Demystifying the Practical performance proposalPPP SL/HL Section 1: The Pitch – the opening gambit

The first piece of writing a PPP examiner encounters in a Practical performance proposal is Section 1 – the concise summary commonly called the ‘pitch’.  This piece of text acts as precursor and introduction to the proposal and is a critical hors d’oeuvre in both content and style. The ‘pitch’ will not make or break a proposal but a good example evokes a sense of anticipation and engagement to the proposed piece of theatre thus pulling in the examiner - a veritable ‘hook’. However, at the other end of the ‘pitch’ spectrum a language-challenged student could convey a vision of performance in their best manner and

not be penalised for lesser quality because of the holistic approach to PPP marking which allows the opportunity for idea development in Section 2 not based solely on language. So what is this “pitch” and what should it contain?

In the Subject guide, Section 1 is described as “a concise summary of the proposal in the style of a “pitch” that presents the proposal in a dynamic manner. This section should contain a maximum of 250 words.” Hmmm … not much help there. Although phrases like “a concise summary” and “dynamic manner” gives us a clue. I suppose the inverted commas on the word “pitch” suggests an informal use of the word such as “a line of talk designed to persuade” (dictionary) and “dynamic” refers to a style of writing. So in fact we are looking at a sort of ‘textual trailer’ for the theatre piece and not an academic abstract such as that found in the Extended essay.  So if that gives an idea of what it is, what then should it contain? Well, if we look at a movie trailer, we see it attempts to convey exciting bits of the movie and a persuasive vision of the piece of art without giving too much away. So what sort of information would help me visualise this vision – well, I suppose 1. the where, 2. the what, and a little bit of 3. the how would help. So now let’s look at these a little more closely.

1. The where of a piece of theatre would refer to the space in which the performance will take place. To build up my visual re-enactment I need to be able to visualise a type of physical area (a thrust stage, pros arch, an environment, etc – landscape, architecture as these features are now being termed) and where those who are experiencing the performance will be. I don’t need scale (unless it is critical) or great detail just a spatial overview. Much of the detail will be developed in Section 2 so I just need some concrete information to create my mind picture of the space in which the event will happen.

Edward Gordon Craig in his seminal text On the Art of the Theatre. suggests that “(w)hen he (the stage-director) interprets the plays of the dramatist by means of his actors, his scene-painters, and his other craftsmen, then he is a craftsman – a master craftsman; when he will have mastered the use of actions, words, line, colour, and rhythm, then he may become an artist.” (1911, London: William Heinemann, Ltd. p148) and here we begin to perceive some critical factors for our ‘pitch’ – actions and design.

2. The what – a pitch needs to convey what actually happens in this space (this may be action as Craig suggests but it may also be inaction of some sort). What the audience, spectators, spect-actors, and experiencers actually experience needs to be communicated in words, with text painting a picture, however rough, of this action. This may be a narrative and a short (I said short) résumé of that is of help but other forms on non-linear stage action need to be described as well. For a theatre event to be a happening ’something’ needs to happen even if it is only the provoked anticipation of a happening!

3. The how – can be interpreted in two distinct ways. How, meaning style, genre, etc and referring to the performance/design factors which will convey to the reader important details which help in the visualisation of the event. This might include interpretation specifics such as descriptive examples of realism in acting, maskwork or puppetry, etc or details on the use of design elements such as use of colour, line, shape, form, texture. The other how, meaning process of creation/devising, is of less significance in the pitch and should only be briefly mentioned unless it serves to further clarify a vision.

The pitch, although it appears as the first listed component in the PPP should, in fact, be the final composed element. The pitch should create a vision with exciting snapshots of a well-developed performance. This vision is the outcome of 4 weeks intensive and creative work by the student and so should convey an appropriate level of clarity and development for that amount of effort. Poorer pitches are often a list of unformed ideas lacking cohesion or image provoking properties. The better pitches usually offer a suggestion of a piece of theatre which may lack clarity in areas but are also often weighed down with theoretical discussion. The best pitches offer a snappy, provocative vision of a theatre piece in movement, line and colour.

