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.

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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 (, King Lear, Othello, Much Ado About Nothing or ). 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.

Summaries 1. Learning This has introduced the idea that a vision, a purpose is both necessary and is fun and challenging. 2. Progress Measure against assessment criteria for a practical component. 3. Next tasks for learners Become familiar with a key moment in a play from the list in the exam specification, thinking how it could be directed.

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Session 2: Approaching a piece of drama Resources It makes sense to draw on ideas of practitioners – both past and present – indeed, many §§ Drama Classes, The Stanislavski exams expect that theatrical processes and practices will be explored to arrive at a directorial System, Method Acting and approach. Exercises: https://www.dramaclasses.biz/ Warm-ups the-stanislavski-system Devise some quick warm-ups on the Stanislavski theories of emotion memory; what if; given §§ Magic If exercises: circumstance and belief in character. https://stansmethods.blogspot. com/2007/05/magic-if-exercises. Teacher-led discussion html Discuss how useful Stanislavski is for actors and directors. Use examples to lead learners towards understanding how real purpose and focus in what performers are doing helps realise The director must focus on the a vision and reach an audience. Always insist on justification of ideas. acting (and design) without which The approach to directing and the questions to ask are set out in Additional Material 2 and should there is no realisation of the vision. be referred to throughout sessions. Your favourite acting exercises are Set up 1 invaluable: https://www.theatrefolk.com/ In small groups, set up a piece of stimulus-driven devising to give a pair of contrasting learners blog/top-5-acting-exercises- the opportunity to realise a joint vision. drama-students/ §§ Title, theme: Invisible Friend §§ Stimulus: Discussion, sharing experiences, a diary, a person alone. §§ Vision, intention: Create a credible performance which speaks to an audience of how adults Devised theatre often need a comfort blanket and are mocked for it. It is always worth having an ongoing Each group must discuss/justify how their intention is to be achieved: acting, levels, entrances, discussion about devising and styles, shape of staging, proxemics, semiotics and design elements (if any). sharing work: https://thetheatretimes.com/what- Devising and rehearsing time and sharing and reviewing is-devised-theatre/ For the remainder of the scheme, you will find suggestions in Session 1.

Set up 2 Provide the script of what you consider a key moment in a play text from your chosen board, or as listed in Additional Material 1. The task is for groups to interpret the text from page to stage in the style in which it would have been performed when it was first written, using given stage directions and any appropriate directorial devices. They must discuss and agree on style, what impact the key moment has on the audience and how they are going to stage it. They should consider if application of a practitioner’s work is helpful. One learner should be encouraged to own the director’s role with a clear sense of justified purpose, put together collectively if necessary.

Summaries 1. Learning This has introduced the idea that drama can be inspired by the work of others as creativity rarely works in a vacuum. 2. Progress towards performance Measure against assessment criteria for a practical component. 3. Next tasks for learners Research and/or revise learning and understanding of Brecht.

