The directorial vision thing KS5 David Porter KS5 Introduction David Porter, former head of In the Bible, Proverbs 29:18 states that ‘where there is no vision, the people perish’. While performing arts at Kirkley High directorial vision in drama isn’t life or death, the most effective drama and theatre arise from School, Lowestoft, teacher and clear purposes, directions and intentions. one-time children’s theatre A level exams demand practical knowledge and understanding of how a directorial vision performer, writes (self- published interprets, imagines, realises and brings drama to life on a stage and for an audience. While a novel, short story collection taking the lead for guiding, interpreting, shaping, imagining and articulating intentions, and drama resources) in between directors must work collaboratively with actors, design and other elements of staging a senior assessing for A level drama production for an audience. and theatre, moderating IGCSE This scheme suggests ways to convey that ‘vision thing’ onto both devised and scripted drama and examining GCSE material to prepare to answer written questions and practical exploration so learners are drama. informed and ready to participate in creating performance and extending their understanding of others’ work. Scheme learning objectives § To prepare learners for the A level exam components where a directorial perspective is required on devised and texted drama. § To experiment with creative ideas for approaching directing § To develop collaborative and solo working skills. What’s needed? 1 A stock of materials and ideas for stimulating devised drama 2 Extracts from texts suitable for directorial realisation 3 Choose exam board for specifications, assessment criteria and mix of practical and theoretical work: Eduqas https://www.eduqas.co.uk/qualifications/drama-and-theatre/as-a-level/ Eduqas+A+level+Drama+-+Specification.pdf AQA Background, research, ideas https://filestore.aqa.org.uk/resources/drama/specifications/AQA-7262-SP-2016.PDF My 2017 scheme of work in Teaching Pearson Edexcel Drama, ‘Being the Director’, which, https://qualifications.pearson.com/content/dam/pdf/A%20Level/Drama%20and%20 although aimed at KS4 learners, is Theatre%20Studies/2016/Specification%20and%20sample%20assessments/a-level_ an effective tool for groundwork drama_spec.pdf with good exercises for teaching OCR directorial vision at A level. https://www.ocr.org.uk/Images/242650-specification-accredited-a-level-gce-drama- The AQA specification lists their and-theatre-h459.pdf prescribed practitioners which International Baccalaureate Theatre Director’s Notebook serve as a useful focus for teachers https://www.ibo.org/programmes/diploma-programme/curriculum/the-arts/theatre/ to select material and ideas about directors to study: Directorial vision https://filestore.aqa.org.uk/ A vision is a personal approach, often without stereotypical or predetermined outcomes. All resources/drama/specifications/ visions may be valid if justified, but there must be some sort of intention. The vision is about AQA-7262-SP-2016.PDF filling the empty stage space with something special. ‘Practitioner Guide on Katie Mitchell’; useful start for a Collaboration contemporary director and her Where any design elements (lights, sound, effects, costume, make up, props, furniture) or any approaches. Teaching Drama, staging, levels, scenery, front of house, stage management or publicity are used, collaboration, Edition 85, Autumn 19/20. led by the director is essential. www.dramaandtheatre.co.uk Spring Term 1 2019/20 Drama & Theatre 1 The directorial vision thing KS5 Assessment opportunities You should assess regularly in line with the assessment criteria from your chosen exam board Resources specification. They also provide sample assessment material and as time passes, old exam § The IB Theatre Reading Room papers and reports. https://ibtheatrereadingroom. wordpress.com/2014/10/30/ Scheme sessions directors-notebook/ Session 1: Acquiring a vision § The Guardian, Want to be a Session 2: Approaching a piece of drama theatre director? https://www. Session 3: Communicating meaning theguardian.com/stage/ Session 4: Using everything theatreblog/2010/mar/23/ Session 5: Rehearsing theatre-director-10-top-tips Session 6: Confident vision Additional Material 1: Exam boards’ set texts for A level Additional Material 2: The directorial approach: Questions to ask Words and terms Blocking, deconstructing, realising, How the scheme works interpreting, reinterpreting, exploring, After warm-ups to taste and drawing ideas from practitioners, there is teaching and discussion reinventing, inspiring, motivating, on aspects of directing and how intention and purpose may be conveyed. purposing, repurposing, planning, Each session has devised work using teacher-found stimuli and texted extracts from one or taking responsibility, problem solving, more exam board listed plays, all to be learner-directed. calling the shots, leading, persuading, No timings are suggested as A level sessions are of