As intimated in paragraph two above, there are no hard and fast rules as to exactly what details should be in the pitch. Some students prefer to have themes, target audience, a little of the devising process (if applicable), etc. All these aspects are fine providing they contribute in some functional way to the 250-word presentation of the proposal in a dynamic manner.

After reading many pitches, one example suddenly arrives and you feel the director deep inside you reacting. Yes, there are still questions but these flow

out in eager anticipation of a clarifying response and not in disbelief or confusion over certain artistic choices. And so, in anticipation, the reader moves on to Section 2 ……….

PPL SL/HL Section 2: Animating the vision - Supporting materials

Section 2, the supporting materials, could be termed the icing AND the cake! For the reader, this section offers clear insight into the mind, heart and soul of the director. What has been described so passionately in the pitch becomes an actual reality and the journey from whence this reality came is clarified as much as is possible in the magical world of creativity. In Section 2 some questions are answered but then, as in all areas of artistic endeavour, other tantalising questions are provoked which excite and inspire as they hang (sometimes unanswered) in the space between information and provocation.

But enough of this philosophical rambling, let's proceed to the demands of the criteria and where the marks are! However, before we go there, a word or two about style. The SG describes Section 2 as "explanatory, visual materials to illustrate the student’s understanding of the intended process of realization" (p28). Three key words jump out 'explanatory', 'visual' and 'illustrate' and these three triggers are what move us from being a literary artist to a theatre artist. Section 2 is meant to communicate the visions of the mind's eye to the reader. Words can do this, but for the purposes of a theatre artist, inadequately. Shakespeare could paint a picture with text but this gift is not available to most of us who tend to use images and words (spoken and written) to convey the wonderful creative, theatrical visions of our minds. Some people feel insecure in drawing but the artistic merit of the images are not being assessed only how the doodlings, sketches and annotations communicate the essence of the vision. For those who draw, this task is accessible; for those who write this task is accessible and for those who talk this task is accessible. The opportunity to combine drawing, writing and talking lies within the potential of Section 2 for those who dare! The SG phrase "must not be written in a formal essay style." (p28) is a stark reminder that freedom of expressive style is possible as long as it effectively communicates the vision (having said that I often ponder on the question: "Would Shakespeare fail his PPP for his attempts at Section 2?"!!!!!)

I hate Section 2 of the PPP cause I can't write it in formal essay format - Aghh ..... words, words,

Having savoured the icing a little, let us now take a look at the cake. The clues as to where and how marks can be scored in Section 2 lie within the descriptors which are used in assessment of the task. These can be found in HL Table 1 on the next page and on pages 37/38 of the Subject guide.

On browsing the descriptors, you can see that they can broken up into groups that I have called elements. On close inspection, we find we have

i. imaginative interpretation of the stimulusii. concept for performanceiii. understanding of production elementsiv. functioning of production elements in performance

then, as we go up the table, we find

v. genuine response to the stimulus - potential for dramatic interpretation

and, finally, at HL we have the requirements of the report which are dealt with in greater detail in the third Section of this article.

I hate Section 2 of the PPP cause I can't write it in formal essay format - Aghh ..... words, words,

The word stimulus, referring to the IB prescribed stimulus, can be seen as prominent in two of the elements. This immediately tells us that some indication has to be shown of how we imitated, were influenced by or, indeed were inspired by one of the IB prescribed stimulus. If I do not somehow indicate my process of moving from stimulus to product then I do not comply with elements i. and v. This usually happens by a brainstorm or some other sort of exploratory diagram early in Section 2. If the exploratory process leads to a text which is already scripted then the process of inspiration should be clearly shown and should be based on genuine tenets and not superficial links e.g. this stimulus mentions the word 'night' which reminds me of a play I am reading in English class by William Shakespeare.