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Session 3: Communicating meaning Resources Playwrights’ intentions are generally clear, but there are exceptions. As the years go by and §§ Brechtian exercises: attitudes, cultural and social views evolve, the meaning a play is conveying may be subject to https://oureverydaylife. change. Older plays may need to be made relevant to contemporary audiences; how might a com/489018-brechtian-exercises. director address that? html §§ The Guardian, Brecht – irresistible Warm-up force or forgotten chapter in Devise some exercises based on Brecht’s theories of verfremsdungseffekt, making strange, theatrical history?: distancing and montage. https://www.theguardian. com/stage/2013/sep/18/bertolt- Teacher-led discussion brecht-arturo-ui-revival Given the significance of Brecht and his theories, it is worth devoting time to him, especially when shaping an individual vision for a given play. A useful way in for learners is often through Brecht-influenced director Joan Littlewood Directing Brecht (Oh! What a Lovely War) and playwright John Godber (Bouncers; Teechers; Shakers). §§ The best challenge may be to The approach to directing and the questions to ask are set out in Additional Material 2 at the end of direct a play Brecht actually this scheme and should be referred to throughout sessions. wrote in the style of his various ideas. Check out the alienation Set up 1 technique: In pairs or threes, a piece of stimulus-driven devising will be created to give one learner the https://beautifultrouble.org/ opportunity to realise a directorial vision through a monologue or duologue. theory/alienation-effect/ §§ Title, theme: Blood §§ Stimulus: Discussion, sharing experiences, a phial of blood, a bloodied weapon. §§ Vision, intention: Create a credible monologue (or duologue) which speaks to an audience Subtext of how people may be conniving, murderous creatures beneath the surface of respectability. Ongoing discussions about subtexts Use Brecht techniques as appropriate. and what they do will be helpful Each group must discuss/justify how their intention is to be achieved, acting, levels, entrances, in both devised and scripted styles, shape of staging, proxemics, semiotics and design elements (if any). performances http://broadwayeducators.com/ Set up 2 acting-understanding-subtext/ You select the same or another play from the exam list and focus on the directorial challenge of monologues or duologues. Vision, intention: Direct a credible monologue (or duologue) performance which speaks to an audience of how one or two characters can promote subplots and subtexts. Use Brecht techniques as appropriate. Each group must discuss/justify how their intention is to be achieved, acting, levels, entrances, styles, shape of staging, proxemics, semiotics and design elements (if any).

Summaries 1. Learning Still drawing on practitioner processes and practices and starting to explore subtexts, learners feel confident directorial vision points towards meaning for audiences. 2. Progress towards performance As above. 3. Next tasks for learners a) Research Frantic Assembly’s work b) Find a video of a piece that is particularly appealing or effective

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Session 4: Using everything Resources You will long ago have recognised the power of using everything in drama – from junk §§ Frantic Assembly Book of Devising to musical fragments, poems to news and personal views to history. Let that inspire the and other resources: developing of devising challenges so learners can work at creating and conveying meaning. https://www.franticassembly. co.uk/shop Warm-up §§ YouTube, amazing A level piece Devise some exercises in the style of Frantic Assembly or use their suggestions to explore inspired by Frantic Assembly: ideas, themes and treatments through practical drama. https://www.youtube.com/ watch?v=WLs-EpiF4-c Teacher-led discussion Even if they have seen it already, share with the class video clips of Frantic Assembly’s work. Discuss why they are so sought after and successful. What lessons can the potential director Frantic reviews learn? Search for online reviews of their Question FA’s drama techniques and their application of messages and ideas. shows which build a full picture of their approaches. Check British Set up 1 Council: In groups, use one piece devised by Frantic Assembly in order to give one the opportunity to https://theatreanddance. reinterpret, realise in a different way and reinvent what Frantic have done. britishcouncil.org/artists-and- §§ Title, theme: Frantic Take 2 companies/f/frantic-assembly/ §§ Stimulus: Discussion, videos and books by Frantic Assembly, web and newspaper reviews of Frantic performances. §§ Vision, intention: Create a credible performance which reinvents the work of formidable practitioners to make the message even stronger for an audience. Each group must discuss/justify how their intention is to be achieved, acting, levels, entrances, styles, shape of staging, proxemics, semiotics and design elements (if any).

Set up 2 A good text is FA’s version of Stockholm by Bryony Lavery (on the OCR list). It’s a challenging approach to domestic abuse, with the twist that it’s the female half of the complex relationship Stockholm Syndrome who is abusive and controlling. A condition where people identify Vision, intention: Direct a credible extract which speaks to an audience of how domestic with their captors – the play is based abuse can be both hidden and complex. Use FA techniques as appropriate. on that premise: Each group must discuss/justify how their intention is to be achieved, acting, levels, https://www.britannica.com/ entrances, styles, shape of staging, proxemics, semiotics and design elements (if any) plus science/Stockholm-syndrome subtexts.

Summaries 1. Learning Through study of specific contemporary practitioners, a real grasp of approaches to directing and conveying of meaning has begun. 2. Progress towards performance As above plus try old exam questions, mark schemes and exemplars from OCR’s Drama and Theatre, H459_44: https://www.ocr.org.uk/qualifications/as-and-a-level/drama-and- theatre-h059-h459-from-2016/assessment/ 3. Next tasks for learners Research the importance of rehearsal in shaping directorial vision.

