variety show - erol uzunhasan

31
MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF) 2014 – 2015 1 | Page 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 Erol Uzunhasan 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: EU Date: 16/03/2015

Upload: carleighportelli

Post on 11-Nov-2015

13 views

Category:

Documents


1 download

DESCRIPTION

Variety Show - Erol Uzunhasan

TRANSCRIPT

  • 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 IVD: 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

    Erol Uzunhasan 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.

    Actors Signature: EU Date: 16/03/2015

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

    2014 2015

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

    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.

    1 Observation, Video

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

    2.2 N/A N/A N/A

    LO3 N/A 3.1 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.

    3 Observation, Video

    4.3 Critically assess own role within the project.

    3 Observation, Video

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

    2014 2015

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

    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.

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

    2014 2015

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

    LO Learning Outcomes (LO)

    AC Assessment Criteria For A Pass Task Evidence

    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 Observation, Video

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

    6 Scrapbook

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

    2014 2015

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

    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 sources has been conducted and reflected within the work.

    M2 Select/design and apply appropriate methods and techniques.

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

    M3 Present and communicate appropriate findings.

    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.

    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 PTP have been regularly made and all improvements have been fully justified.

    D2 Take responsibility for managing and organising activities.

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

    D3 Demonstrate convergent/lateral/creative thinking.

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

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

    2014 2015

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

    LO Learning Outcomes (LO)

    AC Assessment Criteria For A Pass Task Evidence

    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.

    4 Observation, Video

    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.

    4 Observation, Video

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

    4 Observation, Video

    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

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

    2014 2015

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

    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.

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

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

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

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

    D2 Take responsibility for managing and organising activities.

    The importance of interdependence has been recognised and achieved.

    The preparation and production of material has taken place independently.

    D3 Demonstrate convergent/lateral/creative thinking.

    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.

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

    2014 2015

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

    LO Learning Outcomes (LO)

    AC Assessment Criteria For A Pass Task Evidence

    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.

    1 Observation, Video, Logbook

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

    2.1 Justify the practice inherent in acting alternatives.

    1 Observation, Video, Logbook

    2.2 Compare and contrast the techniques of practitioners.

    1 Observation, Video, Logbook

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

    1 Observation, Video, Logbook

    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.

    4 Observation, Video

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

    4 Observation, Video

    3.3 Apply learned techniques and skills to realise performance.

    4 Observation, Video

    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

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

    2014 2015

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

    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 sources has been conducted and reflected within the work.

    M2 Select/design and apply appropriate methods and techniques.

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

    M3 Present and communicate appropriate findings.

    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.

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

    Realistic improvements have been proposed against defined characteristics for success.

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

    D2 Take responsibility for managing and organising activities.

    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.

    D3 Demonstrate convergent/lateral/creative thinking.

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

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

    2014 2015

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

    LO Learning Outcomes (LO)

    AC Assessment Criteria For A Pass Task Evidence

    LO1 N/A 1.1 N/A N/A N/A

    1.2 N/A N/A N/A

    1.3 N/A N/A N/A

    LO2 N/A 2.1 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.

    3 Observation, Video

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

    2014 2015

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

    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.

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

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

    N/A N/A

    D2 Take responsibility for managing and organising activities.

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

    D3 Demonstrate convergent/lateral/creative thinking.

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

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

    2014 2015

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

    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.

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

    2014 2015

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

    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)

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

    2014 2015

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

    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.

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

    2014 2015

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

    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 on the evidence you provide for the following tasks.

    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.

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

    2014 2015

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

    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 on the evidence you provide for the following tasks.

    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 audiences 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 audiences 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.

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

    2014 2015

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

    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.

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

    2014 2015

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

    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, audiences 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.

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

    2014 2015

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

    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.

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

    2014 2015

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

    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 dellarte, 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, Stans 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

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

    2014 2015

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

    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 dellarte, 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,

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

    2014 2015

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

    ventriloquist, impersonators, circus acts, folk singers, solo acts, double acts, group acts, childrens 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

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

    2014 2015

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

    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, performers 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

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

    2014 2015

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

    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 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.

    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.

