DOCSLIB.ORG

BTEC Higher National Qualifications in Performing Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BTEC Higher National Qualifications in Performing Arts BTEC HIGHER NATIONALS Performing Arts Specifi cation First Teaching from September 2018 First Certifi cation from September 2019 Higher National Certifi cate Lvl 4 Higher National Diploma Lvl 5 Edexcel, BTEC and LCCI qualifications Edexcel, BTEC and LCCI qualifications are awarded by Pearson, the UK’s largest awarding body offering academic and vocational qualifications that are globally recognised and benchmarked. For further information, please visit our qualifications website at qualifications.pearson.com. Alternatively, you can get in touch with us using the details on our contact us page at qualifications.pearson.com/contactus About Pearson Pearson is the world’s leading learning company, with 35,000 employees in more than 70 countries working to help people of all ages to make measurable progress in their lives through learning. We put the learner at the centre of everything we do, because wherever learning flourishes, so do people. Find out more about how we can help you and your learners at qualifications.pearson.com References to third party material made in this specification are made in good faith. Pearson does not endorse, approve or accept responsibility for the content of materials, which may be subject to change, or any opinions expressed therein. (Material may include textbooks, journals, magazines and other publications and websites.) All information in this specification is correct at time of publication. ISBN 978 1 446 95874 2 All the material in this publication is copyright © Pearson Education Limited 2020 Pearson BTEC Level 4 Higher National Certificate in Performing Arts – © lapandr/Shuterstock Summary of changes in Pearson BTEC Higher Nationals in Performing Arts Issue 4 Summary of changes made between previous issue and this current Page issue number Branding 1-618 Added new front cover Applied updated Pearson BTEC Higher Nationals branding colour, font and tables throughout the spec 2.5.1 Progression to university 11 University recognition and articulations section updated and reflects new website. 2.7 How Pearson BTEC Higher Nationals in Performing Arts provide both 12 transferable employability skills and academic study skills Correction. Changed word from moderated to verified 3.2.1 English language requirements for Higher Nationals 15 Reverted wording back to previous issue 4.2.3 Meeting local needs (MLN) 56-57 4.2.4 Pearson BTEC Higher National Commissioned Development Updated section and guidance 6.3.2 Making assessment decisions using criteria 81 Correction. Changed word from moderated to ‘verified’ Correction. Changed word from mark to ‘grade’ Correction. Changed word from marks to ‘grades’ 6.5.2 Compensation of HNC. 85 Clarified statement by inserting words “attempted but” as is the case with the wording on compensation of HND. Corrections 149, 174,179, Corrections of typos and spelling and grammatical, and errors across the 187, 193, spec 210,227, 244, 255,466, 480, 506, 513, 520, Summary of changes made between previous issue and this current Page issue number Unit 1: The Performing Arts Industry. 96-103 Change of wording for M2 assessment criteria ‘in the film industry and onstage’ to ‘in the film/TV industry and theatre/live performance industry’ Unit 3: Jazz Dance 1. 110-116 Additional essential content added ‘Mental stamina and resilience in relation to feedback and critiques.’ Unit 4: Ballet 1. 117-123 LO3 Additional essential content added ‘Mental stamina and resilience in relation to feedback and critiques.’ LO4 Additional essential content added: ‘Health and wellbeing within the ballet industry. Mental health, resilience, stamina and a healthy mind and body. Unit 6: Commercial Dance 1. 131-136 LO3 Additional essential content added ‘Mental stamina and resilience in relation to feedback and critiques.’ Rewording of assessment criteria for P1 to ‘demonstrate all required work within a class environment with assurance’ Rewording of assessment criteria for M1 to ‘demonstrate all required work within a class environment with assurance’ Unit 7: Tap 1 137-143 LO3 Additional essential content added ‘Mental stamina and resilience in relation to feedback and critiques.’ Addition of one word assessment criteria for P1 ‘environment’ Addition of one word assessment criteria for M1 ‘environment’ Unit 8: American Tap. 144-151 LO3 Additional essential content added ‘Mental stamina and resilience in relation to feedback and critiques.’ Addition of one word assessment criteria for P1 ‘environment’ Addition of one word assessment criteria for M1 ‘environment’ Unit 9: Choreography 1 152-157 LO1 Additional essential content added ‘Exploration of skills required to effectively choreograph: originality, concepts and idea creation, leadership, communication. ‘Diversity of choreographers’ LO4 ‘The business of choreography – copyright and ownership or moves and works’. Summary of changes made between previous issue and this current Page issue number Unit 10: Investigation of Specialism 158-163 LO1 Additional essential content added ‘Current trends and advances’ LO4 Current trends, movements, technological advances and potential impact on employment in specialist area’ ‘Consideration of a resurgence of skills eg. traditional wig making, analogue productions’ Replacing ‘performing’ with ‘creative’ of assessment criteria for M1, D1, P3, M2, M3 and P5 Unit 11: Dance for Camera 164-169 LO2 Additional essential content added ‘games’ Unit 13: Acting 1 177-184 LO1 Additional essential content ‘Health and wellbeing while developing a role’ Unit 21: Production