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Session 5: Rehearsing Resources: If the director outlines a vision for the production at the outset to inspire performers, §§ Augusto Boal, Games technical crews, theatre owners, backstage staff and financial backers, it is during rehearsals and Techniques: https:// that the vision may need to be reiterated, if not revised somewhat. ceasefiremagazine.co.uk/ augusto-boal-games- Warm-up techniques/ Devise some exercises in style of the ideas of Artaud, Boal, Grotowski, or any less-famous §§ YouTube Augusto Boal exercise: practitioners to whom you are drawn. https://www.youtube.com/ watch?v=qHEHJQGjlxU Teacher-led discussion §§ Grotowski acting exercise: https:// Depending on how much knowledge learners have acquired about several practitioners, your devilstechnique.blogspot. workshops could be extensive. Explore information and techniques actors use to convey com/2016/02/jerzy-grotowski. meaning which the director must also employ within the vision. The work in this session html combines those skills with an underlying message that underpins the stated vision. §§ YouTube, Artaud exercise with performing arts students: Set up 1 https://www.youtube.com/ In small groups, a piece of stimulus-driven devising will be created in order to give another watch?v=OSJS738c71Q learner the opportunity to realise a vision. §§ Title, theme: Message §§ Stimulus: Discussion, sharing experiences, videos and books by and about the practitioner used for the warm-ups, reviews of their work. §§ Vision, intention: Create a credible performance which speaks a political message that moves an audience, perhaps to action. Each group must discuss/justify how their intention is to be achieved, acting, levels, entrances, styles, shape of staging, proxemics, semiotics and design elements (if any). Build in set time for rehearsing for revisions and changes, partly through experience and partly through the directorial vision being updated.

Set up 2 You choose another play text from the list (or any other if preferred) with a political message The mind is a setting of relevance to a contemporary audience. With Waiting for Godot or Death of Vision, intention: Direct a credible extract set in any alternative world which speaks a a Salesman do not be confined to political message, warning to a modern audience. physical settings (Willy’s house is as For example, set in a dictatorship, Antigone in Nazi Europe, Accidental Death of much his mind as a place): an Anarchist in modern-day China or Woza Albert! in Leicester. https://www.shmoop.com/death- Each group must discuss how their intention is to be achieved, acting, levels, entrances, of-a-salesman/setting.html styles, shape of staging, proxemics, semiotics and design elements (if any) plus subtexts. What Does it work for other texts? design elements need adapting?

Summaries 1. Learning This session has broadened thinking, to include a variety of practitioners and ways of envisioning changing the setting of plays. 2. Progress towards performance As above. 3. Next tasks Research old exam questions relevant to directors in general and the directorial vision in particular.

