- Super objective: I was exploring whether theatre of cruelty would be effective in our time and whether we could disturb and discomfort the audience with the show through the characters and their movements and voice. The hypocrisy of authority
- Criteria A: Does the student show initiative and perseverance in undertaking independent work during the course and in the completion of the independent project? Does the student produce relevant material in the IPP? They are not asking these questions in relation to the IP but in relation to the IPP!! Relevant material produced which shows planning, commitment, exploration, discovery, interesting range of ideas with clear evidence – clear statement of intention: aims and objectives, evidence of research into theory and practice relating key elements to the performance, good quotes important: don’t count in word limit, relate to areas of interest, problems that were incurred and accommodated, action plans, rehearsal schedules rearranged, costume designs, revised costume designs, annotated script, picture of set with where actors should be, evidence of when I changed from black to red with date, show notes and workshops for actors, recognised that they were inexperienced volunteers and were giving up their spare time and training was necessary to bring them up to speed, Laban and Artaud handout in appendix, exercises done, how did we get a performance out of the inexperienced actors who had no idea – planning, the ‘UH HA!’ moment – when you had realisations or people got things and I learned something about theatre of cruelty, what things were not planned for and not foreseen which as a result of rehearsals were changed and we did something that we had not planned – change of costume, change in banquet scene, scream, crying
- Criteria B: Does the student demonstrate an understanding of production elements and theatre practice? Does the student demonstrate the skills she has acquired in the IP? Does the student understand the demands of the chosen area? Skill in area chosen, inventive, perceptive understanding of the demands of the chosen area, pictures worn in original, era, people now of same status, pictures of my costumes, explanation of the character and what the costume had to say about them, explanation of symbolism, what should the costume be conveying about the character? Always keep a sharp focus on the message, research – what Artaud said about costume, direction and acting – why did we ignore some of this and do what we did, any comments from people who influenced us on direction, Peter Brook – season of theatre of cruelty – youtube videos, annotated script of motivations for characters, set plan with character placement, creative with research and application of this, Realised it was essential with untrained actors to check that all the props were ready and in place, hard to stand back and realise that some things which were so carefully planned did not happen in the end and did not work out, must be totally literal to the actors, hard as they are our peers doing this out of kindness and we can’t be too forceful, how much of Stanislavski was used? Observation: Brechtian approach – like a title, everyone took a different approach to acting – was uneven, realised how much we’ve learned through how much they didn’t know even when we told them what to do
- Criteria C: Does the student show evidence of learning and development? What was actively learned? Does the student reflect on the IP and it’s place in the course as a whole? Everything learned in the course is applied, skills learned are applied – how did you know how to direct? Do costume design? Etc. Constantly referring what I learned to the theory – what other people say and what I discovered about it, theatre of cruelty works with a few exceptions, Peter Brook – Theatre of cruelty is the heart of theatre, audience was very uncomfortable, why were changes made and how were they made – more research, went through journal etc. Reflection is the glue which holds it together, always ask why
- Criteria D: Does the student write the portfolio in a linguistic manner that is appropriate to the format and subject matter? Does the student select and present relevant material? Needs to be sourced and attributed as well as in the word count
- Criteria E: Application for research and practice – does the student show an ability to integrate and apply their research and practice in the development? Is this research and practice relevant to the project?
- Interviews, improvisations, action plan – mention why we cut out certain sections – didn’t want to emphasise Orsino’s relationship with Beatrice because this was not integral and takes away from the message/impact of the play
- Next performance – no time to re-rehearse our piece, had to trust the actors had learnt from performing in front of an audience – proof as they were so much better in the performance than the run through, interesting to see the differences if we had another actor playing Beatrice and emphasised more emotion, after what happened last time when no one was specifically in charge of props as we were relying on each actor that I would be in charge of them as this did not work, have to talk to the actors about the chairs, integral as the make-up is, as there is no preparation time, there will be no make-up for the second performance – things must be expressed more in their bodies using Laban
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