variety show - connor stoddart

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

2014 – 2015

1 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS 2014 – 2015 BRIEF IV’D: CLAIRE LOUISE PORTELLI (29/10/2014)

Qualification Unit Number And Title

Pearson BTEC HND Diploma In Performing Arts

UNIT 60: SITE SPECIFIC PERFORMANCE

UNIT 41: MOVEMENT FOR THE ACTOR

UNIT 50: POPULAR ENTERTAINMENT

UNIT 5: ALTERNATIVE APPROACHES TO ACTING

UNIT 77: WRITING FOR PERFORMANCE

Actor Name Assessor Name

Connor Stoddart Claire Louise Portelli

Date Issued Completion Date Submitted On

02/02/2015 20/03/2015 16/03/2015

Assignment Title Variety Show

Actor Declaration

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

Actor’s Signature: CS Date: 16/03/2015


2014 – 2015


LO Learning Outcomes (LO)

AC Assessment Criteria For A Pass Task Evidence

LO1 Understand the contextual background to site-specific performance practice.

1.1 Assess different historical practices of site-specific performance.

1 Observation, Video

1.2 Analyse theoretical and practical perspectives of site-specific performance.


LO2 N/A 2.1 N/A N/A N/A

2.2 N/A N/A N/A


3.2 N/A N/A N/A

LO4 Be able to evaluate the effectiveness of site-specific performances.

4.1 Evaluate venues and audience responses.

3 Onservation, Video, Blog

4.2 Analyse the objectives of the site-specific performances.


4.3 Critically assess own role within the project.



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.

N/A N/A

M2 Select/design and apply appropriate methods and techniques.

N/A N/A

M3 Present and communicate appropriate findings.

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

Communication is detailed, thorough and informative and delivered effectively to audiences with accurate use of technical language and clear analysis.

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 fully explored, evaluated and justified.

D2 Take responsibility for managing and organising activities.

N/A N/A

D3 Demonstrate convergent/lateral/creative thinking.

Effective thinking has taken place in unfamiliar contexts.

Creative use of locations has been fully explored, developed.


2014 – 2015




LO1 Understand the relationship between anatomy and how an actor moves.

1.1 Explain human anatomy and its specific significance for the actor.

6 Scrapbook

1.2 Compare and contrast different movement methodologies.

1 / 6 Scrapbook, Observation, Video, Logbook

LO2 Understand own strengths and weaknesses in movement skills.

2.1 Assess own physical capability identifying strengths and weaknesses.

6 Scrapbook

2.2 Evaluate own improvement and adapt training programme as relevant.

6 Scrapbook, Logbook, Observation

LO3 Be able to devise a personal programme to develop and extend movement skills

3.1 Devise and implement a personal movement training Programme.

6 Logbook, Observation

3.2 Carry out regular practice including warm-up/cool-down and relaxation routines.

6 Video, Observation

LO4 Be able to apply movement Techniques and skills to practical work.

4.1 Select and demonstrate movement technique and skills both in isolation and in group contexts.


4.2 Design and use appropriate recording to monitor movement in classes, performances and personal programmes.

6 Scrapbook


2014 – 2015





An effective approach to study and research has been applied.

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


The design of techniques has been justified. Detailed and accurate warm-up/cool-down structures have been fully planned, explained and justified.


The appropriate structure and approach has been used.

Appropriate structures have been executed with full consideration being paid to the safety and sustainability of the chosen exercises.



Developments and changes to the PTP have been regularly made and all improvements have been fully justified.


Autonomy has been demonstrated. Full responsibility has been taken for the successful progression, delivery and completion of warm-ups/cool-downs and relaxation routines.


Self-evaluation has taken place. Detailed and accurate self-reflection, analysis and evaluation has taken place.


2014 – 2015




LO1 Understand the nature and context of popular entertainment work.

1.1 Evaluate the meaning of popular entertainment.

2 Blog, Observation, Video

1.2 Compare and contrast at least two types of popular entertainment.

1 / 2 Blog, Observation, Video, Logbook

1.3 Assess historical developments in popular entertainment.

1 Observation, Video, Logbook

LO2 Be able to create popular entertainment work.

2.1 Plan the development of popular entertainment work.


2.2 Contribute to the making of a piece of popular entertainment.

4 Observation, Video, Scrapbook

LO3 Be able to take on the role of a popular entertainer.