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Session 6: Confident vision Resources As the scheme comes to an end, this is an opportunity to revise learning and ensure learners §§ 60 Second Director, What’s a have mastered a range of directorial techniques to flesh out the bones of their visions, their director’s vision and how can I get burning passion to reach out to audiences. one? - about film directing, but It’s also a chance to push at boundaries and experiment with gender playing, colour blind applicable: roles and other provoking ideas to challenge audiences. https://60secdirector.blogspot. com/2010/03/whats-directors- Warm-up vision-and-how-can-i.html Devise short devising exercises in the style of any contemporary practitioner, with the generic §§ Independent Film School, title, A Very Dark Place. What is a Director’s Vision? https://theindependent Teacher-led discussion filmschool.com/directors-vision/ Although the work of developing directorial vision is never complete, as this course ends, urge a pushing at boundaries. 81 Genders How valid is it to criticise earlier periods for lack of non-white people in theatre? This is a minefield teachers cannot https://www.telegraph.co.uk/news/2017/02/01/period-dramas-should-not-criticised- sidestep and this scheme invites lack-black-actors-julian/ some experiments to see what How far should there be redress today? How important is (near) historical accuracy? statements can be made: Set up 1 https://apath.org/63-genders/ In small groups, a piece of stimulus-driven devising will be carried out in order to give a further learner the opportunity to realise a vision. Colour-blind theatre §§ Title, theme: Tuesday afternoon Depending on the learners, §§ Stimulus: A social media posting: ‘At No. 7 in the apartment next door to me through all Monday a discussion about how race and Monday night and Tuesday morning a dog barked (or a baby cried) non-stop. Drove us mad. influences perceptions is worth Then suddenly, Tuesday afternoon, it just stopped.’ having, particularly in a historical §§ Vision, intention: Create a credible performance which provides an answer to what context: happened and says something about modern living to an audience. https://www.latimes.com/ Each group must discuss/justify how their intention is to be achieved, acting, levels, entrances, entertainment/arts/la-ca-cm- styles, shape of staging, proxemics, semiotics and design elements (if any). authenticity-in-casting-20170713- htmlstory.html Set up 2 For an extract from a play text of your choice, ask one learner to become excited by the idea of experimenting with gender and/or race to convey a stirring message to an audience steeped in Colour-blind acting today’s society. While being sensitive and Give the following vision in secret to the director(s) which they must interpret to their appropriate, ask learners to play groups: against their racial type, not ‘blacking Vision, intention: Direct a credible extract where the choice of casting, settings, style and up’, but just challenging constantly. message are deliberately provocative and stirring to an audience, even a young one, set as street theatre or in-the-round. Cloud Nine is written in gender roles reversals, but try Othello played white, all others black The Curious Incident or ‘Moorish’. Deliberately reverse roles, men and women. Introduce non-binary as desired as An increasingly popular exam an experiment. Mix races and genders in Frankenstein or . play, experiment playing it with Christopher as ‘normal’, others Summaries ‘autistic’. After all, isn’t everyone on 1. Learning the autistic spectrum? This session has brought together many strands. You can go on from here, encouraging a https://autisticandunapologetic. huge range of directorial visions. com/2019/03/16/is-everyone-on- 2. Progress towards performance the-autism-spectrum/ Accept failure as learning and ask – how do we judge failure in a performance to others? 3. Next tasks Besides continuing applying directorial techniques to both devised and scripted material, practise old exam questions that require some directorial vision. D&T

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RESOURCES

Additional Material 1: Exam boards’ set texts for A level

OCR Black Watch Hamlet Necessary Targets Oh! What a Lovely War Long and Short and Tall A Day in the Death of Joe Egg The Caucasian Chalk Circle The House of Bernarda Alba King Lear Live Like Pigs Amadeus Caligula Frankenstein Othello Love of the Nightingale Antigone Cloud Nine Earthquakes in London Stockholm Sweeney Todd The Crucible The Visit Woza Albert! Pearson Edexcel Accidental Death of an Anarchist Colder Than Here Equus Fences That Face Antigone Doctor Faustus Hedda Gabler Lysistrata The Maids School for Scandal The Tempest Waiting for Godot Woyzeck AQA Antigone Much Ado About Nothing A Servant to Two Masters Hedda Gabler The Caucasian Chalk Circle Jerusalem The Glass Menagerie Metamorphosis Cloud Nine Our Country’s Good Bronte

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Eduqas The Trojan Women As You Like It Hedda Gabler Machinal Saved Accidental Death of an Anarchist Racing Demon Love and Information Chimerica The Curious Incident of the Dog in the Night-Time CAIE The Tempest The Country Wife Death of a Salesman The Lion and the Jewel Enron Medea Tartuffe The Seagull The Curious Incident of the Dog in the Night-Time Snow in Midsummer

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RESOURCES

Additional Material 2: The directorial approach: Questions to ask Directors should ask the following questions of themselves in order to spread their vision and answer questions from others. 1 What is my own burning desire for a play, a message, a cause, a style, a venue or a theatre space? 2 How has the text been constructed and how can it be performed? 3 What artistic and creative choices must be made? 4 How will those choices influence the meaning of the play? 5 What theatrical processes, practices, practitioners may inform the work? 6 What relevant social, historical and cultural contexts do I need to take account of and how will I deal with them? 7 What limitations are there in the staging, performance, audience, financing, casting, design elements and time and how will I address them? 8 What work is needed on developing characters and how do I achieve it?

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