OCR LEVEL 3 CAMBRIDGE TECHNICALCERTIFICATE/DIPLOMA IN

PERFORMING ARTS

CONTEMPORARY THEATRE PERFORMANCED/502/5359

LEVEL 3 UNIT 21

GUIDED LEARNING HOURS: 60

UNIT CREDIT VALUE: 10

TECHNICALSCambridge

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CONTEMPORARY THEATRE PERFORMANCED/502/5359

LEVEL 3 UNIT 21

AIM OF UNIT

The aspiring actor needs to be able to demonstrate a

practical understanding of a variety of performance

genres, styles and roles. This unit offers the aspiring actor a

practical insight into contemporary performance. Through

a systematic approach including, research, textual analysis,

experimentation, rehearsal and performance, this unit will

encourage the aspiring actor to develop an understanding of

several contrasting contemporary texts and their performance

possibilities and practical realisation. For the purposes of the

Unit, the term ‘Contemporary’, refers to any play written since

1935.

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Contemporary Theatre Performance Level 3 Unit 21

ASSESSMENT AND GRADING CRITERIA

Learning Outcome (LO)

The learner will:

Pass

The assessment criteria are the pass requirements for this unit.

The learner can:

Merit

To achieve a merit the evidence must show that, in addition to the pass criteria, the learner is able to:

Distinction

To achieve a distinction the evidence must show that, in addition to the pass and merit criteria, the learner is able to:

1 Be able to research contemporary texts

P1 research contemporary texts to provide ideas for their interpretation

2 Be able to interpret and realise contemporary texts

P2 realise characters and meet demands of the texts in relation to the interpretations

3 Be able to rehearse contemporary texts for performance

P3 develop performance through rehearsal, with guidance

M1 through self assessment, demonstrate alternative ways of improving performance

4 Be able to perform contemporary texts

P4 perform roles from contrasting contemporary texts, showing differences in characterisation

M2 effectively integrate interpretive and technical skills whilst performing both roles

D1 evaluate the approaches to character development in each role

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TEACHING CONTENTThe unit content describes what has to be taught to ensure that learners are able to access the highest grade.

Anything which follows an 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 research contemporary texts

• Definetermcontemporary–historicalcontext–con temporary theatrical/performance changes, theories and movements, e.g.

Absurdism, Physical Theatre, Feminist Theatre, Total Theatre, In Yer Face Theatre, Community Theatre

• TheWorkofContemporaryplaywrights,e.g.-

Alan Ayckbourn, John Arden, Samuel Beckett, Alan Bennett, Stephen Berkoff, Edward Bond, Caryl Churchill, Martin Crimp, Ariel Dorfman, Brian Friel, John Godber, Trevor Griffiths, Tanika Gupta, David Hare, Sarah Kane, Bryony Lavery, David Mamet, Patrick Marber, Arthur Miller, Joe Orton, John Osbourne, Harold Pinter, Mark Ravenhill,WillieRussell,PeterShaffer,TomStoppard,TimberlakeWertenbaker,ArnoldWesker,TennesseeWilliams,AmritWilson,AugustWilson

• Playwright

biography, portfolio of work

• Playwright’sintentions

style, themes, issues, intentions, narrative, synopsis, sub plots.

Be able to interpret and realise contemporary texts

• Contemporarydirectorsandpractitionerse.g.

Annabel Arden, John Barton, Stephen Berkoff, Michael Bogdanov, Michael Boyd, Peter Brook, Michael Buffong, Annie Castledine, Nola Chilton, Dominic Cooke, Stephen Daldry, Howard Davies, George Devine, Declan Donnellan, Greg Doran, Marianne Elliott,RichardEyre,WilliamGaskill,PeterGill,DavidGlass, Peter Hall, Jude Kelly, Joan Littlewood, Phyllida Lloyd, Simon McBurney, Herbert Marshall, Nancy Meckler, Katie Mitchell, Lloyd Newson, Adrian Noble, Trevor Nunn, Emma Rice, Ian Rickson, Josie Rouke, N.F. Simpson,PollyTeale,JatinderVerma,DeborahWarner,DeniseWong,JohnWright

• Establishedpractitioners,e.g.