3.1 Apply appropriate skills to the rehearsal of popular entertainment material.


3.2 Apply appropriate skills to the performance of popular entertainment material.


LO4 Be able to evaluate the effectiveness of own popular entertainment work.

4.1 Critically evaluate own role as a popular entertainer.

5 Observation, Video,

4.2 Assess, through analysis of feedback, effectiveness of own performance.

5 Logbook


2014 – 2015





Effective judgements have been made. Thorough analytical exploration has taken place and effective judgements and conclusions have been met through detailed assessment.


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.



Communication is clear and well considered and the effective delivery has ensured that new information has been understood by audiences.


Self-criticism of approach has taken place. Detailed, analytical self-reflection has taken place and honest self-criticism has been thorough and fully justified.


The importance of interdependence has been recognised and achieved.

The preparation and production of material has taken place independently.


Receptiveness to new ideas is evident. The positive approach to work, direction and the generation of new material has been consistently receptive, pro-active and professional.


2014 – 2015




LO1 Understand the context of the rise of naturalism and the alternatives to it.

1.1 Explain the development of different acting techniques.

1 / 2 Observation, Video, Logbook, Blog

1.2 Explain differences between naturalistic acting and other Techniques.


LO2 Understand the approaches, methods and forms of acting alternatives.

2.1 Justify the practice inherent in acting alternatives.


2.2 Compare and contrast the techniques of practitioners.


2.3 Examine the way practitioners are influenced by historical, social and non-western contexts.


LO3 Be able to take part in a performance that involves a specified acting alternative.

3.1 Use rehearsals and workshops to develop skills appropriate to defined practice.


3.2 Creatively experiment with styles of acting during rehearsals and workshops.


3.3 Apply learned techniques and skills to realise performance.


LO4 Be able to evaluate and document process and performance.

4.1 Use techniques of analysis and evaluation during development, rehearsal and performance.

4 Logbook, Blog

4.2 Use appropriate methods of documenting developmental and performance processes.

4 Logbook, Blog


2014 – 2015





An effective approach to study and research has been applied.

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


The selection of sources has been justified. The reliability, accessibility and understanding of research sources has been fully considered and justified.


A range of methods of presentation have been used and technical language has been accurately used.

Appropriate methods have applied to the presentation of material and technical terminology has been accurately understood and used.



New ideas, material and changes to the existing work have been made and successful improvements have been proposed and actioned through collaboration.


The unforeseen has been accommodated.

A detailed contingency plan has been fully developed and planned prior to presentations to ensure that the unforeseen has been accommodated.


Receptiveness to new ideas is evident. The understanding of knowledge and development of analytical conclusions has been met through collaboration and compromise.


2014 – 2015





1.2 N/A N/A N/A

1.3 N/A N/A N/A


2.2 N/A N/A N/A

2.3 N/A N/A N/A

LO3 Be able to create a dramatic text for performance in a selected medium.

3.1 Decide on the genre, format and content of the dramatic text.

3 Blog, Observation

3.2 Draw up an outline/draft of the dramatic text for initial review.

3 Logbook

3.3 Write a final dramatic text for the selected medium.

3 Logbook

LO4 Be able to evaluate the effectiveness of the created dramatic text in performance.

4.1 Organise a performance of the work (or extracts) in selected medium.

3 Blog

4.2 Organise appropriate methods of critical feedback.

3 Video, Observation, Blog

4.3 Evaluate the effectiveness of script in performance through critical feedback.



2014 – 2015





N/A N/A


N/A N/A



The content and delivery of material is appropriate for the target audience and the context of the piece.


N/A N/A


Autonomy has been demonstrated. The development of material has been conducted independently and without the aid of a director.


Ideas have been generated and decisions taken. Collaborative ideas have been explored, developed and finalised.


2014 – 2015


Assignment Brief

Unit Number And Title Unit 60: Site-Specific Performance Unit 41: Movement For The Actor Unit 50: Popular Entertainment Unit 5: Alternative Approaches To Acting Unit 77: Writing For Performance

Qualification Pearson BTEC HND Diploma In Performing Arts

Start Date 2nd February 2015

Performance Date 5th – 6th March 2015

Logbook/Scrapbook Deadline 16th March 2015

Tutorial Dates 19th - 20th March 2015

Assessor Claire Louise Portelli

Purpose Of This Assignment

UNIT 60: SITE SPECIFIC PERFORMANCE The aim of this project is to enable actors to gain an understanding of the nature of site-specific performance from a theoretical perspective and as a performance practice.