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

    2014 2015

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

    Achievement Summary

    Qualification Pearson BTEC Higher National Diploma In Performing Arts

    Assessor Name

    Claire Louise Portelli

    Unit Number And Title

    Unit 41: Movement For The Actor

    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 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.

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

    2014 2015

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

    Achievement Summary

    Qualification Pearson BTEC Higher National Diploma In Performing Arts

    Assessor Name

    Claire Louise Portelli

    Unit Number And Title

    Unit 50: Popular Entertainment

    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 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.

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

    2014 2015

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

    Achievement Summary

    Qualification Pearson BTEC Higher National Diploma In Performing Arts

    Assessor Name

    Claire Louise Portelli

    Unit Number And Title

    Unit 5: Alternative Approaches To Acting

    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 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.

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

    2014 2015

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

    Achievement Summary

    Qualification Pearson BTEC Higher National Diploma In Performing Arts

    Assessor Name

    Claire Louise Portelli

    Unit Number And Title

    Unit 77: Writing For Performance

    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.

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

    N/A

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

    N/A 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 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.

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

    2014 2015

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

    Assignment Feedback

    Formative Feedback & Observations (Assessor To Actor) Bouffon

    Approaches the work with confidence and passion

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

    Open to other company members

    Engaged in the animated physicality

    Good use of language during improvisations

    Has a sense of individualism and able to make clear character decisions.

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

    Puppet has an individual look and some thought for artistry

    Showing a sensitivity when bringing the puppet to life

    Will encourage the actor to develop a greater awareness of tension and puppet technique

    Needs to link his body to the puppet to make the puppet major

    Is working well to add detail into the devised scenes

    Not afraid to explore the character voice of the puppet Laban Efforts

    Showing a driven response to the different effort actions

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

    Is very expressive and able to push physical boundaries

    Needs to work on relaxing the body in Laban effort float and glide

    Laban efforts wring/press/punch/slash are strong and appear natural

    Actor needs to work on muscle tension and relaxation Clowning

    Approaches the workshop with openness and energy

    Able to feel relaxed on stage and acknowledge his audience

    A joy to watch

    Very confident when using his voice to improvise

    His clown is highly playful, strives to reach the end goal but sometimes gets frustrated

    Isnt trying to be a clever clown, instead was happy to be there and able to react off the other clowns

    Rises to the challenge of a game but sometimes over complicates the task

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

    2014 2015

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

    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 Erol, you have made a good contribution to the company over the process. Your playful eccentricity has been your greatest asset to your work as a whole. 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. You must make sure that you come out of your social comfort zone and work with as many different actors inside your company as you can, this will give your work a different dynamic. You work hard and reap the results from this and you have explored new skills and theatrical techniques over the process that have clarified your wit and comedic timing. Seek work that challenges you, a piece that is more concentrated on the voice, naturalism and use of stillness. As an actor you can carry weight but at times undermine your work by opting for parody or clown. This maybe something to consider for your next process. Clowning is a clear strength of yours and this was proved in the clowning workshop, which you approached so passionately and skilfully. During the Laban workshop you accomplished the strong, weighted efforts with ease but struggled to fluidly become float and glide. I encourage you to pro-actively seek out relaxation techniques and spine loosening exercises. Make sure you connect your breath to your body and look at your arms and legs as an extension of your torso. Your dance skills and co-ordination have dramatically improved and your sense of physical clarity is an asset to you. Push and challenge yourself in your next process and show your strengths with honesty and integrity. At times you lacked essential professionalism, you must make sure you are pro-active in your approach as you are capable of autonomy.

    Feedback (Actor To Assessor)

    Felt that my role in the process was successful but I failed to be independent and needed guidance from directors. I worked well with the actors in my scenes but struggled to be consistent in finding new ideas. When inspired I felt I worked well to develop the material. My presentation lacked creativity and the rehearsed performances lacked effort and enthusiasm. Given the time scale I felt that I didnt fully fulfil the task. On reflection I think we should have had less time to work on the material. This may have helped us to be more proactive.

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

    2014 2015

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

    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 20/03/2015

    Actor Signature EU Date 20/03/2015