Communication 232-238 LO1 Additional essential content added ‘health and wellbeing’ Unit 22: Stagecraft 239-244 LO1 and LO4 Additional essential content ‘health and wellbeing’ LO3 Additional essential content ‘Health and wellbeing: stress management, anxiety and pressure etc. Unit 24: Sound Operation 254-261 LO3 Additional essential content added ‘health, safety and wellbeing’ Unit 25: Special FX 262-267 Unit introduction: Replaced ‘Theatre World’ with Creative Industry Unit 29: Crewing 287-294 LO4 Additional essential content added ‘health, safety and wellbeing’ Unit 46: Auditioning 422-428 Unit introduction: Replaced ‘Performing’ with ‘Creative’ and additional text ‘In light of the #metoo movement there has been many discussions about casting and the audition process relating to professional standards and what is required. While exploring audition skills through this unit, students will also discuss current policies and guidance on casting and audition requirement’ Updated essential content. Unit 47: Choreography 2 429-435 Updated essential content Summary of changes made between previous issue and this current Page issue number Unit 55: Management Role 492-498 Additional essential content added ‘health, safety and wellbeing’ Unit 59: Stage Management 524-532 Additional essential content added ‘health, safety and wellbeing’ Unit 60: Costume Design 533-539 Unit renamed from ‘The Costume Design’ to ‘Costume Design’ Unit 62: Mask and Puppet Making 548-555 Updated introduction to check plural agreement as section refers to two production forms Unit 64: Directing 563-570 Additional essential content added ‘health, safety and wellbeing’ Appendix 6: Recognition of Prior Learning 614-618 Added RPL Mapping from L4 QCF to L4 RQF If you need further information on these changes or what they mean, contact us via our website at: qualifications.pearson.com/en/support/contact-us.html. Contents 1 Introduction 1 1.1 The Student Voice 1 1.2 Why choose Pearson BTEC Higher Nationals? 1 1.3 HN Global 2 1.4 Qualification Titles 3 1.5 Qualification codes 3 1.6 Awarding institution 3 1.7 Key features 4 1.8 Collaborative development 4 2 Programming purpose and objectives 7 2.1 Purpose of the BTEC Higher Nationals in Performing Arts 7 2.2 Objectives of the BTEC Higher Nationals in Performing Arts 7 2.3 Aims of the Level 4 Higher National Certificate in Performing Arts 9 2.4 Aims of the Level 5 Higher National Diploma in Performing Arts 10 2.5 What could these qualifications lead to? 10 2.5.1 Progression to university 11 2.5.2 Employment 11 2.6 Use of Maths and English within the curriculum 12 2.7 How Pearson BTEC Higher Nationals in Performing Arts provide both transferable employability skills and academic study skills 12 3 Planning your programme 14 3.1 Delivering the Higher Nationals in Performing Arts 14 3.2 Entry requirements and admissions 14 3.2.1 English language requirements for Higher Nationals 15 3.2.2 Centre approval 15 3.2.3 Level of sector knowledge required 16 3.2.4 Resources required 16 3.2.5 HN Global support 16 3.2.6 Modes of delivery 16 3.2.7 Recommendations for employer engagement 16 3.2.8 Support from Pearson 16 3.2.9 Student employability 17 3.3 Access to study 18 3.4 Student registration and entry 18 3.5 Access to assessments 19 3.6 Administrative arrangements for internal assessment 19 3.6.1 Records 19 3.6.2 Reasonable adjustments to assessment 19 3.6.3 Special consideration 20 3.6.4 Appeals against assessment 20 3.7 Dealing with malpractice in assessment 20 3.7.1 Internally assessed units 21 3.7.2 Student malpractice 21 3.7.3 Staff and centre malpractice 22 3.7.4 Sanctions and appeals 22 4 Programme structure 24 4.1 Units, Credits, Total Qualification Time (TQT) and Guided Learning (GL) 24 4.2 Programme structures 25 4.2.1 Pearson BTEC Level 4 Higher National Certificate in Performing Arts 26 4.2.2 Pearson BTEC Level 5 Higher National Diploma in Performing Arts 39 4.2.3 Meeting local needs (MLN) 56 4.2.4 Pearson BTEC Higher National Commissioned Development
Load more

Recommended publications
  • Graduate Policies Procedures
    GRADUATE POLICIES AND PROCEDURES Graduate Division 5/18/2021 Table of Contents Contact Us ........................................................................................................................................... 3 I. ADMINISTRATION .......................................................................................................................... 4 A. The Role of the Graduate Division ................................................................................................ 4 B. The Role of Graduate Council ....................................................................................................... 4 C. The Role of the Faculty Graduate Advisor .................................................................................... 5 II. ADMISSIONS .................................................................................................................................. 5 A. Admissions Policy .......................................................................................................................... 5 B. The Application Process ................................................................................................................. 9 C. Admission Decisions .................................................................................................................... 15 D. Readmission ................................................................................................................................. 17 III. FELLOWSHIPS AND GRANTS ....................................................................................................