UNIT 41: MOVEMENT FOR THE ACTOR The aim of this project is to enable actors to use the body safely and expressively in performance by developing an understanding of the part movement, physical fitness and knowledge can play.

UNIT 50: POPULAR ENTERTAINMENT The aim of this project is to enable actors to explore the world of popular entertainment and to develop and perform work that is appropriate for this branch of the performing arts.

UNIT 5: ALTERNATIVE APPROACHES TO ACTING The aim of this project is to enable actors to explore alternative approaches to acting (i.e. approaches other than those based on the principles of naturalism).

UNIT 77: WRITING FOR PERFORMANCE The aim of this project is to acquire the necessary knowledge and skills to create a dramatic text in a selected medium and to evaluate its effectiveness in performance.

Assignment Title Variety Show

Scenario You must contribute to the devising, writing and performing of a range of alternative entertainment material and film selected scenes in appropriate locations.


2014 – 2015


TASK 1: Unit 5: Alternative Approaches To Acting (LO1: 1.1, 1.2) (LO2: 2.1, 2.2, 2.3) (M1) (M2) (M3) (D2) You are required to understand the context of the rise of naturalism and the alternatives to it and understand the approaches, methods and forms of acting alternatives. You will be assessed on the evidence you provide for the following tasks.

Unit 41: Movement For The Actor (LO1: 1.2) (M1) You are required to understand the relationship between anatomy and how an actor moves. You will be assessed on the evidence you provide for the following tasks.

Unit 50: Popular Entertainment (LO1: 1.2, 1.3) (M3) You are required to understand the nature and context of popular entertainment work. You will be assessed

on the evidence you provide for the following tasks.

Unit 60: Site-Specific Performance (LO1: 1.1, 1.2) (M3) (D3) You are required to understand the contextual background to site-specific performance practice. You will be

assessed on the evidence you provide for the following tasks.

Prepare and perform a formal presentation comparing and contrasting two types of popular entertainment that explore different movement methodologies. Your presentation must be a minimum of 30 minutes long and include the following:

1. How the art forms originated and their significant historical developments. (1.2, 1.3) (1.1)

2. The recognised characteristics of the styles. (1.2) 3. Where they are/were usually performed and how the location has/had an

impact on the style, performers and audience. (1.1, 1.2) 4. An explanation of the differences and contrasts between the two art forms

and naturalistic acting. (1.2) (1.2) 5. The comparisons in the techniques of significant practitioners that have

helped to shape the forms. (2.2) 6. The influences that have helped practitioners to shape the form, i.e.

historical, social, non-western. (2.3) 7. Rehearsed performances of appropriate material in the style of the two art

forms in relevant and appropriate locations. (1.1) (1.2) 8. Engage in a debrief and Q&A session after the performance to justify your

rehearsal methods and appropriate practices for the form. (2.1)


2014 – 2015


To achieve M3, communication is detailed, thorough and informative and delivered effectively to audiences with accurate use of technical language and clear analysis.

To achieve D3, creative and relevant use of locations has been fully explored and developed.

To achieve M1, detailed and elaborate research from a mixture of sources has been conducted and reflected within the work.

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

To achieve M2, the reliability, accessibility and understanding of research sources will have been fully considered and justified.

To achieve M3, appropriate methods will have been applied to the presentation of material and technical terminology will have been accurately understood and used.

To achieve D2, a detailed contingency plan will have been fully developed and planned prior to presentations to ensure that the unforeseen has been accommodated.

To achieve M3, communication will have been clear and well considered and the effective delivery will have ensured that new information was been understood by audiences.


2014 – 2015


TASK 2: Unit 5: Alternative Approaches To Acting (LO1: 1.1) (D3) You are required to understand the context of the rise of naturalism and the alternatives to it. You will be assessed on the evidence you provide for the following tasks.

Unit 50: Popular Entertainment (LO1: 1.1, 1.2) (M1) You are required to understand the nature and context of popular entertainment work. You will be assessed


Engage in a variety of company discussions to analyse and explain the following: 1. The development of different acting techniques. (1.1) 2. The meaning of popular entertainment. (1.1) 3. The comparisons and similarities between different forms of popular

entertainment. (1.2)

To achieve M1, thorough analytical exploration will have taken place and effective judgements and conclusions will have been met through detailed assessment.

