newspaper project - erol uzunhasan

MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)

2014 2015

MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

Qualification Unit Number And Title

Pearson BTEC HND Diploma In Performing Arts

Unit 68: Theatre Directing

Actor Name Assessor Name

Erol Uzunhasan Carleigh-Ann Portelli

Date Issued Completion Date Submitted On

03/11/2014 03/12/2014 02/12/2014

LO Learning Outcomes (LO) AC Assessment Criteria For A Pass Task Evidence

LO1 Understand how theatre directing has developed into its contemporary form and range.

1.1 Critically evaluate significant practitioners and movements in the development of theatre directing.

1 Logbook, Blog, Observation

1.2 Explain the way in which theatre directing can respond to a cultural and social context.

1 Observation, Blog, Logbook

1.3 Critically assess the work of contemporary theatre directors, defining their work in detail.

1 Observation, Blog, Logbook, Scrapbook

LO2 Understand the role, skills and methods of a theatre director.

2.1 Explain the role of a theatre director. 2 Observation, Blog

2.2 Evaluate the skills that a theatre director needs.

2 Observation, Blog

2.3 Justify methods used in theatre directing.

2 Observation, Blog

LO3 Be able to work with an ensemble in the rehearsal and realisation of a performance.

3.1 Create and sustain a productive working relationship with performers.

3 Observation, Video, Blog

3.2 Select and justify rehearsal methods that prepare performers for a particular performance style or text.

3 Observation, Video, Blog

LO4 Be able to realise and evaluate a performance.

4.1 Direct a production within given constraints.

4 Logbook, Observation, Scrapbook

4.2 Evaluate the effectiveness of the process and performance and produce strategies for development.

4 Logbook, Observation, Blog

Assignment Title Newspaper Project

Actor Declaration

I certify that the work submitted for this assignment is my own and research sources are fully acknowledged.

Actors Signature: EU Date: 02/12/2014


2014 2015


In Addition To The Above PASS Criteria, This Assignment Gives You The Opportunity To Submit Evidence In Order To Achieve The Following MERIT and DISTINCTION Grades

Grade Descriptor Indicative Characteristic/s Contextualisation

M1 Identify and apply strategies to find appropriate solutions.

An effective approach to study and research has been applied.

Detailed and elaborate research from a mixture of primary and secondary sources has been conducted and reflected within the work.

M2 Select/design and apply appropriate methods and techniques.

Relevant theories and techniques have been applied.

A range of techniques, styles, practices, have been applied to workshops and have contributed to the generation and evolution of material.

M3 Present and communicate appropriate findings.

The communication is appropriate for familiar and unfamiliar audiences and appropriate media have been used.

Communication is altered to suit the needs of all actors and information is delivered effectively so that all intended outcomes are met.

D1 Use critical reflection to evaluate own work and justify valid conclusions.

Realistic improvements have been proposed against defined characteristics for success.

Developments and changes to the work have been made by the director and all improvements have been fully justified.

D2 Take responsibility for managing and organising activities.

Substantial activities, projects or investigations have been planned, managed and organised.

Workshops and rehearsals have been fully planned, managed and organised without aid.

D3 Demonstrate convergent/lateral/creative thinking.

Receptiveness to new ideas is evident. Material has been generated and evolved through collaboration and compromise.


2014 2015


Assignment Brief

Unit Number And Title Unit 68: Theatre Directing

Qualification Pearson BTEC HND Diploma In Performing Arts

Start Date 3rd November 2014

Performance Date 25th 27th November 2014

Logbook/Scrapbook Deadline 2nd December 2014

Tutorial Dates 3rd December 2014

Assessor Carleigh-Ann Portelli

Assignment Title Newspaper Project

Purpose Of This Assignment The aim of this project is to enable actors to understand the role of the theatre director in the realisation of performance and to explore the history of directing as well as contemporary methods and approaches.

Scenario You must direct groups of actors to create material based on newspaper headlines. Working under the guidance of your directors (Carleigh-Ann Portelli and Gavin Brocker) you will construct a coherent piece of theatre that will be performed to an audience.

Task 1: (LO1: 1.1, 1.2, 1.3) (M1) You are required to understand how theatre directing has developed into its contemporary form and range. You will be assessed on the evidence you provide for the following tasks.