    [Show full text]
  • The First Critical Assessments of a Streetcar Named Desire: the Streetcar Tryouts and the Reviewers
    FALL 1991 45 The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewers Philip C. Kolin The first review of A Streetcar Named Desire in a New York City paper was not of the Broadway premiere of Williams's play on December 3, 1947, but of the world premiere in New Haven on October 30, 1947. Writing in Variety for November 5, 1947, Bone found Streetcar "a mixture of seduction, sordid revelations and incidental perversion which will be revolting to certain playgoers but devoured with avidity by others. Latter category will predomin­ ate." Continuing his predictions, he asserted that Streetcar was "important theatre" and that it would be one "trolley that should ring up plenty of fares on Broadway" ("Plays Out of Town"). Like Bone, almost everyone else interested in the history of Streetcar has looked forward to the play's reception on Broadway. Yet one of the most important chapters in Streetcar's stage history has been neglected, that is, the play's tryouts before that momentous Broadway debut. Oddly enough, bibliographies of Williams fail to include many of the Streetcar tryout reviews and surveys of the critical reception of the play commence with the pronouncements found in the New York Theatre Critics' Reviews for the week of December 3, 1947. Such neglect is unfortunate. Streetcar was performed more than a full month and in three different cities before it ever arrived on Broadway. Not only was the play new, so was its producer. Making her debut as a producer with Streetcar, Irene Selznick was one of the powerhouses behind the play.
    [Show full text]
  • The Project Gutenberg Ebook of Six Short Plays, Complete, by John Galsworthy SCENE II
    The Project Gutenberg EBook of Six Short Plays, Complete, by John Galsworthy SCENE II. WANDA's Room. This eBook is for the use of anyone anywhere at no cost SCENE III. The Same. and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Between SCENE I. and SCENE II.--Thirty hours. Project Gutenberg License included with this eBook or Between SCENE II. and SCENE III.--Two months. online at www.gutenberg.net Title: Six Short Plays, Complete SCENE I Author: John Galsworthy It is six o'clock of a November evening, in KEITH Release Date: October 27, 2006 [EBook #5060] DARRANT'S study. A large, dark-curtained room where the light from a single reading-lamp falling on Turkey Language: English carpet, on books beside a large armchair, on the deep blue-and-gold coffee service, makes a sort of oasis before *** START OF THIS PROJECT GUTENBERG a log fire. In red Turkish slippers and an old brown velvet EBOOK SIX SHORT PLAYS, COMPLETE *** coat, KEITH DARRANT sits asleep. He has a dark, clean-cut, clean-shaven face, dark grizzling hair, dark twisting eyebrows. Produced by David Widger [The curtained door away out in the dim part of the room behind him is opened so softly that he does not wake. LARRY DARRANT enters and stands half lost in the curtain over the door. A thin figure, with a worn, high SIX SHORT PLAYS OF GALSWORTHY cheek-boned face, deep-sunk blue eyes and wavy hair all ruffled--a face which still has a certain beauty.