To achieve D3, the understanding of knowledge and development of analytical conclusions will have been met through collaboration and compromise.


2014 – 2015


TASK 3: Unit 77: Writing For Performance (LO3: 3.1, 3.2, 3.3) (LO4: 4.1, 4.2, 4.3) (M3) (D2) (D3) You are required to be able to create a dramatic text for performance in a selected medium and evaluate the

effectiveness of the created dramatic text in performance. You will be assessed on the evidence you provide for the following tasks.

Unit 60: Site-Specific Performance (LO4: 4.1, 4.2, 4.3) (D1) You are required to be able to evaluate the effectiveness of site-specific performances. You will be assessed


Using a chosen location as a stimulus brainstorm the following points to assess the potential of appropriate site-specific scenes:

1. Genre and performance style. (3.1) 2. Format, theme and structure. (3.1) 3. Specific scenarios and dramatic content. (3.1)

Write a first draft of the scene using the results of the brainstorm as a stimulus. (3.2)

Plan and present the rehearsed scene to a live audience and engage in a Q&A session to obtain critical feedback. (4.2)

Finalise the script based on audience’s feedback and rehearse the piece of location. (3.3)

Plan and organise an on-site performance of the finalised product and the chaperoning of the audience to and from the location. (4.1)

Engage in a debrief to critically assess and analyse the process and obtain critical feedback from your audience. You must discuss and evaluate the following:

1. The effectiveness of the script. (4.3) 2. The audience’s responses. (4.1) 3. The effectiveness of the venue/location. (4.1) 4. The objectives of the site-specific performance. (4.2) 5. Your role within the site-specific project. (4.3)

To achieve D1, developments and changes to the work have been fully explored, evaluated and justified.

To achieve M3, the content and delivery of material has been appropriate for the target audience and the context of the piece.

To achieve D2, the development of material will have been conducted independently and without the aid of a director.

To achieve D3, collaborative ideas will have been explored, developed and finalised.


2014 – 2015


TASK 4:

Unit 5: Alternative Approaches To Acting (LO3: 3.1, 3.2, 3.3) (LO4: 4.1, 4.2) (D1) You are required to be able to take part in a performance that involves a specified acting alternative and evaluate and document process and performance. You will be assessed on the evidence you provide for the following tasks.

Unit 50: Popular Entertainment (LO2: 2.1, 2.2) (LO3: 3.1, 3.2) (M2) (D2) (D3) You are required to be able to create popular entertainment work and take on the role of a popular entertainer. You will be assessed on the evidence you provide for the following tasks.

Unit 41: Movement For The Actor (LO4: 4.1) You are required to be able to apply movement techniques and skills to practical work. You will be assessed on the evidence you provide for the following tasks.

Contribute to rehearsals and workshops to develop appropriate skills and creatively experiment with styles. (3.1, 3.2)

Contribute to the devising, development and making of the piece by selecting, demonstrating and applying appropriate skills and techniques to rehearsals and the overall performance. (2.1, 2.2, 3.1, 3.2) (3.3) (4.1)

Keep a weekly written log to document, analyse and evaluate the development and effectiveness of your own role within the process, your performance, the process itself and the overall production. (4.1, 4.2)

To achieve M2, a range of techniques, styles, practices, will have been applied to workshops and will have contributed to the generation and evolution of material.

To achieve D2, the preparation and production of material will have taken place independently.

To achieve D3, the approach to work, direction and the generation of new material will have been consistently receptive, pro-active and professional.

To achieve D1, new ideas, material and changes to the existing work will have been made and successful improvements will have been proposed and actioned through collaboration.


2014 – 2015


TASK 5:

Unit 50: Popular Entertainment (LO4: 4.1, 4.2) (D1) You are required to be able to evaluate the effectiveness of own popular entertainment work. You will be assessed on the evidence you provide for the following tasks.

Actively contribute to the process debrief, critically analysing the success of the project, your own role as a popular entertainer and the effectiveness of your own performance. (4.1, 4.2)

Write an overall evaluation of the process assessing individual performances, audience’s feedback and the overall production. (4.2)

To achieve D1, detailed, analytical self-reflection will have taken place and honest self-criticism will have been thorough and fully justified.