Markband Descriptor

0 The student has not reached level 1.

1–5 The proposal contains very few or no signs of an imaginative interpretation of the stimulus, or no evidence of a concept for performance. There is very little understanding of the production elements and how they function in performance, and any references made to these are confused and inaccurate. The report shows little or no understanding of the practical effects of the philosophical rationale, socio-historical/traditional/cultural influences, or the possible impacts and resonances of the proposed performance.

6–10 The proposal contains limited signs of an imaginative interpretation of the stimulus and limited evidence of a concept for performance. There is a limited understanding of the most basic production elements and how they function in performance, but this is partial and inconsistent. The report shows a limited understanding of the practical effects of the philosophical rationale, socio-historical/traditional/cultural influences, or the possible impacts and resonances of the proposed performance.

11–15 The proposal contains some imaginative interpretation of the stimulus, but there is a lack of coherence in the concept for performance. The student shows a genuine response to the stimulus and its potential for dramatic interpretation in performance, and shows some understanding of the possibilities of alternative ideas. There is an understanding of the essential production elements and how they function in performance, but this lacks depth and balance. The report shows some understanding of the practical effects of the philosophical rationale, socio-historical/traditional/cultural influences, or the possible impacts and resonances of the proposed performance.

16–20 The proposal contains an imaginative interpretation of the stimulus and a coherent concept for performance. The student explores some inventive ideas for staging and articulates a practical approach for realizing the performance. There is a clear and thorough understanding of the production elements and the subtleties of their effects in performance. The report shows an understanding of the practical effects of the philosophical rationale, socio-historical/traditional/cultural influences, or the possible impacts and resonances of the proposed performance.

21–25 The proposal contains a highly imaginative, illuminating and original interpretation of the stimulus and a coherent concept for performance. The student demonstrates inventive ideas for staging and a clear and practical understanding of the processes involved in bringing his or her ideas to performance. There is a clear and comprehensive understanding of the function and interrelation of the production elements and how they are combined to produce the desired effects in performance. The report shows an innovative understanding of the practical effects of the philosophical rationale, socio-historical/traditional/cultural influences, or the possible impacts and resonances of the proposed performance.

Table 1: HL Practical performance proposal descriptorsSource: IB Theatre Subject guide

But, as in all theatre situations, the first rule is that there are no rules, so, if your actual envisioned performance of the Shakespeare play resulted in an 'imaginative interpretation' then it may score well. So, what is element i an 'imaginative interpretation'?

There are two aspects to consider for an 'imaginative interpretation of the stimulus'. The first is the storyline or what happens onstage (action). Let's say, for example, that the stimulus is an Anansi the Spider story from West Africa. If the exact story with no personal variation or adaptation is acted out on stage then little imagination has been engaged. However, if the staging of the story (second aspect!) is performed in an innovative and unpredictable manner then the interpretation may be considered 'imaginative'. A performance that re-enacts the exact narrative in a non-considered performance space may not do well against the first element of the criteria. On the other hand, a development or personal adaptation of the Anansi story staged in an inventive type of space as a result of a clear process of exploration would score well in the initial part of the rubric.

One of the key question is how the action or what happens onstage is conveyed. Sometimes this is hinted at in the pitch with a few vague sentences which offers a general idea. The better conveyed action outlines are sometimes found in Section 2 with a plot synopsis (the more detail the better!) or occasionally a script (which is not necessary but does give some indication of what will happen onstage but not how). However, the clearest communicator of stage action is through an annotated storyboard. The device, used extensively in the process of film-making, consists of a series of what could be described as stage pictures with explanatory notes to develop the action

and describe intended effects. A series of images tells much but the annotations are the key to turning these provocative visuals into enlightening visions.

Example of Theatre Storyboard

Source: http://www.mrstevenadams.com/University/des107/#nogo

The second important element to consider and develop in Section 2 of the PPP is the 'concept for performance. This notion has been called many things in its time and the useful website http://vtheatre.net/directing/concept.html lists some examples as "master metaphor", "directorial concept". The website also points out that "Zelda Fichandler of the Arena Stage refers to the Russian term, "zamissel," or pervading thought." This last phrase touches on the idea that the concept for performance is what is always considered when making artistic choices and this interpretation touches on the crux of a concept. The concept may initially be many aspects such as an inspiring phrase, a theme, an image from the stimulus; indeed, all these have the potential to become concepts for performance. However, when the aspect is actually considered in the justification of choice of costumes, lighting, staging, acting style etc. only then does it becomes a concept for performance.

