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“Theatre “Theatre is a composite art that is forever evolving in new forms. It nourishes, sustains and extends the human spirit.” (Subject guide: Nature.

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Presentation on theme: "“Theatre “Theatre is a composite art that is forever evolving in new forms. It nourishes, sustains and extends the human spirit.” (Subject guide: Nature."— Presentation transcript:

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2 “Theatre “Theatre is a composite art that is forever evolving in new forms. It nourishes, sustains and extends the human spirit.” (Subject guide: Nature of the subject)

3 What is a journal? Physically, it could be a bound notebook, a ring binder full of papers, a collection of electrical particles on computer disk or an audio tape. People journal in different ways. However, it is far more than that: ‘A journal is also a tool for self-discovery, an aid to concentration, a mirror for the soul, a place to generate and capture ideas, a safety valve for the emotions, a training ground for the writer, and a good friend and confidant.’ (Moon, Jennifer (1999) Learning Journals. A handbook for academics, students and professional development, London: Kogan Page (Source:

4 ◊ Students at both HL and SL should keep a journal from the outset of the course. This is the student’s own logbook, charting development, challenges and achievements, and, as such, students are free to determine what form it should take (for example, illustrated selective record, notebook or web site). ◊ The aim of the journal is to support and nurture development and reflection, and it is expected that much of the students’ examined work will emerge from it. ◊ The journal is not directly assessed or moderated, but, since what it contains will reflect the sensibility of individual students, and will contain their responses to the different areas of the course, it should be regarded as the central activity of the course. ◊ Students may develop a critical relationship with theatre and use the journal to debate theory and practice. They may use it as a space for experimentation, where different stylistic approaches to acting or design might be articulated either in words or visual imagery. Critical evaluations of external productions should also be included, where students can test their own ideas about performance against what contemporary productions offer.

5 A journal is not externally assessed so …….. … why keep one? TWO GOOD REASONS 1. THE ROMANTIC ARTIST Mary Shelley Learning how to keep a personal record of your creative journey through life EXAMINATIONS 2. THE HARD HEADED PRAGMATIST Learning and practising the skills for the IPP – journaling and material for the TPPP – a basic ‘script’

6 What’s in a ………… 1. RECORDINGS2. COMMONPLACING 4. MIRRORING REFLECTIONS EVENTS CHRONOLOGY THE JOURNEY IDEAS QUOTATIONS PRACTICES + PRACTITIONERS SELF GROUP/OTHERS COMMUNITY 3. GEGENWERK Collected and created materials based on..  the investigation of the generations and cultures,  personal/group development,  modification of ideas in terms of the rough notes and sketches, drafts, notebooks, and diagramming of expert practitioners in the areas of performance (, design, and writing

7 RECORDING IN THE JOURNAL Some suggested sections: A. CONTEXT: Where this session fits in the overall scheme of the project/course. Could also refer to: - Aims (immeasurable goals) e.g. Understanding the process of devising OR Exploring the performance potential of a text - Objectives (measurable goals) e.g. Knowing the practical steps of the devising process OR Demonstrating basic research skills and applying them B. CONTENT : Detailed step-by-step account of what happened during the session. Could be recorded in written form, flow chart, table, etc. or mixture of any of these. Should include process descriptions of major activities experienced and nature of personal involvement. C. OUTCOMES: Record of any developments/creations/ products/experiences resulting from the session. Could be recorded in written form, sketches, detailed drawings, photographs, scripts, collages, etc. or mixture of any of these. Every visual should be clearly annotated with what it is and what it is intended to show. Sketches should be large (A5 minimum), in pencil and, if appropriate, in colour.