2014 – 2015


TASK 6:

Unit 41: Movement For The Actor (LO1: 1.1, 1.2) (LO2: 2.1, 2.2) (LO3: 3.1, 3.2) (LO4: 4.2) (M2) (M3) (D1) (D2) (D3) You are required to understand the relationship between anatomy and how an actor moves, understand own strengths and weaknesses in movement skills; be able to devise a personal programme to develop and extend movement skills and apply movement techniques and skills to practical work. You will be assessed on the evidence you provide for the following tasks.

Accurately complete a Personal Exercise Programme (PEP) Booklet; identifying and explaining the human anatomy and its significance to actors, comparing and contrasting different movement methodologies, assessing your own physical capabilities, identifying your strengths and weaknesses and monitoring and evaluating your own improvements and use of movement skills both in rehearsals and performance. (1.1, 1.2, 2.1, 2.2, 4.2)

Lead weekly warm-ups/cool-downs and relaxation routines. (3.2)

Devise and implement a personal training programme that is easily adaptable to the nature of the rehearsals. (2.2, 3.1)

To achieve M2, detailed and accurate warm-up/cool-down structures will have been fully planned, explained and justified.

To achieve M3, appropriate structures will have been executed with full consideration being paid to the safety and sustainability of the chosen exercises.

To achieve D1, developments and changes to the PTP will have been regularly made and all improvements will have been fully justified.

To achieve D2, full responsibility will have been taken for the successful progression, delivery and completion of warm-ups/cool-downs and relaxation routines.

To achieve D3, detailed and accurate self-reflection, analysis and evaluation will have taken place.


2014 – 2015


The Outcome And Result Of Performance In Practical

Summary Of Evidence Required By Actor

Evidence Presented

Task 1 Director Observation. Video Footage. Actors Logbook. Scrapbook.

Director Observation. Video Footage. Actors Logbook. Scrapbook.

Task 2 Director Observation. Company Blog Site. Video Footage.

Director Observation. Company Blog Site. Video Footage.

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

Director Observation. Company Blog Site. Video Footage. Actors Logbook.

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

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

Task 5 Director Observation. Video Footage. Actors Logbook.

Director Observation. Video Footage. Actors Logbook.

Task 6 Director Observation. Video Footage. Actors Logbook. Scrapbook.

Director Observation. Video Footage. Actors Logbook. Scrapbook.

Sources Of Information

UNIT 60: SITE SPECIFIC PERFORMANCE Theory: historical background eg Greek and Roman amphitheatres, medieval mystery cycles, street theatre, Commedia dell’arte, installation art, performance art, carnival, mummers plays; practitioners eg Barba, Schechner, Brook, Gordon Craig (the architectural scene), Appia, Kantor; terminology eg site specific, landscape, environmental, ritual, celebration, ceremony Practice: examples of different companies work eg Welfare State International, Natural Theatre Company, Bread and Puppet Theater, Emergency Exit Arts, Zap Arts, Stan’s Cafe, Grid Iron, Red Earth and Dreamthinkspeak; the relationship between architecture and performance; the nature of the audience eg paying/non-paying; elitist or communal; sitting/standing/moving; participatory or non-participatory; the relationship with the environment eg what to add, alter, incorporate or obscure and why; legislative considerations eg licensing requirements, contractual arrangements, health and safety, insurance Evaluation: meeting original objectives or artistic intentions; audience and peer observation and feedback; articulating the conceptual framework of the piece; identifying a context for the work eg recognising influences or associations to the work of others, discussing the social, artistic and cultural significance of the work


2014 – 2015


UNIT 41: MOVEMENT FOR THE ACTOR The Human Form: structure; the spine; musculature; joints; cardio-vascular system; respiratory and nervous systems; tendons and ligaments; biomechanics Movement Methodologies: Laban; Alexander; Feldenkrais; Pilates Strengths And Weaknesses: use of spine; posture; control; flexibility; balance; fluency; travelling; dynamics; transformation of own natural movement qualities; improved strength stamina Analysis: reflection and evaluation: observation; reporting; critiques Exercise Programme: relaxation; respiration; warm-ups and cool-downs; observation and imitation; vocabulary of movement eg based upon Laban motion factors; states of tension; fitness; strength; stamina and flexibility exercises; use of movement log to record programme and reveal understanding Physical Skills: co-ordination; alignment; balance; control; focus; fluency; strength and stamina; dynamics; using rhythm and space; Laban motion factors eg weight, space, time, flow Physical Technique: tumbling; period movement; mime; stage fighting; fencing; animal movement; movement changes through age; moving with speech/music; creating motif/tableau; physicalising text; working with others eg trust, balance, support, lifts and catches Monitoring: logs; DVD recordings of workshops and classes Analysis: reflection and evaluation: of self and others eg observation, reporting, critiques