So, for example the idea of 'circus', inspired by the text and actions of the Mechanicals in Shakespeare's 'Dream', has the potential to be a concept for performance. But only when the director envisions the action happening in a circus ring; the costumes as circus attire; the music as a live circus band, the movement and gestus of the Mechanicals as clowns, of the Fairies as Ring Master and staff, and the Humans as circus animals, does 'circus' become the concept for performance applied in a coherent fashion.

The process leading to a concept for performance (element ii) could be seen as follows:-A stimulus sparks notions which provide starting points for the creative process of playmaking. The creative muse may be motivated by one or a combination of the following:- theme(s), issues, characters, narrative, language, lay-out, shape/form, style, analogies, text, imagery, sound, touch, rhythm, tempo, colour, phew !!!!! etc.The person who guides the performance to actualization and who will make artistic choices (often the director in Western theatre) may bring the following attributes and actions to the 'concept for performance' process:- perspective, memory, experiences, imagination, research, etc.These two strands, the stimulus potential and the resourcefulness of the individual person, come together to generate inspirations, the creative threads of the performance tapestry, which may at some time during the process, interweave into a concept for performance (these inspirations are the markers of 'imaginative interpretation'). This developed concept for performance is the central, overarching paradigm which guides all artistic choices, (practical, aesthetic and metaphoric) and so creates a coherence across the following practical areas of performance:- acting style, performing, design, movement, music, sound, scenography, lighting, costume, make-up, etc. This process of concept development is not magical but the result of inspiration and industry.

At the beginning of Section 2, some people clearly identify their developed concept for performance and convey initial ideas by means of a spider diagram putting their concept at the centre and the various legs of the spider as the production elements with their links to the concept. This little visual clarifies, to the reader, how the concept for performance could be applied. However, the top band examples of PPPs usually further develop the application of the concept with details and elaborations on each of the areas of production and performance action thus offering evidence of a coherent concept for performance.

A key phrase from p27 of the SG to keep in mind when beginning to develop the production elements in Section 2 of the PPP is the student " must adopt a directorial perspective". This instruction specifies a 'directorial perspective', and I repeat, 'a directorial perspective'; not a designer's perspective, not a choreographer's perspective but a 'directorial perspective'. This notion of perspective is important because it will determine the depth of detail necessary in describing the production elements. Enough information must be conveyed to show "an understanding of the essential production elements and how they function in performance" (SG p37) with "depth and balance" according to the perspective. This may mean sketches of costumes developed enough to understand what the director envisions but leaving enough space for the costume designer to explore and create appropriate designs. So, that sort of explains the idea of 'depth', but what about the 'balance'.

The director is the one with the holistic vision and so should elaborate upon production elements such as space (size, nature, audience/performers relationship, etc), set (size, nature, general details = shapes, colours, specialities, etc), costumes (style, colours, etc), lighting (if applicable). sound, etc, what effects s/he intends to bring about with these choices AND the relationship between the production elements. I find Tadeusz Kowzan's Thirteen Sign System (see box previous page) useful to help me think of some

Tadeusz Kowzan’s - Thirteen Sign System

1. Auditive signs, which, being part of the spoken text, are emitted by the actor and exist only in time. Such signs are word (system 1) and tone (system 2).

2. Visual signs, which, classified as "the expression of the body," are located in the actor and exist in both time and space. Such signs are facial expression (system 3), gesture (system 4) and movement (system 5).

3. Visual signs, which, codified as "the actor's external appearance," are also situated in the actor but exist only in space - make-up (system 6), hair style (system 7) and costume (system 8).