    [Show full text]
  • Prospectus 19/ 20 Trinity Laban Conservatoire Of
    PROSPECTUS 19/20 TRINITY LABAN CONSERVATOIRE OF MUSIC & DANCE CONTENTS 3 Principal’s Welcome 56 Music 4 Why You Should #ChooseTL 58 Performance Opportunities 6 How to #ExperienceTL 60 Music Programmes FORWARD 8 Our Home in London 60 Undergraduate Programmes 10 Student Life 62 Postgraduate Programmes 64 Professional Development Programmes 12 Accommodation 13 Students' Union 66 Academic Studies 14 Student Services 70 Music Departments 16 International Community 70 Music Education THINKING 18 Global Links 72 Composition 74 Jazz Trinity Laban is a unique partnership 20 Professional Partnerships 76 Keyboard in music and dance that is redefining 22 CoLab 78 Strings the conservatoire of the 21st century. 24 Research 80 Vocal Studies 82 Wind, Brass & Percussion Our mission: to advance the art forms 28 Dance 86 Careers in Music of music and dance by bringing together 30 Dance Staff 88 Music Alumni artists to train, collaborate, research WELCOME 32 Performance Environment and perform in an environment of 98 Musical Theatre 34 Transitions Dance Company creative and technical excellence. 36 Dance Programmes 106 How to Apply 36 Undergraduate Programmes 108 Auditions 40 Masters Programmes 44 Diploma Programmes 110 Fees, Funding & Scholarships 46 Careers in Dance 111 Admissions FAQs 48 Dance Alumni 114 How to Find Us Trinity Laban, the UK’s first conservatoire of music and dance, was formed in 2005 by the coming together of Trinity College of Music and Laban, two leading centres of music and dance. Building on our distinctive heritage – and our extensive experience in providing innovative education and training in the performing arts – we embrace the new, the experimental and the unexpected.
    [Show full text]
  • The Rise of Female-Centric Habilitation and the New Politics of Imprisonment
    Indiana Journal of Law and Social Equality Volume 2 Issue 2 Article 4 Spring 2014 No Fleeting Phenomenon: The Rise of Female-Centric Habilitation and the New Politics of Imprisonment Priya N. Purohit [email protected] Follow this and additional works at: https://www.repository.law.indiana.edu/ijlse Part of the Law Commons Recommended Citation Purohit, Priya N. (2014) "No Fleeting Phenomenon: The Rise of Female-Centric Habilitation and the New Politics of Imprisonment," Indiana Journal of Law and Social Equality: Vol. 2 : Iss. 2 , Article 4. Available at: https://www.repository.law.indiana.edu/ijlse/vol2/iss2/4 This Book Review is brought to you for free and open access by the Law School Journals at Digital Repository @ Maurer Law. It has been accepted for inclusion in Indiana Journal of Law and Social Equality by an authorized editor of Digital Repository @ Maurer Law. For more information, please contact [email protected]. Indiana Journal of Law and Social Equality Volume 2: Issue 2 No Fleeting Phenomenon: The Rise of Female-Centric Habilitation and the New Politics of Imprisonment Review by Priya N. Purohit* BREAKING WOMEN: GENDER, RACE, AND THE NEW POLITICS OF IMPRISONMENT. By Jill McCorkel. New York City, N.Y.: NYU Press. 2013. INTRODUCTION Breaking Women: Gender, Race, and the New Politics of Imprisonment, by Jill A. McCorkel, associate professor of sociology and criminology at Villanova University, examines the role of habilitation—a set of confrontational social tech- nologies that induce the forcible “breakdown” of the “diseased” self of the addict— in the new penology that took shape during the “War on Drugs” in the mid-1990s.1 McCorkel argues habilitation is both gendered and racialized, and has contributed heavily to the contemporary American penal system’s function as a racial caste system.
    [Show full text]
  • STANDING ROOM ONLY by Thomas Hischak
    STANDING ROOM ONLY by Thomas Hischak Copyright © 2018 by Thomas Hischak, All rights reserved. ISBN: 978-1-64479-010-6 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilat- eral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or elec- tronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock perfor- mance rights to this Work are controlled exclusively by Brooklyn Publishers LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers LLC. Questions concerning other rights should be addressed to Brooklyn Publishers LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Brooklyn Publishers LLC. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged.