UNIT 50: POPULAR ENTERTAINMENT Historical, Social, Cultural: historical overview of popular entertainment eg court jesters, clowns in Shakespeare, Commedia dell‘arte, influence of broadcast media on popular entertainment, folk dance and song; social significance eg use of satire, political subversion and commentary; considering what ‘popular entertainment’ means eg what makes something popular?, high class entertainment vs low class entertainment, subsidised vs commercial entertainment; cultural contrasts eg western compared to eastern traditions; good and bad taste; perceived exploitation eg strip clubs, lap dancing Forms And Types: consideration of the many forms that popular entertainment can take eg cabaret, vaudeville, music hall, burlesque, variety shows, comedy clubs, light entertainment television and radio shows, pub gigs, street theatre, folk clubs, festivals, fringe, busking; consideration of the types of popular entertainment acts eg stand up comedians,


2014 – 2015


ventriloquist, impersonators, circus acts, folk singers, solo acts, double acts, group acts, children’s entertainers, mime artists, puppeteers, drag acts, erotic dancers, disc jockeys Creating And Making: exploring ideas and developing appropriate material eg script writing, song writing, choreographing, working out routines, devising, improvising, designing and making props/costumes/set, filming and recording material Planning And Practice: analysing task requirements; creating a schedule which identifies timescales, milestones, deadlines, meetings with collaborators, rehearsal times Rehearsing: physical and mental preparation; learning material; making adjustments to performance through the rehearsal process; rehearsing the material eg learning lines; working with props eg costume; technical equipment eg microphones; learning steps; moves; songs; polishing and refining performance skills Performing: accuracy of performance skills eg hitting the mark, timing, positioning, pace, projection, spatial placement; using physical and vocal skills as appropriate eg vocal and physical control, effective use of physical and vocal range, use of space, manipulation and control of props and equipment, stage presence; making adjustments to performance as required Communication: getting the performance across to the audience; constant awareness of audience reaction; communicating, listening and responding to other performers; reacting to the audience and making any required adjustments or responses as appropriate; maintaining focus and concentration Evaluation: meeting original objectives or artistic intentions; audience and peer observation and feedback; testing and modifying material in response to feedback eg through ‘critical friends’, discussion groups, focus groups, questionnaires, professional mentor, venue manager, booking agent, press/broadcast critics

UNIT 5: ALTERNATIVE APPROACHES TO ACTING Historical: how naturalistic acting techniques evolved eg Stanislavski, Meyerhold and their studios; symbolism; expressionism and political theatres; the emergence of epic; eastern traditions Contemporary Context: practitioners and companies exploring non-naturalistic techniques eg Trestle, Told by an Idiot, Complicite, Forced Entertainment, Punchdrunk, Improbable Theatre, The Wrestling School, in-yer-face theatre Styles And Genres: non-naturalistic acting eg choreographic, mimetic, comedic, political, circus, Kabuki, Noh, performance art, epic, restoration, melodrama, dance theatre Practitioners: eg Brecht, Artaud, Piscator, Fo, Boal and ‘spect-actors’, Pina Bausch, Habib Tanvir, Julie Taymor, Robert Lepage, Anne Bogart, Yukio Ninagawa


2014 – 2015


Embodiment Of Acting Style: commitment to choice; understanding in practice of style and genre; physical articulation and understanding of attributes eg gestic acting techniques, playing of guillare, Kabuki characteristics Physical Expression: eg posture, gesture, dynamics, rhythm and energy, flexibility, use of space, range and variety, weight Vocal Expression: eg range and use of voice; tone, control, inflection, articulation and clarity, projection, flexibility, register, idiosyncrasy, dialect and accent, use of song Evaluation: eg analysis of self and ensemble in process and performance, audience response, awareness of feedback, strategies for growth, identification of skills and techniques for development, personal expertise and skills, reflection, learning needs, implementation Documentation: appropriate forms of logging process and performance eg DVD recordings of rehearsals and performance, performer’s log, annotated scripts