4. Visual signs, which, called "the appearance of the stage" (or "aspect du lieu scénique"), are placed outside the actor and exist in both time and space. Such signs are props (system 9), stage scenery (system 10) and lighting (system 11).

5. Auditive signs, which, classified under "inarticulate sounds" (or "effets sonores non articulés"), can be found only outside the actor and exist only in time. Such signs are music (system 12) and sound effects (system 13).

"Le signe au théâtre: introduction à la sémiologie de l'art du spectacle." 1968 Kowzan,Tadeusz."The Sign in the Theater: An Introduction to the Semiology of the Art of the Spectacle." 1968 Trans.

Simon Pleasance. “Littérature et spectacle” 1975. The Hague: Mouton

of my artistic choices in my role as a director.

There is a great temptation, with the easy accessibility of the internet, to search for images similar to my vision and then download these and propose them as my ideas for designs. This frequently happens in the case of costumes and set designs. Whilst this 'inspiration-collecting' is an integral part of the process there needs to be more elaboration on how these images inspire, what aspects are appropriate for my designs and why (Aha! The link to the concept for performance). The downloaded images convey a visual impression but only with further sketches and annotations can a vision be conveyed.

PPP HL Section 3: Dealing with the Commentary

The Practical Performance Proposal (PPP) offers access to the fertile and creative minds of international theatre students. Fantastic and fabulous performances are described often showing a subtle understanding of the directorial and mise-en-scene processes.

However, time and time again, one little niggling section adversely affects the possible marks for students and this is the HL Section 3 – the commentary/report. The Subject guide (SG) page 29 simply describes Section 3 as ” a commentary on any of the aspects of the proposed performance” and lists “Philosophical rational, Socio-historical influences, Traditional/cultural influences and Possible impacts and resonances”. This description in itself does little to tell us what is required, giving only the minimal detail. To gain sharper focus of how marks can be obtained in this section, one must unpick the final element of the actual marking criteria. This asks for evidence of rising degrees of “understanding of practical effects of philosophical rational, socio-historical influences, traditional/cultural influences or possible impacts and resonances of the proposed performance” (SG p37/38) I have highlighted a word and a critical phrase both of which begin to give us a clearer indication of required content in Section 3.

Let me deal with these selected components individually. The criteria ask firstly for evidence of understanding.  There are, at least, two aspects to this understanding to consider. One is knowledge of and the other could be termed integration. The first, knowledge of, refers to evidence of an understanding of the selected area of research/theory. Often a student will talk of using Epic theatre’s verfremsdungseffekt without touching on Brecht’s holistic intent in the use of the convention and so conveying no real understanding of the convention in the context of the philosophy of Epic theatre. The resulting description of a single convention then becomes an empty device where an onstage action is loosely linked to research/theory without conveying real knowledge of the reason for the device.

The second aspect of understanding, integration, refers to an indication of why that particular aspect of theory/research is appropriate for the proposed performance. In other words the student should articulate why that convention from that philosophy is suitable for her piece of theatre with its philosophy i.e. she should articulate a reasoning for the merging or integration of premises. In the case of Epic theatre this may be as simple as stating that the piece is didactic theatre with this particular intended message and so the use of alienation techniques serves this specific purpose as Brecht postulated.

The second component, which is the most often overlooked, is that of practical effects. A key axiom of the IB Theatre programme is that research becomes of value to the theatre practitioner when it is applied. The commentary, therefore, is the opportunity for the student to show how theoretical ideas have been put into practice with real examples from their proposed performance. A frequent occurrence in the commentaries is evidence of clear understanding of research/theory followed by vague, generalised comments describing the proposed performance and no concrete examples of “practical effects”. So if, for example, Butoh is chosen as the research/theory area, as well as an understanding of Butoh principles and an integration of why Butoh convention is appropriate for the proposed piece, then clearly described practicable examples in the proposed performance of Butoh conventions would also be expected to show “practical effects”.

References

1. http://vtheatre.net/directing/concept.html (11/07/2011)