    [Show full text]
  • Images of Violence in Complicite Obrazy Przemocy W Complicite
    Images of Violence in Complicite Tom 5/2017, ss. 53-60 ISSN 2353-1266 e-ISSN 2449-7983 DOI: 10.19251/sej/2017.5(4) www.sej.pwszplock.pl Tomasz Wiśniewski Uniwersytet Gdański Images of Violence in Complicite Obrazy przemocy w Complicite Abstract Abstrakt In British theatre of the last three W ciągu ostatnich trzech dekad decades, we observe a significant shift from można zaobserwować w brytyjskim teatrze the more verbal, playwright-focused model of odejście od modelu teatru opartego na słowie, theatre whose meanings are determined pri- którego znaczenia determinowane są przez marily by the literary concept of drama to the literacką koncepcję dramatu na rzecz teatru, one which exercises more profoundly artistic który korzysta w większym zakresie z auto- autonomy of theatre. Complicite is one of the nomii artystycznej teatru . Complicite to jedna leading theatre companies that are responsible z tych grup teatralnych, które stoją za tymi for this shift. In the performances of Complic- zmianami. W przedstawienich Complicite, ite, the theme of violence has been explored temat przemocy pojawia się regularnie i do frequently. The whole variety of theatre jej zaprezentowania wykorzystywany jest devices were employed in depicting images of cały wachlarz środków artystycznych. Arty- violence. The article discusses plays such as kuł omawia sztuki: Mnemonic, The Street of Mnemonic, The Street of Crocodiles, Measure Crocodiles, Measure for Measure, The Mas- for Measure and The Master and Margarita, ter and Margarita, A Disappearing Number, A Disappearing Number, Shun-kin and The Shun-kin, The Encounter i kilka innych. Encounter and mentions others. Słowa kluczowe: Complicite, Simon Keywords: Complicite, Simon McBurney, Mnemonic, The Encounter, prze- McBurney, Mnemonic, The Encounter, vio- moc, badania nad teatrem, komunikacja, lence, theatre studies, communication, semi- semiotyka otics 54 Tomasz Wiśniewski Tom 5/2017 1 .
    [Show full text]
  • The UK Academic System: Hierarchy, Students, Grants, Fellowships and All That
    The UK Academic System: hierarchy, students, grants, fellowships and all that Geoffrey J. Barton School of Life Sciences University of Dundee Dundee Scotland, UK www.compbio.dundee.ac.uk www.jalview.org twitter: @gjbarton [email protected] Version 4.2 – July 2019 Copyright © G. J. Barton, 2008, 2012, 2014, 2018, 2019 1 Table of Contents Prefaces ..................................................................................................................... 3 Version 4.2 – July 2019 ..................................................................................................... 3 Version 4.0 – July 2018 ..................................................................................................... 3 Version 3.0 – March 2014 ................................................................................................. 4 Version 2.0 – April 2012 ................................................................................................... 4 Version 1.0 – March 2008 ................................................................................................. 4 Introduction .............................................................................................................. 5 The Excitement of a Scientific Career ............................................................................... 5 An academic scientist’s research environment ................................................................ 5 What is School, University and all that? ..........................................................................
    [Show full text]
  • (Reader) / Senior Assistant Professor (University Lecturer / Senior Lecturer) in Operations and Technology Management at Cambridge Judge Business School
    Associate Professor (Reader) / Senior Assistant Professor (University Lecturer / Senior Lecturer) in Operations and Technology Management at Cambridge Judge Business School The Operations and Technology Management (OTM) group of Cambridge Judge Business School (CJBS) will be seeking to fill a position at the rank of Associate Professor (Reader) or Senior Assistant Professor (University Lecturer / Senior Lecturer), subject to final approval of the post by the University Committee. Cambridge Judge Business School is a highly ranked business school, located at the heart of an 800- year old University and within one of the most active entrepreneurship clusters in Europe. The OTM group at CJBS is collegial and ambitious, and has developed a reputation for management research that is rigorous, original and consequential, as evidenced by a strong publication record, high profile media coverage, and the strength of its PhD program. The group seeks to further increase its global visibility through research outputs, including publications in top management journals, as well as by placing its PhD graduates in academic positions in leading schools. The ideal candidates will have a record of impactful research, as evidenced by publications in top journals and a strong paper pipeline. They will also have excellent teaching experience on premium business school degree programs (MBA; Executive MBA) and preferably on Executive Education engagements. The OTM group at CJBS is very supportive of research with real-world impact and is particularly welcoming of candidates unafraid to tackle ‘grand challenge’ topics in organizations and society more widely. The members of the group are actively pursuing research topics that inform their executive teaching and, in turn, choose research priorities motivated by problems identified through executive teaching.