8 D. REFLECTIONS: Personal responses to the experiences. i. Feelings – gut reactions – immediate Key words: excited, vulnerable, intrigued, puzzled, angry, inspired, frustrated, unsure, convinced, etc. Comment on personal contribution/participation/ reaction to the theatre experiences in the session. e.g. I felt extremely vulnerable as I did not know what was expected of me. I began trying to play the clown and make people laugh. I was unconvinced by Mr. P’s explanation but found his comments about authenticity and honesty of intent in theatre something I should think about more deeply. ii. Thinking/Talking – after a time - contemplative – interactive (self-self; self-others) Observations made on the session after a period of self dialogue/deliberation OR as a result of discourse with another. e.g. As the session progressed I began to see the relevance of the internal talking activity. I could now see that my clowning had been blocking the group flow of ideas as I was trying hard to be funny and not just responding to the stimulus (Grotowski’s ‘Exhibitionism’ [Towards a Poor Theatre p181]). OR Jean pointed out to me that I had always entered from the left which caused an imbalance in the blocking. We chatted about this as I felt it was symbolically important that I entered from that side but Jean still felt it was aesthetically dubious. iii. Theoretical – based on past or future research – sourced and attributed Commentary exploring theoretical theatre ideas or concepts encountered during the course of the session. Sources of imitations, influences and inspirations. e.g. I found the idea of Grotowski’s ‘via negativia’ fascinating [Towards a Poor Theate p17]. The ‘eradication of blocks’ acquired during socialization on a journey to becoming a complete actor is something I had not thought of before. I have decided to set up a little experiment where I shall look at some of my own habits (for example wearing headphones) and decide when it is a habit and when it is by my own choice.

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10 RESEARCH REFLECT RECORD RE-ACT RESPOND JOURNAL

11 Here are six different ideas to get your JOURNAL started. SOURCE:  Scrapbook: Although regarded as quite old fashioned these days, scrap books can be a lot of fun. Collecting bits and pieces of personal memorabilia to represent our lives and pasting them in to a large book intended for this purpose can be very rewarding. One of the advantages of this method is that it provides an opportunity for the record to be more three dimensional as one can paste in leaves, feathers and anything else that will stay on the page. BUT STAY FOCUSED ON RECORD KEEPING  Digital : If you don't fancy writing, why not type it up on a computer. One can add scanned media to entries as well as photographs. You can take this a step further and start your own blog. Blogs are really just journals online. There are many sites available dedicated to setting you up. Most have settings so you can adjust the level of privacy you require. Some people use social media sites as a journal. GROUP JOURNALS. Be warned however that writing about your inner most feelings and publishing this in the public domain will always carry more associated risk. KEEP control over who has access to your personal information.  DEAR DIARY APPROACH: A loosely written record – emphasis on REGULAR ENTRY and personal engagement with THEATRE. Forget about grammar, spelling, etc BUT MUST BE COMMUNICABLE

12  Video: As long as you are comfortable in front of a camera this is a very time efficient method of keeping a journal. It is possible to upload all your videos to a site like YouTube which would give you somewhere to "store" the files. One can also mark your videos as "personal" which would mean only you have access to them. OR YOUR IPHONE!

13 “A map does not converse in sentences. Its language is a half-heard murmur, fractured, fitful, nondiscursive, nonlinear. A map has no vocabulary, no lexicon of precise meanings. It communicates in lines, hues, tones, coded symbols and empty spaces, much like music. A map has no vocabulary, no lexicon of precise meanings. It communicates in lines, hues, tones, coded symbols and empty spaces, much like music. Nor does a map have its own voice. It is many-tongued, a chorus reciting centuries of accumulated knowledge in echoed chants. A map provides no answers. It only suggests where to look: discover this, reexamine that, put one thing in relations to another, orient yourself, begin here… Sometimes a map speaks in terms of physical geography, but just as often it muses on the jagged terrain of the heart, the distant vistas of memory, or the fantastic landscapes of dreams.” – Miles Harvey in “The Island of Lost Maps”

14 Your IB Theatre JOURNAL could contain the following section/areas: 1) JOURNALLING: sequential recording of observations; findings; feelings. OF classwork; rehearsals; projects; researches; festivals; visits 2) REPORTS: personal viewpoint details; sketches; photographs; magazine cuttings; photocopies OF personal research; set research; class activities; projects; 3) ESSAYS/WRITINGS: essay-type presentations of new views perspectives; insights GAINED FROM theatre visits; projects; a course unit; meeting a theatre person; self analysis; etc. 4) DOODLES/SKETCHES: labelled drawings of idea searches (doodles=small, unfinished; sketches=larger more developed) all in PENCIL (so you can change) OF costume; make-up; set ideas 5) DETAILED DRAWINGS: technical; scaled; coloured. 6) ANNOTATED SCRIPTS/NOTES: showing perceptions; insights; ideas; innnovations; understandings. 7) FLOW CHARTS/DIAGRAMS: labelled sequential drawings of events/projects which take place over a period of time 8) ….. etc etc etc

