Cambridge TECHNICALS

OCR LEVEL 3 CAMBRIDGE TECHNICAL CERTIFICATE/DIPLOMA IN PERFORMING ARTS

DRAMA IMPROVISATION D/502/5099 LEVEL 3 UNIT 11

GUIDED LEARNING HOURS: 60

UNIT CREDIT VALUE: 10 DRAMA IMPROVISATION D/502/5099 LEVEL 3 UNIT 11

AIM OF UNIT On finishing their training many actors find work with one of the many small and dedicated companies who take improvised performances to a variety of venues throughout the country. This unit will encourage learners to explore the skills essential to becoming a member of such a company. Learners will begin to understand the demands and rewards of such work through a variety of research, practical workshops, rehearsals, reflection and refinement. They will be facilitated to experiment and take risks within the performance space culminating in the realisation of both spontaneous and polished improvisation performances for an audience.

www.ocr.org.uk 2 Drama Improvisation Level 3 Unit 11

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 use the skills P1 demonstrate M1 participate in classes of improvisation improvisation and workshops techniques to create showing improvements drama in improvisation skills and techniques 2 Be able to use and P2 use improvisation M2 develop improvisation develop improvisation to create drama in skills in response response to stimuli to peer and tutor feedback 3 Be able to perform in P3 perform in improvised M3 perform improvisation D1 improvise within a improvised drama drama, using sustaining a character performance space appropriate skills of or a piece of dramatic to communicate voice, movement and action and engage with an use of space audience effectively

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 the 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 use the skills of improvisation

Games and exercises to encourage creativity, imagination, cooperation, concentration and focus including

• Story telling games: e.g. all learners sit in a circle – a • ‘Yes, and…’ To prevent blocking — Working initially context or character or opening phrase or sentence could in twos and then in larger groups a simple scenario or be decided upon. Going around the circle, each member situation is given to the pair. As one comes up with an idea adds a word/phrase/sentence to the story until it is to advance the improvisation the other person must say deemed finished. ‘yes, and ……, developing the idea. • Park Bench: spontaneous impro – two/three learners sit on • Status: using playing cards – learners act a scene according chairs/bench and start appropriate conversation – tutor to their number status. says ‘freeze’ – one learner leaves ‘the bench’ and another • Spontaneous improvisation – learners should be given takes their place and changes the narrative/characters & a title, situation or context and depict them initially with conversation. a freeze frame – the scene should be brought to life and • Similar but more physical game: spontaneous impro ‘frozen’ at pertinent moments when individual characters – three people given a context, e.g. party or wedding, should ‘thought track’ their feeling/emotions or ‘inner start to improvise a scene, at an appropriate moment monologue’. Variations of this exercise can be explored tutor says ‘freeze’ – all three must hold physical position with different size groups and situation. – one learner leaves the space and another enters and • Cooperation, focus, concentration: whole group count using the position/posture of the other two learners as to twenty – only one person can say each number, if two their inspiration they must start a completely different people say the same number – go back to ‘one’ and start improvisation. again. • ‘In the manner of the word’ cooperation/group work: one • Exploring different genres and styles through learner leaves the room and the rest of the group choose a improvisation e.g. comedy, tragedy, melo drama, kitchen word/verb/emotion – the learner returns to the space and sink, agit prop etc. asks the group to move or perform ‘in the manner of the word’, e.g. slowly, happily etc. The learner must guess the • Exploring games and exercises which explore the use of chosen ‘word’. improvisation within Commedia dell’Arte. • Mime game: exercising the imagination — learners in a circle – one learner mimes an activity and the person next to them asks ‘what are you doing?’ The learner replies by Key historical background and influences, including: saying that they are doing a completely different activity, e.g. the person could be cleaning their teeth but they tell • Atellan farces, Greek and Roman mimes, Commedia the other person they are ‘flying a kite’. The other leaner dell’Arte, Mummers plays, etc. must act out the new activity …. and the game is played • Theatre Practitioners use of improvisation including: around the circle. Konstantin Stanislavski, Bertolt Brecht, Jerzy Growtowski, • The chair game: spontaneous impro – working in two’s, Jacques Copeau, Peter Brook, Augusto Boal, Viola Spolin, one learner sits on a chair – the other learner must take on Keith Johnstone, Joan Littlewood, etc. a character/situation and persuade the person who is sat • The influence and use of improvisation in film making, to give up their seat to them. including the work of: Charlie Chaplin, Buster Keaton, The Marx Brothers, Mike Leigh etc.