    [Show full text]
  • CALLBOY November 2008 Theatretheatre Xmas Party
    Roleystone Theatre CALLBOY November 2008 TheatreTheatre Xmas Party AT YEYE OLD NARROGIN INN Cnr ALBANY HWYHWY and South West HWY, ARMADALE SATURDAYSATURDAY 1313THTH DECEMBER 2008 TIMETIME 7PM We have the upstairs function room, which holds approx 5555 to 60 people soso book early! The cost per person will be $35$35 for a three course buffet (with choices) plus your drinks from the bar. ROLEY AWARDS Please call MarilynMarilyn Please call/email Bree (details at the bottom of this HermetHermet on 04030403 268942 page) with nominations for The Gold Roley Award (a stand-out contributor for 2008) and by SatSat 6thth December 2008 any Roley Awards (funny or memorable to book your place. moments from theatre activities this year). Audition Notices Assassins : page 4 & TheThe Crucible ::: page 333 1930’s th Movie Night: 12 Dec @ 8pm ‘It’s a wonderful Life’ Submission Deadline: Please phone through or email your submissions for next month’s callboy. These need to be forwarded to me by the 25th of each month so there is plenty of time to get the edition completed, to the printer and then posted. Any information or photos are welcome and remember the callboy is a great way to let other members know what is going on in the world of theatre and ‘normal life’. Bree Hartley: 9495 2510 or 0402014666, email: [email protected] or [email protected] President’s Report In last months “Call Boy” I mentioned that we were waiting for news about The Ignite Fund. As you recall we applied for funding from the government to undertake urgent work at the Theatre.
    [Show full text]
  • Complicite's 'The Encounter' Edinburgh International Conference Center, Edinburgh International Festival; 480 Seats; £32 ($50) Top
    REVUE DE PRESSE SIMON MCBURNEY The Encounter 08 – 12.09.2015 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... Theatre Expat In Switzerland? £50k+ Savings? Try A Free Review To Show You The Best Interest Rates! Theatre / What to See WHAT TO SEE Edinburgh: The Encounter, International Conference Centre, review: 'spellbinding' share THE ENCOUNTER IS ONE OF THE EARLY HITS OF THE EDINBURGH INTERNATIONAL FESTIVAL CREDIT: A. PHILLIPSON/LIVEPIX BB y DDoommiinniicc CCaavveennddiisshh THEATRE CRITIC 9 AUGUST 2015 • 2:08PM share 1 sur 6 27.08.15 12:08 Edinburgh: The Encounter, International Conference Centre http://www.telegraph.co.uk/theatre/what-to-see/edinburgh-the... You are alone in the dense, almost inaccessible Amazon region of Brazil, 400 miles from "civilisation". The aim is to take photographs of an elusive, barely contacted tribes-people called the Mayoruna – to show the world what they look like. And, amazingly, you strike gold. There, suddenly, some of them are. You follow them, snapping as you go – failing, unlike Hansel and Gretel, to leave a trail behind you. The story of the American photographer Loren McIntyre’s incredible 1969 encounter with “the cat people” (so named because of the whisker-like palm-spines adorning their lips and noses) is the stuff of a twisting, turning, thoroughly engrossing fairytale. And in re-telling it, in this brilliant solo show mounted by his much-travelled company Complicite, Simon McBurney adopts a high-tech bedside manner that places the audience in the role of wide-eyed – or should that be wide-eared? – children.
    [Show full text]
  • DV8 and Lloyd Newson Topic Exploration Pack September 2015
    Performance Studies A LEVEL Performance Studies: DV8 and Lloyd Newson Topic Exploration Pack September 2015 www.ocr.org.uk Topic Exploration Pack We will inform centres about any changes to the specification. We will also publish changes on our website. The latest version of our specification will always be the one on our website (www.ocr.org.uk) and this may differ from printed versions. Copyright © 2015 OCR. All rights reserved. Copyright OCR retains the copyright on all its publications, including the specifications. However, registered centres for OCR are permitted to copy material from this specification booklet for their own internal use. Oxford Cambridge and RSA Examinations is a Company Limited by Guarantee. Registered in England. Registered company number 3484466. Registered office: 1 Hills Road Cambridge CB1 2EU OCR is an exempt charity. 2 www.ocr.org.uk AS Level Performance Studies Contents DV8 and Lloyd Newson................................................................................................................... 4 Lesson One .................................................................................................................................... 7 Lesson Two .................................................................................................................................... 8 Lesson Three .................................................................................................................................. 9 This activity offers an opportunity for English skills development. Version
    [Show full text]