UNIT 77: WRITING FOR PERFORMANCE Text-Form: eg play texts, radio, film and TV scripts, storyboards, scenarios Genres: eg comedy, serious drama, documentary style, satire Production Process: eg single director, collective production, improvisation, role play Draft Scripting: drafting; editing; consulting; revising Final Script: use of formal conventions; presentation of final draft Performance Format: eg live performance, rehearsed reading, film/video, audio recording Evaluation Process: interviews eg cast, director; audience feedback eg through questionnaires, interviews, discussion groups; self-evaluation


2014 – 2015


Achievement Summary

Qualification Pearson BTEC Higher National Diploma In Performing Arts

Assessor Name

Claire Louise Portelli

Unit Number And Title

Unit 60: Site Specific Performance

Actor Name Connor Stoddart

Higher Grade Achievements (Where Applicable)

Grade Descriptor (Merit)

Achieved? (Tick)

Grade Descriptor (Distinction)

Achieved? (Tick)

M1: Identify and apply strategies to find appropriate solutions.

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

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

N/A D2: Take responsibility for managing and organising activities.

N/A

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 Assess different historical practices of site-specific performance.

1.2 Analyse theoretical and practical perspectives of site-specific performance.

LO2

2.1 N/A N/A

2.2 N/A N/A

LO3

3.1 N/A N/A

3.2 N/A N/A

LO4

4.1 Evaluate venues and audience responses.

4.2 Analyse the objectives of the site-specific performances.

4.3 Critically assess own role within the project.


2014 – 2015


Achievement Summary


Assessor Name



Unit 41: Movement For The Actor




Achieved? (Tick)


Achieved? (Tick)


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


D2: Take responsibility for managing and organising activities.



Criteria Reference


Achieved? (Tick)

LO1

1.1 Explain human anatomy and its specific significance for the actor.

1.2 Compare and contrast different movement methodologies.

LO2

2.1 Assess own physical capability identifying strengths and weaknesses.

2.2 Evaluate own improvement and adapt training programme as relevant.

LO3

3.1 Devise and implement a personal movement training Programme.

3.2 Carry out regular practice including warm-up/cool-down and relaxation routines.

LO4

4.1 Select and demonstrate movement technique and skills both in isolation and in group contexts.

4.2 Design and use appropriate recording to monitor movement in classes, performances and personal programmes.


2014 – 2015


Achievement Summary


Assessor Name



Unit 50: Popular Entertainment




Achieved? (Tick)


Achieved? (Tick)







Criteria Reference


Achieved? (Tick)

LO1

1.1 Evaluate the meaning of popular entertainment.

1.2 Compare and contrast at least two types of popular entertainment.

1.3 Assess historical developments in popular entertainment.

LO2

2.1 Plan the development of popular entertainment work.

2.2 Contribute to the making of a piece of popular entertainment.

LO3

3.1 Apply appropriate skills to the rehearsal of popular entertainment material.

3.2 Apply appropriate skills to the performance of popular entertainment material.

LO4

4.1 Critically evaluate own role as a popular entertainer.

4.2 Assess, through analysis of feedback, effectiveness of own performance.


2014 – 2015


Achievement Summary


Assessor Name



Unit 5: Alternative Approaches To Acting




Achieved? (Tick)


Achieved? (Tick)







Criteria Reference


Achieved? (Tick)

LO1

1.1 Explain the development of different acting techniques.

1.2 Explain differences between naturalistic acting and other techniques.

LO2

2.1 Justify the practice inherent in acting alternatives.

2.2 Compare and contrast the techniques of practitioners.

2.3 Examine the way practitioners are influenced by historical, social and non-western contexts.

LO3

3.1 Use rehearsals and workshops to develop skills appropriate to defined practice.

3.2 Creatively experiment with styles of acting during rehearsals and workshops.

3.3 Apply learned techniques and skills to realise performance.

LO4

4.1 Use techniques of analysis and evaluation during development, rehearsal and performance.

4.2 Use appropriate methods of documenting developmental and performance processes.


2014 – 2015


Achievement Summary


Assessor Name



Unit 77: Writing For Performance




Achieved? (Tick)


Achieved? (Tick)


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

N/A


N/A D2: Take responsibility for managing and organising activities.