www.ocr.org.uk 4 Drama Improvisation Level 3 Unit 11

Be able to use and develop improvisation Exercise to shape and focus scene –using a developing scene, restrict the dialogue to three sentences for each • Building Characters: character – replay the scene – restrict to one sentence – Building a character – using a prop or item of costume replay the scene – one word – replay the scene – discuss learners should develop a character and context. They the benefits of the exercise and rebuild the scene should develop dialogue, find the voice and physicality of according to the evaluation of the exercise. the character – perform — respond to feedback Be able to perform in improvised drama

• LO2 How to build on work and ideas generated from LO1 Off the text rehearsal exercises, including: and LO2 • Using a script, learners should develop off text scenarios • Warm up routines and dialogues for characters e.g. using ‘The Three Sisters’, learners should improvise the off text scenes between Act • Developing characters and scenarios for ‘polished’ One and Act Two with particular reference to Andrey and performances including: Natasha or Macbeth, hiring the assassins who are to kill 1) Aims and objectives Duncan etc. • During the early stage of rehearsal of a scene, learners put 2) Length, shaping and focusing scenes down scripts and improvise the scene. 3) Voice modulation, physicality of role, use of • Using a character from a script, learners should provide a performance space, use of props/costumes, sound, ‘stream of consciousness’ for them. lighting • Off the text – developing characters, relationships and establishing minor roles – take all the characters from a 4) Rehearsals, time management play that the learners know – sit them in a circle – one 5) Understanding the context, the mood or expectations character sits in the middle – to each character in turn they say –‘I am…give their name’ – the other character replies ‘I of the audience and the integrity of the piece being am your….declare their relationship to the other character performed (this could be obscure as they may never meet or speak to • Evaluation of work the character on stage) the other character replies – ‘I want you to…..’ the other character replies in the same vain. • Reworking and developing ideas • Developing characters and relationships – once learners are secure within a role, freeze the action and ask them to ‘thought track’ their character. • Analysis and evaluation of improvised work using subject specific vocabulary and terminology • Developing scenes and extending improvisations exercises including: Developing scenes: Learners should take a scene from the spontaneous exercises which they consider has further performance potential:-

develop the narrative, dialogue, movement, gesture, use of space, stage craft, potential for an audience, production elements, respond to feedback. rework and develop ideas.

Develop scenes using a variety of stimuli, including: photographs, letters, diary entries, paintings, postcards, lyrics, poems, music, historical events, fairy stories, newspaper articles etc.

5 DELIVERY GUIDANCE

Be able to use the skills of improvisation Throughout this element of the unit, learners should again be encouraged to reflect, discuss and evaluate their work and This part of the unit should be centred on practical workshops that of others. Whilst risk taking should still be encouraged, and classes which enable learners to explore the many learners should begin to identify their strengths and elements of improvisation through a series of games and weaknesses within the field of improvisation. They should be guided exercises. They should be enabled to take risks, have facilitated to improve their weaknesses but also understand fun and develop the basic skills and techniques required ‘how to play to their strengths’. Filming work for personal and for effective improvisation. Following practical exercises, peer evaluation should be encouraged. tutors should instigate discussion and evaluation of the effectiveness, use and potential of the various games and exercises for developing skills/techniques, potential narratives Be able to perform in improvised drama and scenes. It is important that learners are encouraged The tutor should guide the learner towards their practical to work with all members of the group throughout these performance/s ensuring they have a good understanding of sessions. applicable stage craft. Learners should be encouraged to feel Learners should be encouraged and facilitated to undertake for the mood or understand the expectations of an audience a ‘warm up‘ session before the start of each class/workshop. and work to respond spontaneously but appropriately while Whilst this should become an automatic start to each maintaining the integrity of the piece. Learners should with session, it should not be regimented in approach but further necessary assistance develop a rehearsal schedule and a encourage exploration and risk taking. Although initially tutor strong sense of time management. Tutors should ensure led, as classes progress learners should take responsibility for that learner’s performances are technically supported as leading the warm up sessions themselves thereby providing appropriate. Audience questionnaires should be compiled to variety for all. aid feedback and discussion and, following the performance, they should be collated and discussed. Following the initial Learners should be taught the rudiments of how to research performance and feedback, tutors should facilitate learners in around the topic of improvisation. Areas for research should the refining, developing and extension of performance work. be delegated to the group and varying methods of feedback and presentation should be encouraged, e.g. practical, written and interactive. Using applicable methods the tutor should deliver any neglected areas of research to the group thereby ensuring continuity of knowledge for the group. Reflecting on filmed or live performances of skilled practitioners or using contemporary practitioners to conduct workshops could be beneficial. The tutor should extend elements of the research and practitioners ideas through further practical workshops, e.g. Boal’s approach to forum theatre.