Antonin Artaud, Bertolt Brecht, Edward Gordon Craig, Jerzt Grotowski, Jacques Le Coq, Vseyolod Meyerhold, Erwin Piscator, Konstantin Stanislavski, Emile Zola

• TextualAnalysis

title, structure, style, genre, the given circumstances, environmental facts and background, date, time and period, timescale, economic environment, social environment, religious environment, political environment, previous events, narrative/action

• Language

type of language, use of language, imagery

• Character–creatingacharacterstudy

protagonist, antagonist, support, status, social class, moral values, vocabulary, accent/dialect, physical appearance, self image, view of others, relationships, subtext, continuity

• Miseenscene–stagingincluding:

type of performance space, setting, scenery, properties, costume, lighting, projections, film clips, fuse of still and moving image.

Be able to rehearse contemporary texts for performance

• Rehearsalscheduleandtimemanagement

• Warmupgamesandexercises–developingvocaland physical range, concentration, focus, imagination, cooperation

• Experimentanddiscovery–improvisationonandofftext,hotseating–thoughttracking–streamofconsciousness–innermonologue–exploringthesubtext and other exercises as appropriate to the exploration of specific texts

• Establishthestyleandgenre

• Blocking

• Pace,rhythm,buildingoftension,useofpause,contrast, continuity

• Voicemodulation–accent,dialect

• Movement,physicalityandgesture

• Learninglines

• Self-evaluationandanalysis

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Contemporary Theatre Performance Level 3 Unit 21

• Peerfeedback,evaluationandanalysis

• Semiotics–signsandsignalsincluding–setting–usingprops,costume–technicalrequirements–lighting,sound

• Technicalrehearsal–dressrehearsal.

Be able to perform contemporary texts

• Vocalandphysicalwarmups

• Checkingprops,costumetechnicalrequirements

• Relaxation,concentrationandfocus

• Connectionandintentionsfortheaudience–clarityofcontext, genre, style, character, situation

• Useofvoiceandmovementandvocalprojection

• Creating‘TRUTHONSTAGE’

• Breakingthe‘fourthwall’

• Usingdesignandtechnicalelementstoenhanceper-formance and context

• Awarenessofhealthandsafety.

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DELIVERY GUIDANCEBe able to research contemporary texts

Tutors should introduce learners to this unit by giving them a brief overview of the changes, trends and developments within contemporary theatre. To further develop the learner’s understanding, tutors should use a variety of methods includingvisitstoliveperformances,watchingpre-recordedDVD performances of professional productions, exploring some touring companies, reading extracts and full texts and due analysis and discussion of a range of contemporary plays. Followingtheinitialtutor-ledapproachtoresearch,learnersshould be encouraged and facilitated by the tutor to further research two contrasting texts and playwrights and present due analysis and insight into the texts and playwrights.

Be able to interpret and realise contemporary texts

Either using texts introduced during LO1 or fresh texts, learners should be guided through further methods of analysis. It is expected that a variety of methods will be used when analysing the text using a workshop approach, including the tutor as role model, practical experimentation by the learner, discussion, individual and group research, further reading and researching around the text and improvisation on and off text. The tutor should compliment the analysis of the text by referring to and encouraging the use of applicable directors’ and practitioners’ (contemporary and established) methods for approaching, analysing and working with text. Tutors should help and advise learners to choose two contrasting texts for their final performances which provide learners with potential for practical exploration and which also allow them to fulfil their potential within the performance space.

Be able to rehearse contemporary texts for performance

Tutors should encourage good practice by initiating physical andvocalwarm-upsandgamesbeforeeachrehearsal.Aslearners become more confident, they should take over the responsibility for such activities by leading their peer group. The tutor should facilitate the learner to organise their rehearsal periods. However the tutor should take some responsibility for maintaining the learner’s focus and concentration throughout the rehearsal periods by introducing activities and further methods of exploring the text to extend the learner’s individual or group understanding and practical experience. Opportunities should be built into the rehearsal period for personal, tutor and peer evaluation, feedback and discussion.