variable lengths so teachers’ professional peace-making, masterminding, judgement will apply, as on learner inclusivity, stretching and challenging as appropriate and overseeing, unified purpose, team sensibilities around gender, racial, religious and sexuality issues. leadership and risk taking. Session 1: Acquiring a vision Resources Directors aren’t born with a ready supply of exciting and stimulating visions within them. § The Director’s Craft, A Handbook Sometimes, young people need encouragement to find their feet in persuading their peers to for the Theatre (2009) by Katie co-operate, to explore and to risk what they want to try. Mitchell (Routledge, 978-0-415- 40439-6) Warm-ups § Stage Directions for The Tempest After some high energy physical enthusiasm warming up: - sample sheet for teaching the 1 Try a series of status exercises where the naturally bossy ones get to organise others in purpose of stage directions: large groups, even in silly or pointless activities. § https://www.teachit.co.uk/ 2 Turn the tables, so the bossy ones are now servants. resources/ks3/the-tempest/ 3 Add in a stimulus you’ve chosen (an object, a picture, piece of music, item of clothing, a plays/stage-directions/7138 recipe, a diary extract or sound effect). 4 Give groups time to shape stimulus and status ideas into a coherent scene. 5 You, the teacher, direct from the myriad of ideas a short scene with a dramatic outcome. Explain that you are deliberately directing them and making something effective for an audience from random chaos and their varying ideas. Directing vocabulary Teacher-led discussion Proxemics, semiotics, blocking, Discuss films and plays students have seen. Ask how clear were the directorial intentions and stage directions, sightlines, technical purposes throughout and at key moments? What was the director trying to achieve? How effects, costumes, props, stage successful was it? furniture, backdrop, scenery, Watching part of Dogville (2003) provides an opportunity to discuss a film directed in the projections, levels, subtext, direct style of Brecht. Follow this link: http://www.imdb.com/title/tt0276919/ address, context, wings, on/off and Question the director’s vision/intention. Was it just to make a film in that stylised way? Was upstaging. there a wider (and deeper) intent to extract meaning rather than using a more traditional directing methodology? Sharing and showing Set up 1 You know the learning value of The piece as directed by you from the devising is to be re-focussed by one learner in a sharing and showing. It’s not particular style – commedia, tragedy, soap opera or political theatre – with the intention of prescribed in the scheme but is entertaining or informing their peers. something you should invite as Each group must discuss how their intention is to be achieved. often as necessary to maximise development. www.dramaandtheatre.co.uk Spring Term 1 2019/20 Drama & Theatre 2 The directorial vision thing KS5 Devising time 1 Set a time for shaping the piece into the required genre. Ensure that one learner is in charge, persuading peers as required. Sharing and reviewing progress 1 Before each group shares ask the director to outline his/her vision, bearing in mind the intentions above. After each group has shared, discuss how far the vision was realised. Encourage the habit of self, peer and teacher reviews of work as often as possible. Set up 2 Provide students with a script of the opening of The Tempest or another Shakespeare play on the exam board lists (Hamlet, King Lear, Othello, Much Ado About Nothing or As You Like It). These are listed in Additional Material at the end of this scheme. The task is for groups to interpret the text from page to stage in a traditional Shakespearean style, using given stage directions and a sense that an audience will appreciate Shakespeare for what it is. They must discuss and agree what is traditional, what impact the opening of the play has on the audience and how they are going to stage it. One learner should be encouraged to adopt the director’s role with a clear sense of purpose, put together by the group collectively if necessary. Rehearsing time 2 Allow a set time for blocking and rehearsing the text. There might be scope for experimentation of levels, sightlines, shape of stage, proximity of audience, but it is to be traditional. Sharing and reviewing progress 2 As above. Set up 3 You provide the script of the opening of another set text from your chosen exam specification. For some, the play they studied for GCSE may be helpfully familiar. The task is for groups to interpret the text, from page to stage in a traditional style, using given stage directions. They must discuss and agree what is traditional, what impact the opening of the play has on the audience and how they’re going to stage it. One learner should be encouraged to embrace the director’s role with a clear sense of purpose, put together by the group collectively if necessary. Rehearsing time 3 As above. Sharing and reviewing progress 3 As above.