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Contemporary Theatre Performance D/502/5359 Level 3 Unit 21

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Contemporary Theatre Performance D/502/5359 Level 3 Unit 21 Cambridge TECHNICALS OCR LEVEL 3 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN PERFORMING ARTS CONTEMPORARY THEATRE PERFORMANCE D/502/5359 LEVEL 3 UNIT 21 GUIDED LEARNING HOURS: 60 UNIT CREDIT VALUE: 10 CONTEMPORARY THEATRE PERFORMANCE D/502/5359 LEVEL 3 UNIT 21 AIM OF UNIT The aspiring actor needs to be able to demonstrate a practical understanding of a variety of performance genres, styles and roles. This unit offers the aspiring actor a practical insight into contemporary performance. Through a systematic approach including, research, textual analysis, experimentation, rehearsal and performance, this unit will encourage the aspiring actor to develop an understanding of several contrasting contemporary texts and their performance possibilities and practical realisation. For the purposes of the Unit, the term ‘Contemporary’, refers to any play written since 1935. www.ocr.org.uk 2 Contemporary Theatre Performance Level 3 Unit 21 ASSESSMENT AND GRADING CRITERIA Learning Outcome (LO) Pass Merit Distinction The assessment criteria are To achieve a merit the To achieve a distinction the the pass requirements for evidence must show that, in evidence must show that, this unit. addition to the pass criteria, in addition to the pass and the learner is able to: merit criteria, the learner is The learner will: The learner can: able to: 1 Be able to research P1 research contemporary contemporary texts texts to provide ideas for their interpretation 2 Be able to interpret and P2 realise characters and realise contemporary meet demands of the texts texts in relation to the interpretations 3 Be able to rehearse P3 develop performance M1 through self contemporary texts for through rehearsal, with assessment, performance guidance demonstrate alternative ways of improving performance 4 Be able to perform P4 perform roles M2 effectively integrate D1 evaluate the contemporary texts from contrasting interpretive and approaches to contemporary texts, technical skills whilst character development showing differences in performing both roles in each role characterisation 3 TEACHING CONTENT The unit content describes what has to be taught to ensure that learners are able to access the highest grade. Anything which follows an i.e. details what must be taught as part of that area of content. Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply relevant examples to their work although those do not need to be the same ones specified in the unit content. Be able to research contemporary texts • Define term contemporary – historical context – con • Textual Analysis temporary theatrical/performance changes, theories title, structure, style, genre, the given circumstances, and movements, e.g. environmental facts and background, date, time Absurdism, Physical Theatre, Feminist Theatre, Total and period, timescale, economic environment, Theatre, In Yer Face Theatre, Community Theatre social environment, religious environment, political environment, previous events, narrative/action • The Work of Contemporary playwrights, e.g. - • Language Alan Ayckbourn, John Arden, Samuel Beckett, Alan Bennett, Stephen Berkoff, Edward Bond, Caryl Churchill, type of language, use of language, imagery Martin Crimp, Ariel Dorfman, Brian Friel, John Godber, • Character – creating a character study Trevor Griffiths, Tanika Gupta, David Hare, Sarah Kane, Bryony Lavery, David Mamet, Patrick Marber, Arthur protagonist, antagonist, support, status, social class, Miller, Joe Orton, John Osbourne, Harold Pinter, Mark moral values, vocabulary, accent/dialect, physical Ravenhill, Willie Russell, Peter Shaffer, Tom Stoppard, appearance, self image, view of others, relationships, Timberlake Wertenbaker, Arnold Wesker, Tennessee subtext, continuity Williams, Amrit Wilson, August Wilson • Mise en scene – staging including: • Playwright type of performance space, setting, scenery, properties, biography, portfolio of work costume, lighting, projections, film clips, fuse of still and moving image. • Playwright’s intentions Be able to rehearse contemporary texts for performance style, themes, issues, intentions, narrative, synopsis, sub plots. • Rehearsal schedule and time management Be able to interpret and realise contemporary texts • Warm up games and exercises – developing vocal and physical range, concentration, focus, imagination, • Contemporary directors and practitioners e.g. cooperation Annabel Arden, John Barton, Stephen Berkoff, Michael • Experiment and discovery – improvisation on and Bogdanov, Michael Boyd, Peter Brook, Michael off text, hot seating – thought tracking – stream of Buffong, Annie Castledine, Nola Chilton, Dominic consciousness – inner monologue – exploring the Cooke, Stephen Daldry, Howard Davies, George subtext and other exercises as appropriate to the Devine, Declan Donnellan, Greg Doran, Marianne exploration of specific texts Elliott, Richard Eyre, William Gaskill, Peter Gill, David Glass, Peter Hall, Jude Kelly, Joan Littlewood, Phyllida • Establish the style and genre Lloyd, Simon McBurney, Herbert Marshall, Nancy • Blocking Meckler, Katie Mitchell, Lloyd Newson, Adrian Noble, Trevor Nunn, Emma Rice, Ian Rickson, Josie Rouke, N.F. • Pace, rhythm, building of tension, use of pause, Simpson, Polly Teale, Jatinder Verma, Deborah Warner, contrast, continuity Denise Wong, John Wright • Voice modulation – accent, dialect • Established practitioners, e.g. • Movement, physicality and gesture Antonin Artaud, Bertolt Brecht, Edward Gordon Craig, • Learning lines Jerzt Grotowski, Jacques Le Coq, Vseyolod Meyerhold, Erwin Piscator, Konstantin Stanislavski, Emile Zola • Self-evaluation and analysis www.ocr.org.uk 4 Contemporary Theatre Performance Level 3 Unit 21 • Peer feedback, evaluation and analysis • Semiotics – signs and signals including – setting – using props, costume – technical requirements – lighting, sound • Technical rehearsal – dress rehearsal. Be able to perform contemporary texts • Vocal and physical warm ups • Checking props, costume technical requirements • Relaxation, concentration and focus • Connection and intentions for the audience – clarity of context, genre, style, character, situation • Use of voice and movement and vocal projection • Creating ‘TRUTH ON STAGE’ • Breaking the ‘fourth wall’ • Using design and technical elements to enhance per- formance and context • Awareness of health and safety. 5 DELIVERY GUIDANCE Be able to research contemporary texts Tutors should introduce learners to this unit by giving them Learners should be facilitated to produce a polished a brief overview of the changes, trends and developments performance with adequate design and technical facilities within contemporary theatre. To further develop the learner’s to ensure that they can fulfil their potential within the understanding, tutors should use a variety of methods performance space. Where necessary, the tutor should be including visits to live performances, watching pre-recorded responsible for organising and supporting the technical and DVD performances of professional productions, exploring dress rehearsals for learners. some touring companies, reading extracts and full texts and Be able to perform contemporary texts due analysis and discussion of a range of contemporary plays. Following the initial tutor-led approach to research, learners Following the rehearsal period and prior to the performance, should be encouraged and facilitated by the tutor to further the tutor should ensure that the learner is confident in research two contrasting texts and playwrights and present their lines and totally conversant with their intentions and due analysis and insight into the texts and playwrights. relationship with the audience. The tutor is responsible for ensuring that the performances provide a culmination of all Be able to interpret and realise contemporary texts the preparatory work undertaken by the learner during LO1, Either using texts introduced during LO1 or fresh texts, LO2 and LO3 and that the learner is therefore fulfilling their learners should be guided through further methods of potential within the performance space. Tutors should ensure analysis. It is expected that a variety of methods will be that learners warm up appropriately prior to performance used when analysing the text using a workshop approach, and that the learner is ably supported technically where including the tutor as role model, practical experimentation appropriate. Following the performances the tutor, peer by the learner, discussion, individual and group research, group and, if appropriate, the audience should give further reading and researching around the text and constructive feedback to the learner. improvisation on and off text. The tutor should compliment the analysis of the text by referring to and encouraging the use of applicable directors’ and practitioners’ (contemporary and established) methods for approaching, analysing and working with text. Tutors should help and advise learners to choose two contrasting texts for their final performances which provide learners with potential for practical exploration and which also allow them to fulfil their potential within the performance space. Be able to rehearse contemporary texts for performance Tutors should encourage good practice by initiating physical and vocal warm-ups and games before each rehearsal. As learners become more confident, they should take over the responsibility for such activities by leading their peer group. The tutor should facilitate
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