Learners should be facilitated to produce a polished performance with adequate design and technical facilities to ensure that they can fulfil their potential within the performancespace.Wherenecessary,thetutorshouldberesponsible for organising and supporting the technical and dress rehearsals for learners.

Be able to perform contemporary texts

Following the rehearsal period and prior to the performance, the tutor should ensure that the learner is confident in their lines and totally conversant with their intentions and relationship with the audience. The tutor is responsible for ensuring that the performances provide a culmination of all the preparatory work undertaken by the learner during LO1, LO2 and LO3 and that the learner is therefore fulfilling their potential within the performance space. Tutors should ensure that learners warm up appropriately prior to performance and that the learner is ably supported technically where appropriate. Following the performances the tutor, peer group and, if appropriate, the audience should give constructive feedback to the learner.

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Contemporary Theatre Performance Level 3 Unit 21

SUGGESTED ASSESSMENT SCENARIOS AND GUIDANCE ON ASSESSMENT

TheunitwillbeassessedprimarilythroughaPortfoliocompiledbythelearner,tutorobservationsandTWOperformancesofcontemporary contrasting texts minimum ten minutes each. ‘Contemporary’ refers to any play written after 1935.

Assessment and Grading Criteria P1

The learner should provide a detailed document of their journey throughout this unit in the format of a Portfolio. The evidence for P1 could take a variety of forms, including written notes, annotated handouts, and annotated extracts of texts. Evidence for the learner’s own research into two contrasting texts and playwrights could again be evidenced using a variety or combination ofmethods,e.g.awrittenanalysis,apresentationorpracticallearner-ledworkshoptotutor/peergroupwhichcouldbefilmedand formatted on to DVD for the moderator, or the learner may include their notes, textual illustrations and analysis within their Portfolio and tutor/peer group feedback. It is permissible for the learners to work together researching a particular text/playwright however each learner’s personal contribution should be clearly evidenced.

Assessment and Grading Criteria P2

The second section of the Portfolio will provide the evidence for P2. Again, the evidence could be recorded or collated according to the delivery of LO2. For example, there could be copies of appropriately annotated text extracts, list of ‘given circumstances’, written character studies, evidence of research into contemporary director’s methods of directing the text, written evaluation of using established practitioner’s methods and ideas for analysing and working on a specific text and evidence of research into the context and period of the play as outlined in the Teaching Content of LO2. It is acceptable for the learner to provide an audio or DVD equivalent to the Portfolio but it should be clear to the moderator that the learner is providing a personal response and not responding to direct questioning or a proforma. Further written evidence should be provided by the tutor into the learner’s aptitude, approach and progress.

Assessment and Grading Criteria P3, M1, D1

For the third section of the Portfolio and to provide some of the evidence for P3 and M1, the learner should chart the rehearsal process within their Portfolio. There should be due analysis and reflection on the process, detailing and justifying decisions and developments. The tutor should again document the learner’s aptitude and progress as further supporting evidence. The learner could be filmed as they progress through the rehearsal process, thereby allowing them the opportunity to assess their own strengths and weaknesses and also to demonstrate the developments and improvements following their analysis of their performance. It would be useful if the process of self assessment and development decisions could also be discussed on camera or within the Portfolio and there should be due reflection on the learning and practical work undertaken in LO2 to inform such developments and improvements. All filmed work should be formatted onto a DVD for the moderator.

Assessment and Grading Criteria P4, M2, D1

The learner should perform two contrasting characters from contrasting contemporary published texts and each performance should last a minimum of 10 minutes. The contrast should be in genre or style (for example, comedy and tragedy, documentary and pantomime, naturalistic and non naturalistic). The performances should be filmed and assessed by the tutor and both the tutor notes and the DVD of the work should be available for the moderator they provide the evidence for P4 and M2. To gain D1 the learner should provide evidence in the final section of their Portfolio which evaluates the methods of analysis and development of a character in light of the contrasted pieces.