Research Jerzy Grotowski, Vsevolod Meyerhold and Peter Brook. Use your research to write a 1000 word document comparing and contrasting the impact they have had on the industry. (1.1)

Choose a theatre director currently working within the industry. Research their theories, methods and recent work. Explain in detail how their work is having an impact on society today. (1.3)

Read and research an article in the news that youre particularly passionate about. Decide how you, as a theatre director, would respond to the issues raised in the article. Present your idea to your fellow company members in a creative way indicating how your response will: 1. Address, challenge and affect the issues raised in the article.

2. Impact target groups and provoke a social response. (1.2)

To achieve M1, detailed and elaborate research from a mixture of primary and secondary sources will have been conducted and discoveries will be reflected within the work.

Task 2: (LO2: 2.1, 2.2, 2.3) You will need to understand the role, skills and methods of a theatre director. You will be assessed on the evidence you provide for the following tasks.

Engage in a company discussion/debate about the role, requirements and responsibilities of


2014 2015


a theatre director. (2.1)

Adopt the characteristics of an influential theatre director/practitioner and be interviewed about the skills needed to be a theatre director. Your character must be able to justify the methods used in theatre directing. (2.2, 2.3)

Engage in weekly discussions on the blog site that evaluate your progression as a theatre director and the skills you need. (2.2)

Task 3: (LO3: 3.1, 3.2) (M2, M3, D2, D3) You must be able to work with an ensemble in the rehearsal and realisation of a performance. You will be assessed on the evidence you provide for the following tasks.

Select appropriate exercises for rehearsals and lead your group of actors in workshops that prepare them for the final presentation. (3.2)

Cast actors in appropriate roles that suit their ability and aid the overall piece. (3.1)

Create and sustain a productive working relationship with performers ensuring that all actors understand your role within the process. (3.1)

To achieve M2, a range of techniques, styles, practices, will be applied to workshops and will contribute to the generation and evolution of material. To achieve M3, the directors communication is altered to suit the needs of all actors and information is delivered effectively so that all intended outcomes are met. To achieve D2, workshops and rehearsals will be fully planned, managed and organised without aid. To achieve D3, material will be generated and evolve through collaboration and compromise.

Task 4: (LO4: 4.1, 4.2) (D1) You are expected to realise and evaluate your performance. You will be assessed on the evidence you provide for the following tasks.

Direct a devising process with your group of actors and create usable material for the final piece. (4.1)

Write an overall evaluation of the process and performance highlighting its effectiveness. (4.2)

Write a personal action plan highlighting your weaknesses and construct strategies for development as a director. (4.2)

To achieve D1, developments and changes to the work will be made by the director and all improvements will be fully justified.


2014 2015


The Outcome And Result Of Performance In Practical

Summary Of Evidence Required By Actor

Evidence Presented

Task 1 Actors Logbook. Scrapbook. Company Blog Site. Director Observation.

Actors Logbook. Scrapbook. Company Blog Site. Director Observation.

Task 2 Director Observation. Company Blog Site.

Director Observation. Company Blog Site.

Task 3 Director Observation. Company Blog Site. Video Footage.

Director Observation. Company Blog Site. Video Footage.

Task 4 Director Observation. Company Blog Site. Actors Logbook. Scrapbook.

Director Observation. Company Blog Site. Actors Logbook. Scrapbook.

Sources Of Information

Examples Of Theatre Practitioners:

Vsevolod Meyerhold

Bertolt Brecht

Jerzy Grotowski

Peter Brook

Robert LePage

Augusto Boal

Dario Fo

Euginio Barba

Jacques Lecoq Examples Of Contemporary Theatre Directors:

Lloyd Newson: DV8 (Director)

Scott Graham: Frantic Assembly (Co-Director)

Paul Miller: Orange Tree Theatre (Artistic Director) Emma Rice: Knee High Theatre Company (Director)


2014 2015


Achievement Summary

Qualification Pearson BTEC Higher National Diploma In Performing Arts

Assessor Name Carleigh-Ann Portelli

Unit Number And Title

Unit 68: Theatre Directing Actor Name Erol Uzunhasan

Higher Grade Achievements (Where Applicable)

Grade Descriptor (Merit)

Achieved? (Tick)

Grade Descriptor (Distinction)

Achieved? (Tick)

M1: Identify and apply strategies to find appropriate solutions.

