unseen script analysis 3.2

Question 1

define devised theatre

Answer 1

is original work developed by the actors rather than work developed through interpretation of any pre-existing script.

Question 2

define script

Answer 2

The term script refers to a text used for a theatre performance. A script may be an entire play or excerpts from plays. For us, we will be mainly using excerpts to cover our three different Performance Styles.

Question 3

define production roles

Answer 3

describe an area of work in theatre production

Question 4

recall the 8 production roles

Answer 4

1. Actor
2. Director
3. Costume
4. Makeup
5. Props
6. Set
7. Lighting
8. Sound

Question 5

define the production process

Answer 5

the three distinct and interrelated stages undertaken to stage a theatre production of any style

Question 6

recall the three stages of the production process

Answer 6

1. Planning
2. Development
3. Presentation

Question 7

define planning

Answer 7

includes introduction to the script, annotation mood boards, exploring and establishing initial concepts and aims for the production, undertaking dramatury

Question 8

define development

Answer 8

includes exploring, making, reflecting, trialling and refining any of the initial plans to achieve the production aims.

Question 9

define presentation

Answer 9

includes bumping-in, technical/dress rehearsals, performances, bumping-out, and evaluation of the overall production process.

Question 10

define theatre styles

Answer 10

are the traditions of theatre that are accepted as conventional and are particular to specific times, places, peoples and cultures. By their very nature, theatre styles and their associated conventions are not static, constant or definitive but are indicative.

Question 11

define contexts

Answer 11

refer to the circumstances surrounding a play and its interpretation for an audience. This may include the time and place in which the play is set and was written, influences on the playwright, cultures/beliefs/values of the time in which it was written, the language of the script, circumstances associated with the play and the possibilities for interpreting a script.

Question 12

define elements of theatre composition

Answer 12

Theatre makers use elements of theatre composition to organise components of a theatre production to create a deliberate effect, realising their aims and intentions and/or those of the creative production team. Elements of theatre composition can be used to give structure to the interpretation or the way it is presented on stage in performance to an audience. These elements can also be used to encourage or lead the audience to engage in the work. They can be applied individually or in combination, in any theatre style, used within any production role and at any stage of the production process.

Question 13

recall the elements of theatre composition

Answer 13

1. Motion
2. Rhythm
3. Variation
4. Emphasis
5. Contrast
6. Cohesion

Question 14

define motion

Answer 14

the movement or implied movement of actors and design features in the theatre space. This may include position, pattern, arrangement, proportion and spatial flow.

Question 15

define rhythm

Answer 15

the pace, timing and tempo within the interpretation.

Question 16

define contrast

Answer 16

juxtaposition of seemingly different or opposing aspects or qualities within the interpretation.
–> Juxtaposition (two things being seen or placed close together with contrasting effect) of different or opposing aspects or qualities within certain moments in the interpretation.

Question 17

define variation

Answer 17

changes to the dynamics of the interpretation, as may be evident in the use of tension, conflict, intensity, energy and use of the space.

Question 18

define emphasis

Answer 18

aspects of the interpretation are given a particular focus, importance or prominence.

Question 19

define cohesion

Answer 19

the unity and balance of various aspects of the interpretation.

Question 20

define acting skills

Answer 20

are used by performers to express and realise a character. Acting skills may be used in different ways in different performance styles.

Question 21

recall the 5 acting skills

Answer 21

1. Voice
2. Movement
3. Gesture
4. Facial expression
5. Stillness and silence

Question 22

define voice

Answer 22

diction, pitch, pace, tone, resonance and vocal sounds.

Question 23

define movement

Answer 23

gait, posture and stance.

Question 24

define gesture

Answer 24

using the body or the hands to create symbols and meaning.

Question 25

define facial expression

Answer 25

manipulating facial expressions to communicate emotions, reactions and meaning.

Question 26

define stillness and silence

Answer 26

to focus tension in a scene, and indicate the subtext of a characters intentions

Question 27

define actor audience relationship

Answer 27

The actor considers what impact they intend their performance to have on the audience. The actor–audience relationship is the way in which an actor deliberately manipulates the audience’s moods, emotions and responses to the action. This may be done through the placement of the actor in relation to the audience, the way the actor addresses and engages the audience, and the emotional and intellectual response to the character’s situation. An actor–audience relationship only exists as part of an actual performance, as opposed to a rehearsal.

