with the set, with themes
• A-Audience & Atmosphere,-the desired effect upon them and the mood created
• P-Progression, how the scenes, themes, relationships, costumes progress
• Dramatic Intention
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T-Tension in the body, voice and in the scene, the creation of mood
H-Height, how the characters and actors hold themselves, their posture
O-Openness- how open is their body language/open to new ideas
S-Space, do they dominate their space or try to take up as little as possible
E-Eye contact, how, or do they, maintain it with each other.
When you write….
• Do not make your essay narrative, don’t just tell the
examiner You must explain HOW in facial, vocal and
physical terms.
• and WHY (effect upon the audience, reflection of Genre
and Style)
• Choose at least 3 Key Moments. (From 3 seconds-3
mins long)
• Use quotations- they make the essay livelier.
• Keep a good structure: introduction, middle and end.
• Make each paragraph thematically about something
new.
• Try to lead one paragraph fluently into the next.
• Keep a sense of balance- you need to talk about many
different factors (e.g. costumes, direction, lighting etc) so
don’t spend the whole essay talking about one thing.
• There is a difference between the actor and character.