D1: Use critical reflection to evaluate own work and justify valid conclusions.

M2: Select/design and apply appropriate methods and techniques.

D2: Take responsibility for managing and organising activities.

M3: Present and communicate appropriate findings.

D3: Demonstrate convergent/lateral/creative thinking.

Criteria Reference

To Achieve The Criteria The Evidence Must Show That The Actor Is Able To:

Achieved? (Tick)

LO1

1.1 Critically evaluate significant practitioners and movements in the development of theatre directing.

1.2 Explain the way in which theatre directing can respond to a cultural and social context.

1.3 Critically assess the work of contemporary theatre directors, defining their work in detail.

LO2

2.1 Explain the role of a theatre director. 2.2 Evaluate the skills that a theatre director needs. 2.3 Justify methods used in theatre directing. LO3

3.1 Create and sustain a productive working relationship with performers. 3.2 Select and justify rehearsal methods that prepare performers for a

particular performance style or text.

LO4

4.1 Direct a production within given constraints. 4.2 Evaluate the effectiveness of the process and performance and produce

strategies for development.


2014 2015


Assignment Feedback

Formative Feedback & Observations (Assessor To Actor)

Presentation:

Touching subject matter that you are clearly very passionate about.

Use of Prezi and video aided the intensity of the presentation.

Video helped to move your audience emotionally but the objective of your idea was unclear.

Participants felt moved by the video itself but not you.

Volume of the film was too high and at points your voice could not be heard.

The overall idea for the presentation felt under explored and under developed.

Rehearsal Feedback:

Struggling to take command of the room. Dont be afraid to intervene when the rehearsal becomes laboured.

The director always needs to be one step ahead of the actor.

Focus on your positioning within the space. Your position in the room will either engage the actors or force them to disengage.

When asking for feedback you need to ask questions to provoke responses.

Never feedback what you liked always state what worked.

Your feedback should be definitive and never hesitant.

Never give a not using the term I think, always use I know.

Be clear with your responses and confident with your directions.

Never tell the actors that you dont know.

Always monitor when the group is losing focus and try to ascertain what it is that is causing the distraction.

The use of music should always aid the atmosphere and not simply provide a distraction.

If the music is too loud the actors cannot hear your commands. Equally you cannot hear that they are distracted and talking.

Personal Feedback:

Never give the actors too much time to think about the task. By doing this you are not challenging them to be spontaneous and are giving them too much of an opportunity to opt out of the task.

Dont be afraid to continuously remind the actors of the note and reinforce the task. On occasion you give up on the note when it is not taken on immediately.

You must never allow the session to become laboured. You tend to allow your energy to drive the productivity of the session. If you are feeling tired you must not allow the rehearsal to become tired.


2014 2015


Action Plan (02/12/2014 Discussed 03/12/2014) (Actor To Assessor)

Construct a detailed plan for the workshops within the schools tour before the session.

Plan and attend production meetings to ensure I collaborate better with the other directors.

Summative Feedback Erol, throughout the process you have worked extremely hard to build and sustain a professional working relationship with the actors and this consequently allowed you to create a dynamic piece of theatre that contained moments of great complexity. You displayed an excellent understanding of the actors needs and responded with sensitivity to the atmosphere of the rehearsal space. You must ensure that you do not allow your mood or personal frustrations to dominate your overall attitude towards the work. At times you encountered conflicts with other directors and consequently approached the rehearsal with a defeatist attitude because you were unable to separate you individual feelings from the needs of the rehearsal. Despite this you managed to overcome the disagreements and compromise on the material that you were creating. You took great risks with the work, the chosen subject and the acting company and as a result of this were able to discover new, creative, bold and dynamic ideas that incorporated a vast range of styles and techniques. Well Done!

Feedback (Actor To Assessor) Strengths:

Patience on the rehearsal floor with the actors.

Taking risks within the piece.

Good understanding and sensitivity towards the actor. Weaknesses:

Tentative when giving notes.

Lacked consistent authority.

Failure to plan ahead.

Tasks

Send off your UCAS application with a complete and amended personal statement by 20th

December.

Decide on one appropriate contemporary monologue, one classical monologue and one character song by 15th January.

Assessor Signature CAP Date 03/12/2014


2014 2015


Actor Signature EU Date 03/12/2014

newspaper project - erol uzunhasan

Documents