Question 28

recall the jobs performed by actor in planning stage

Answer 28

º Read script º Research on context of the play (time, place, society, culture) º Theatrical possibilities –acting ideas º Character analysis –who, what, when, where, why? º Look at stage directions and synopsis on the script º What are the initial ideas of your character and of the play? º Discuss the directors vision and the intended meaning of your character Conduct research including reading script. Arrive at a vision for the character. º Attend rehearsals and production meetings

Question 29

recall jobs performed by actor in development stage

Answer 29

º Learn lines º Blocking and annotating script º Experiment with lines, props, movements º experiments EOTC - Laban effect º Work on expressive skills – facial expressions, movement, body language, vocals º Discover the units/objectives of script, I want I need I must º Identifying the purpose of a line in terms of a dramatic moment, º Experimenting with motivation, purpose º Actioning the text º Improvisation – for character development º Sticking to rehearsal schedule º Collaboration – production meetings º Keep rehearsal notes. º Annotating script during and between rehearsals º Learning and developing lines/scene

Question 30

recall roles performed by actor in presentation stage

Answer 30

º Put stagecraft/ costumes on (props, makeup etc.) *bump in* º If performance space is different from rehearsal space: quickly re-block with technical considerations º Respond to feedback – evaluation º Vocal exercises for warm up before performance º Relaxation exercises before performance (Stanislavski, meditation etc.) Perform. keep technical rehearsal, dress rehearsal and seasonal notes. º Attend post production evaluation

Question 31

recall the roles performed by lighting designer during planning

Answer 31

Read script research original time, place and culture of the piece research images, colours, patterns, past productions Develop and understanding of the CONTEXT, intended meaning of play, theatrical possibilities - identifying what the purpose and themes are Production meeting - what the theatre space is, budget, space capabilities - clear artistic vision based on other stagecraft ideas Draft lighting ideas to be presented in 1:1 Research lighting states and possibilities Create a visual collage of ideas with potential colour palettes Preliminary research of the style as well as the stagecraft (including reading the script/understanding the scenario). Notes made on how design is informed by playscript/style. Start planning initial design ideas Using possible set designs, theatre plans, storyboards, photos, computer software and scripts to create lighting cues and devise a layout.

Question 32

recall the roles performed by the lighting designer during development

Answer 32

Take inventory of lights in stock and use colours in design Create list of potential new gels to purchase Modify and draw up design in the artistic vision in mind stick to rehearsal schedule, plot lighting design using map for each scene or lighting state building set pieces/sourcing them - having a base mock up, final testing of designs for spacial capabilities create schedules that work alongside the director and other design areas, collaboration with other teams Experiment with a variety of lighting states eg. natural/spotlight/mobile lights/movers etc OHS – when moving, installing, changing and setting lights Go to regular production meeting to check that all designs are inline with other stagecraft and the director’s vision. Experiment with designs Create designs leading through to final design. Source new gels if needed liaise with other stagecraft areas. Keep notes from production meetings Synthesising designs in line with artistic vision Complete a lighting plot that includes locations, colors and dimmers for all lights that are to be included in the production, along with lighting cues Creating a lighting run sheet and update script with lighting cues Coordinate the lighting arrangements for every scene in a production Direct lighting cues

Question 33

recall the roles performed by lighting designer during the presentation stage

Answer 33

Maintenance and refinements made to designs items/materials Take and keep notes form production meetings attend rehearsal as required Bump in includes: Rigging in the space - dealing with modifications that need to be made, OHS - ‘this will happen here’ Storage at the end of each performance, Maintenance throughout play season, Evaluation Respond to feedback

Question 34

recall the four properties lighting designers can control to create a vast array of effects

Answer 34

1. Intensity 2. Colour 3. Distribution 4. Movement

Question 35

define intensity

Answer 35

The brightness of light. Everything in the range from the faintest dim glow to the most blinding glare can be created with stage lighting. Contrast has a great impact on how bright a light will appear to be to the audience, with a single flashlight on an otherwise dark stage appearing to be bright, while a strong spotlight shining on an already brightly lit stage may appear dim.

Question 36

define colour

Answer 36

The color an object on stage appears to be is determined both by its actual hue and by the color of the light that illuminates it. Filters or gels on lighting instruments make it possible for designers to tint stage lighting in colors that flatter the actors' faces, cast a warm glow over an entire set or heighten the colors of scenery and costumes.

Question 37

define distribution

Answer 37

Light can be distributed in different ways on stage. The form of light may vary from a soft unfocused glow to a sharply defined beam that casts dramatic shadows. The beam of light from an instrument may be directed through a piece of metal called a gobo that shapes it into a pattern such as the broken effect of light coming through the leaves of tress. Light may also be directed at an object from any angle, giving rise to an infinite variety of light and shadow combinations, each with a different look and feel.

Question 38

define movement (lighting properties)

Answer 38

The intensity, color and distribution of light can be noticeably altered as quickly or slowly as the lighting designer and director deem fit while the play is being performed. For example, a scene that starts in the diffuse and rosy light of dawn can end in the brilliant golden beams of full morning light. This capacity for change over time is called the movement of light. It offers a kind of flexible expressiveness that is unmatched by any of the other visual elements of production.

Question 39

how can lighting be used to create effect in performance?

Answer 39

● Evoke the appropriate mood ● Indicate time of day and location ● Shift emphasis from one stage area to another ● Reinforce the style of the production ● Make objects on stage appear flat or three dimensional ● Blend the visual elements on stage into a unified whole