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17 Jigsaw Task a)Key concepts b) Requirements c) Possible approaches Groups X3 Each person, with a copy of the Subject guide, find and collate the following information on one of the three core component to share with others Theatre in the MAKING - PERFORMANCE - WORLD THEN SHARE

18 Ensemble Making EnsembleJournal Theatre in the making Action plan

19 Ensemble Performance EnsembleJournal Theatre in the performance Spectator

20 Ensemble Investigation EnsembleJournal Theatre in the world Tradition/practices

21 Theatre in the making The focus of theatre in the making is on the process of theatre making rather than the presentation of theatre. It encompasses the acquisition and development of all skills required to create, present and observe theatre. It is exploratory in nature. Preparing for performance - Creating the performance- The production process Students at HL should explore two different stimuli and, from these, develop plans for a variety of performances. Students at SL should explore one stimulus and develop plans for a variety of performances. Teachers should ensure that the opportunity exists for students to work in at least one area of each of the performance and production processes described above. Skills Researching: locating, selecting and applying theatre knowledge from different cultures and historical periods that is of direct, practical use in performance. Doing: experiencing and understanding the different ways of acquiring performance skills through a variety of approaches—by rote, from generation to generation, by direct application, by trial and error in workshops and/or rehearsal, by experimentation, by a variety of teaching approaches. Observing: viewing and reflecting on their own work and the work of others. Recording: reflecting on the practical and theoretical processes involved in making theatre.

22 MY APPRENTICESHIP IN THEATRE ARTE PERFORMING DEVISING DIRECTING DESIGNING RESEARCHING REALISING SPECTATING/AUDIENCING RECORDING COMMUNICATING EXPRESSING SKILLS/DISCIPLINE CREATIVITY MEOTHERS WRITING ENSEMBLE IMPROVISING

23 Theatre in performance The focus of theatre in performance is on the application of skills developed in theatre in the making. This involves students in various aspects of presenting theatre, where their practical skills can be applied in different roles (as performers and as part of the production team), while also building upon the knowledge they have acquired in other areas. - THE ACTION OF PERFORMANCE - Throughout the course students at HL should participate in at least three performances, working from a different perspective in each one. Students at SL should participate in at least two performances, working from a different perspective in each one. Teachers should ensure that students at both HL and SL experience a diverse range of performances in terms of the number of participants, cultural source and historical period.  Acting a role in a performance or a performance extract  Devising with others an original piece of theatre from a variety of stimuli  Engaging in aspects of production: scenography, sound and light design, technical management and coordination  Writing an original piece of theatre (fragment or full-length script)  Directing, creating or contributing to a production  Performing the role of the dramaturg

24 Theatre in the world The focus of theatre in the world is on a practical and theoretical exploration of a range of theatre traditions and cultural practices around the world. It allows students to explore the origins and traditions of a variety of theatre conventions and practices from diverse cultural and historical contexts. Students are required to explore this area from the perspective of dramaturg, director, performer, group ensemble, production team and spectator. Students should study at least two contrasting theatrical practices from more than one culture/historical period, one of which should be a non-text-based theatre tradition.  Performance skills in theatre from a variety of cultures, either through workshops or an exploration of text and/or performance conventions.  The ability to research and analyse performance traditions from a variety of cultures and historical periods, and to compare them with the performance traditions of their own culture/historical period.  The ability to appreciate critically theatre performances from a diverse range of practices from different cultures and historical periods, and to discern the relationship between performance and any theory that may underpin it.  An appreciation of the political, social, aesthetic and intellectual context from which theatre evolves and to which it contributes.  The skills to argue and debate the significance of theatre practice to the lives of particular communities within a specific historical and cultural context.

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