A Guide to Devising for a Level

A Guide to Devising for A Level Contents 1. Introduction to devising 2 2. Choosing a text 3 3. Choosing a practitioner 4 4. Initial exploration of the text 9 4.1 Initial reading 9 4.2 Form 10 4.3 Structure 11 4.4 Character 11 4.5 Dialogue 12 4.6 Themes, issues and ideas 13 5. Advice for devisers and teachers 14 5.1 Advice for devisers 14 5.2 Advice for teachers 14 6. Playwrights to consider 14 7. Further reading 18 1 1. Introduction to devising Devising from a text stimulus requires all the skills of the deviser as well as the additional skills of literary analysis. The elements of the texts to be explored are: ● form ● structure ● character(s) ● dialogue ● themes, issues and ideas. By applying their literary understanding the students will then be able to make connections with practitioner methodology and appropriate styles of performance. This guide will outline possible playwrights and a selection of practitioners’ approaches to theatre making. It will then present ways that the text extract can be practically investigated to link with particular practitioner conventions and methods. The opportunities for devising pathways are endless. First it is important to check the details of Component 1, as outlined in the A level specification; these must be adhered to in the delivery of this Component: ● The performance must be a completely original work that uses an extract from a text as a stimulus. This means that words and lines from the extract must be reordered, reimagined and placed alongside the original words of the students or completely absent from the final devised work. ● The students must use a text extract, but they can bring in other stimuli as appropriate. ● The influence of the practitioner must be demonstrated in the performance and the portfolio. This could incorporate one or more of the following: o imitating or emulating the performance style and/or use of theatrical conventions of the practitioner o implementing the working methodology/methodologies (evidenced through either the portfolio or the portfolio and the performance) o adapting the text to match the philosophy of the practitioner’s performance style and/or use of theatrical conventions. ● The practitioner is a free choice for the centre to choose but must not be the same as the practitioner selected in Section C of the A level written exam (Component 3). However, any other practitioner from the Component 3 list is permitted. The specification gives the following definition of a practitioner: o An individual or a company that has an established and defined approach to the creation of performance, and which creates both theatrical performances and theory that informs this practical work. ● The text must be professionally published and substantial, and have a minimum running time of 60 minutes. It must not be any text from the Component 3 lists and must differ to the texts selected for Component 2 in at least one of the following ways: 2 o time period o theatrical convention o thematic content, form and structure o playwright o social, historical and cultural context. ● A key extract is defined as a scene or moment that is significant to the text as a whole and at least 10 minutes in length when performed. The choice of text and practitioner should be made at the beginning of the course, so that the experiences that the students have during the whole course can inform their devising work. Whilst it may not be possible to see the particular text or practitioner in action, it is worth selecting productions that share similar qualities. 2. Choosing a text When choosing a text for the students to use as their starting point, it is key to pick something that will engage the students and that alongside the practitioner will give them a lot of opportunity for exploration. It is not necessary for you to be an expert in the text, but rather to be able to teach the students the process of analysing and exploring texts. In order to appreciate the text content, it is vital that students understand the text context. Therefore it is worth taking time to explore the following elements and how they have shaped the work: ● themes/issues ● political ● cultural ● social ● historical. When exploring the text, it is also worth looking in detail at the following elements, as any of them could be used as the starting point for students’ devised work: ● plot ● form ● style ● genre ● structure ● character(s) ● dialogue. Literary analysis can lead to a huge range of justifiable conclusions about a single text. Make sure the students can justify discoveries and then allow them to run with it in the devising process. You will find a list of playwrights whose texts you could consider at the end of this guide. 