Criteria Reference


Achieved? (Tick)

LO1

1.1 N/A N/A

1.2 N/A N/A

1.3 N/A N/A

LO2

2.1 N/A N/A

2.2 N/A N/A

2.3 N/A N/A

LO3

3.1 Decide on the genre, format and content of the dramatic text.

3.2 Draw up an outline/draft of the dramatic text for initial review.

3.3 Write a final dramatic text for the selected medium.

LO4

4.1 Organise a performance of the work (or extracts) in selected medium.

4.2 Organise appropriate methods of critical feedback.

4.3 Evaluate the effectiveness of script in performance through critical feedback.


2014 – 2015


Assignment Feedback

Formative Feedback & Observations (Assessor To Actor) Bouffon

Open approach to play

Is taking time to explore and make the bouffon creative and unusual

Starting off with a clear physicality, but as the workshop is progressing he has lost the character he started with

Open to other company members but must make sure he commits to his own agenda inside the work

Engaged in the animated physicality

Good attempt of language during improvisations

As the workshop is progressing he is becoming more open to taking risks Puppetry

Puppet has an individual flair and shows good artistry

Great use of materials being provided

Needs to show more sensitivity to the puppet when bringing it to life

Needs to develop a greater awareness of tension and puppet technique and connect his legs to the puppet fluidly

Is working well to add detail into the devised scenes

Needs to explore voice more and where it originate in the body, as he struggled to connect to the puppet

Laban Efforts

Showing a kinaesthetic response to the different effort actions

Is able to immerse himself with the task and fully commit to the exploration

Needs to gain more awareness of tension and dynamic within the body

Needs to connect his spine to his extremities by using his legs and squeezing in his core

Struggles to elevate himself on Laban efforts float/ glide

Needs to concentrate on sustained efforts as he struggles to hold the energy needed Clowning

Approaches the workshop with openness and honesty

Needs to become more impulsive and selfless towards others by proposing physically

Needs to work on losing his inhibitions and become impulsive

Shows confidence when using his voice to improvise

Needs to rise to the challenge of the game and react


2014 – 2015


Action Plan

Establish and define the category that your fall into as a performer and the market you should be promoting yourself to. Research companies, drama schools, employers, promoters, sponsors, etc. that are relevant and appropriate to and tailor for your style. Invite such people to your showcase and send such companies relevant material to advertise yourself as an artist.

Summative Feedback Connor, you have been very honest about your struggles over this process and approached the work with a professional attitude. I commend you for your honesty. You performed with a degree of physical clarity and your intentions were clear to your audience. You have improved your comic timing and are contributing more to rehearsals. During the Laban workshop you struggled to accomplish the effort actions as you aren’t yet connecting your spine to your extremities. This was a continuous director’s note that you received throughout the process. You also need to consider your agility and stamina levels and seek to improve upon these. The theatre industry is highly competitive and you need to be the fittest actor of your playing type and age. You must make sure that you always consider the unforeseen when planning work, as your presentation had to be re-scheduled twice because a sufficient contingency plan had not been put into place. When you form ideas for pieces in the future, make sure you put your piece into context straight away, when you have a fully formed idea you will find it easier to work with. An actor has to propose something else if they aren’t feeling the idea works. Going into your next process, you need to consider your skills set. I don’t feel you showed yourself off to the best of your ability. Look at a piece that is honest and has an element of realism in it.

Feedback (Actor To Assessor) I really liked the idea of doing the variety show but I didn’t realise how hard it was actually going to be. I really struggled with the material and doubted myself a lot throughout the process. I tried to adapt to the changes but really struggled with the time frame. If I had more time I would have tried something completely different and would have liked to have worked in a trio with Erol and Daniella. My greatest strength was my openness to new ideas skills and techniques. I feel as though I engaged well within the bouffon workshops and worked well with Erol.

Tasks

Propose a selection of material for your showcase. Choose, cast and prepare a minimum of four scenes that best showcase you skills and performing ability. Ensure that your casting decisions are based on actors that you feel best compliment your performance style and the chosen character and/or performance genre.

Assessor Signature CLP Date 19/03/2015


2014 – 2015


Actor Signature CS Date 19/03/2015

variety show - connor stoddart

Documents