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RESOURCES

A range of contemporary texts

Access to the internet

Workshopfacilities

Performance space and facilities which allows learners to fulfil the requirements of the unit

Pre recorded DVDs of Contemporary productions

The Routledge Drama Anthology and Source Book

Maggie B. Gale and John Deeney Routledge 978-0415466622

Performance Analysis ColinCounsellandLaurieWolf Routledge 978-0415224079

The Methuen Guide to Contemporary Theatre British Playwrights

Martin Middeke, Peter Paul Schnierer & Aleks Sierz

Methuen Drama 978-14082122785

Played in Britain Modern Theatre

In 100 Plays Kate Dorney and Frances Gray Methuen Drama 978-1408164808

HowPlaysWork David Edgar Nick Hern Books 978-1854593719

How to Read a Play Ronald Hayman Grove Press 978-0802136299

StartingWithScripts AndyKempe&LionelWarner Nelson Thornes 978-0748765096

Acting John Harrop Routledge 978-0415059626

The Complete About Acting Peter Barkworth Methuen Drama 978-0413661104

Konstantin Stanislavsky Bella Merlin Routledge 978-0415258869

Constantin Stanislavski, An Actor’s Handbook

Elizabeth Reynolds Hapgood, Ed. Methuen Drama 978-0413630803

The Stanislavski System Sonia Moore Penguin 978-0140466607

Making Theatre Peter Mudford The Athlone Press 978-0485121582

Towards a Poor Theatre Jerzy Grotowski Routledge 978-0878301553

Theatre of Bertolt Brecht JohnWillett Methuen 978-0413343604

Meyerhold on Theatre Edward Braun Methuen 978-0413387905

Antonin Artaud Lee Jamieson Greenwich Exchange 978-1871551983

Letters to George MaxStafford-Clark Nick Hern Books 978-1854593177

The Director’s Craft Katie Mitchell Routledge 978-0415404396

Systems of Rehearsal Shomit Mitter Routledge 978-0415067843

The Theory of the Modern Stage

Eric Bently Applause Theatre 978-1557832795

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Contemporary Theatre Performance Level 3 Unit 21

Your Voice and How to Use It Cicely Berry Virgin Books 978-0863698262

The Right to Speak Patsy Rodenburg Methuen Drama 978-0413661302

Theater Games for Rehearsal Viola Spolin Northwestern University Press 978-0810140028

Theater Games for the Lone Actor

Viola Spolin Northwestern University Press 978-0810140103

Games for Actors and Non Actors

Augusto Boal Routledge 978-0415061551

Theatre Games Clive Baker Methuen 978-0413453808

Modern Drama in Theory and Practice

J. L. Styan Cambridge University Press

1 Realism and Naturalism

978-0521296281

2 Symbolism, Surrealism and the Absurd

978-0521296298

3 Expressionism and Epic Theatre

978-0521296304

A Theatrical Casebook Peter Brook Methuen 978-0413157003

www.artsalive.co.uk

www.vam.ac.uk

www.guardian.co.uk/stage/2009/may/09

LINKS TO NOS

Suite Ref National Occupational Standards

Directors: Cast performers to realise the creative idea

K3 Know what the demands of the text or script are in terms of characters

Ensure that you and your team keep up to date with the technical and production areas of the live arts

CCSTP3 P1 plan and carry out research P3 analyse and interpret research findings P4 evaluate and verify research findings P5makesurethaton-goingresearchisundertaken P6 organise and present research findings and argue in support of them

Develop and researching ideas for a production CCSTP36 P4 use the results of research to make decisions, take action and inform relevant people P5 liaise effectively with other relevant department and personnel about requirements P6 negotiate effectively P7 present ideas to others to instil their enthusiasm

CONTACT USStaff at the OCR Customer Contact Centre are available to take your call between 8am and 5.30pm, Monday to Friday. We’realwaysdelightedtoanswerquestionsandgiveadvice.

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