Be able to use and develop improvisation

Building on the confidence and ideas gained in LO1, learners should practically work on extended improvisations, responding to feedback in developing and rehearsing their ideas.

Learners should be taught to reflect on the merits of a variety of stimuli as the basis for good improvisation.

Using a variety of plays/scenes with which learners are familiar, the tutor should enable them to explore a variety of ‘off the text’ improvisation ideas. www.ocr.org.uk 6 Drama Improvisation Level 3 Unit 11

SUGGESTED ASSESSMENT SCENARIOS AND GUIDANCE ON ASSESSMENT

Tutor evidence and a ‘learner’s log’ together should chart the journey and progress that the learner has made throughout the unit for the moderator.

Assessment and Grading Criteria P1 M1

For both P1 and M1 tutors should provide evidence of the commitment, progress and ability levels of learners in a format accessible to the moderator, e.g. written evidence or filmed evidence formatted onto a DVD supported by notes or discussion with the individual learner documented in note form by the tutor. In addition the learner should provide further evidence in the form of a workshop log; this should evidence learning and include reflection, analysis and evaluation of practical work.

Assessment and Grading Criteria P2 M2

Evidence for both criteria should be filmed showing practical work before and refinements after feedback. The DVD should be appropriately formatted for viewing by the moderator. Further evidence by the tutor documenting the transition should be provided to support the DVD. The learner should provide further evidence in their log to support their learning and progress within the unit.

Assessment and Grading Criteria P3 M3 D1

Evidence of the performances should be filmed and formatted onto DVD and made available for the moderator. Evidence of audience feedback could be provided by the tutor or within the learner’s log; alternatively, completed audience questionnaires could be included. Demonstration of the further refinement of work in response to the feedback could again be filmed for the moderator if appropriate.

7 RESOURCES

A suitable working and performance space to facilitate the requirements of the unit

A range of stimuli, props and pieces of costume suitable for building characters and context

Suitable texts to accommodate ‘off the text exercises’

Augusto Boal Games for Actors and Non-Actors Routledge 978-0415061551 John Hodgson & Ernest Richards Improvisation Methuen 978-0413349200 Clive Baker Theatre Games Methuen 978-0413453808 Viola Spolin Improvisation for the Theatre Northwestern University Press 978-0810140080 John Abbott The Improvisation Book Nick Hern Books 978-1854599612 Chris Johnston The Improvisation Game Nick Hern Books 978-1854596680 Keith Johnstone Impro for Storytellers Faber & Faber 978-0571190997 Jeanne Leep Theatrical Improvisation Palgrave Macmillan 978- 1137299239 Shomit Mitter Systems of Rehearsal Routledge 978-0415067843 Scott Graham & Steven Hoggett The Frantic Assembly Book of Routledge 978 -0415467605 Devising Theatre Barry Grantham Playing Commedia Nick Hern Books 978-1854594662

www.improvencyclopedia.org www.foghornimprov.com www.childdrama.com/warmups www.contemporarydrama.com

LINKS TO NOS

Reference Suite NOS Community Arts CCSCA5 Assist in developing a community arts project Community Arts CCSCA4 Contribute ideas for community arts projects Community Arts CCSCA8 Obtain and use research information Proskills PROHSS 1 Make sure your own actions reduce risks to health and safety

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