3 3. Choosing a practitioner In order to deliver introductory workshops for the students, the teacher must feel confident with the principles of the chosen practitioner. It may be possible in some cases for schools to have practitioners visit their schools and provide specific workshops. The key here is the introductory spirit of these workshops. They need to clearly demonstrate a way of working and methodology so that the students can continue to explore this practitioner through their devised work. Introductory workshops should focus on: ● methodologies that lead to the creation of work ● the artistic intention ● the theatrical style and conventions used in performance ● relationship with audience. A list of potential practitioners and a brief summary of their artistic intentions is given below. These summaries are based on the books or websites of the practitioners and draw upon their own words. However, as the summaries are just that, there are also references to key texts and websites that will provide more detail. Please note: this is not an exhaustive list, but it is intended to provide suggested options for investigating practitioners that you may not have come across before, as well as reminders of more established practitioners. Note: Bold practitioners are those on the Component 3 list. Practitioner Summary of practitioner’s artistic intentions Konstantin The actor creates reality for an audience by ‘becoming’ a Stanislavski character. His approach went from one focused on research (1863–1938) and analysis to physical actions. Key texts by Stanislavski: An Actor Prepares, Building a Character, Creating a Role Edward Gordon Theatre is an abstract world where visual elements of Craig (1872– production collide to communicate with an audience; these are 1966) seen as superior to plot and character. Radical and tenacious, Gordon Craig was one of the most divisive but also one of the most influential practitioners. Craig On Theatre (ed. J. Michael Walton) Edward Gordon Craig: A Vision of Theatre (C. Innes) Vsevolod Theatre is made up of conventions that entertain the audience Meyerhold and give them room to use the imagination. Meyerhold (1874–1940) gathered the theatrical devices from his understanding of theatre history. Many of these devices are incorrectly attributed to Brecht. Meyerhold on Theatre (ed. E. Braun) The Theatre of Meyerhold (E. Braun) 4 Practitioner Summary of practitioner’s artistic intentions Erwin Piscator ‘Less art, more politics.’ Theatre should use music, dance, (1893–1966) projections, film clips, statistics and captions to serve a revolutionary goal. The Political Theatre (E. Piscator) The Theatre of Erwin Piscator (J. Willett) Antonin Theatre of Cruelty should remove the boundaries of a Artaud traditional theatrical performance. For example, removing the (1896–1948) importance of understandable dialogue and established ideas of performer/audience divide. The Theatre and its Double (A. Artaud) Artaud on Theatre (C. Schumacher) Bertolt Brecht Theatre must utilise entertainment to guide an audience from (1898–1956) identification to detachment (verfremdungseffekt) in order to achieve a didactic experience. Brecht on Theatre (ed. J Willet) Lee Strasberg Theatre must captivate its audience by presenting actors (1901–82) truthfully experiencing what their characters experience. Actions on the stage should be seen to be a part of a larger reality. Strasberg at the Actors Studio (R. Hethmon) Joan Theatre must explore the detail and dynamic of everyday life Littlewood through collaborative ensemble performance. Innovation is (1914–2002) built from the aesthetic of historical theatre practice and practitioners. Joan Littlewood: Dreams and Realities (P. Rankin) Theatre Workshop (R. Leach) Jacques LeCoq Developed an integrated system of physical theatre, movement (1921–1999) and mime, with a specific focus on mask work, at L'École Internationale de Théâtre Jacques Lecoq in Paris, throughout the second half of the twentieth century, teaching some of the leading practitioners in contemporary theatre e.g. Berkoff, Complicite, Julie Taymor. http://www.ecole-jacqueslecoq.com/en Peter Brook Theatre must be built up from its simple roots through an (1925–) ensemble approach with a focus on sensitive, shared awareness. Key texts by Brook: The Empty Space, The Shifting Point, Threads of Time, The Open Door Peter Brook: A Theatrical Casebook (ed. D. Williams) Augusto Boal Theatre grows from the interchange between actors and (1931–2009) spectators and aims to educate people out of oppression. This theatre can start with shared images and develop through the spirit of the forum. This theatre can also be invisible. Games for Actors and Non-Actors (A. Boal (trans. A. Jackson) The Rainbow of Desire (A. Boal) 5 Practitioner Summary of practitioner’s artistic intentions Jerzy Grotowski Theatre must be poor, meaning it must eradicate the (1933–99) unnecessary through a ‘Via Negativa’. This theatre is based on contradiction and confrontation. The actor/spectator relationship should be discovered anew for each production. Towards a Poor Theatre (J. Grotowski) The Theatre of Grotowski (J. Kumiega) Ariane Theatre must be a creative collaboration leading to a Mnouchkine performance that bridges the gap between fantasy and reality (1939–) and in order to politically engage its audience.

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