1. Love and Hate

2. Sexy! YOU’RE lOVELY;) You’re SO CRUEL! Text me! I love you!
How often have you thought about or said these things?
Text me!
I can’t stand you!
I love you!
I hate you!
Sexy!
You’re a great mate! 
You’re SO CRUEL!
You Devil!
YOU’RE lOVELY;)
Bitch!

3. Can you think of any other phrases ?
LOVE
HATE

4. ANALYSING PICTURES Here are some pictures that show Love and Hate
in different ways.
Find some expressions and emotions to describe
these pictures.

14. DIFFERENT KINDS OF LOVE AND HATE

15. Where are they? What is happening? Who do you see in the picture?
Group taskwork
Choose one picture that you find interesting.
Discuss the following :
Who do you see in the picture?
Describe their relationship?
What is happening?
Where are they?

16. PRACTICAL TASK Group work:
1) Create a FREEZE FRAME of the picture. Think about....
the scene’s location and situation
the feelings of the characters
the relationship between the characters
what has happened before the picture was taken?
what happens after it was taken?
2) Development : Bring the picture to life through IMPROVISATION.
3) Include the technique of MINDTRACKING in your improvised work. This will enable you to think about each individual character.

17. Gathering Ideas Complete the following table using your
practical work as a stimulus.
Who is featured in the picture?
What is their relationship?
Where are they?
What has happened?
What is about to happen?

18. PLANNING Group work Discuss what ‘Love and Hate’ means to you
Discuss a possible plot for your devised play by
using the picture and your practical work as
stimuli
Worksheet

19. Developing your ideas (CREATING A SCRIPT)
STEPS
Divide your plot into small units (scenes)
2) Discuss the main events of each unit and create stills of them
Bring these stills to life by means of improvisation or mindtracking.
4) Compose a script of the opening scene, using your practical work as a stimulus.

20. Character Development
An actor must fully understand his character before he/she performs, so you must analyse your character thoroughly.
Analysing your character means you know both simple and complexdetails about your character. This requires the actor to think very carefully about whatthecharacter actually says in the play, as well as the sub-plot (what goes through the character’s mind), how he/she feels and reacts to other characters and situations within the play.
A good example of this is to gatherdetails about your character from within the text. You can then use your imagination and life experiences to create a rounded character onstage.
We will aim to do this in the following tasks.

21. Emotional Graph
Think of your character’s emotional journey throughout your play. Try to think of all the major events that change and affect the emotions of your character. Prepare a graph line to illustrate these emotional changes.

22. An example of an emotional graph

23. Empty Body Ctreating an Empty Body is an excellent
way to gather information about your
character.
You can fill the Empty Body in many
different ways.
One way is to include details about your character inside the Empty Body and place other feelings on the outside.

24. CHARACTER PROFILE
You havegathered details about your character from within the text of your play.Next, use your imagination to bring that character alive. One way of doing this is to create a Character Profile. Whencreating a profile, you will need to use thedetails that you have collected about the character. Also, use your imaginationto answer questions from the character’s point of view, given the details you already have – for example, as we know that Mari is a quiet, shy girl, we suppose that she is unlikely to go out every Saturday night.

25. Name :
Age :
Family members:
Interests :
Favourite thing :
Least favourite thing :
Favourite film :
Ambition :
Greatest fear :
What makes you smile :
Favouritememory :
Least favourite memory :
Phobia :
Can you think of any otherquestions?

26. THE HOT SEAT An actor (in character) sits on a chair.
The audience asks him/her questions that he/she must answer. You must remain in character and think quickly
by using both details and your intelligence to answer these questions. This exercise will help you gain a greater understanding of your character.

27. (Proscenium Arch, Round, Arena, Traverse, Thrust.)
STAGING
SET DESIGN
Group work : Discuss
The Stage ?
What kind of stage do you want to use?
What kind would be most suitable for your play?.
(Proscenium Arch, Round, Arena, Traverse, Thrust.)
The Set ?
Are you going to use a NATURALISTIC set or a
more SYMBOLIC set?.

28. Set Design : A guide
1) You must design the set from above (Looking down on it)
2) You must denote the audience position clearly.
3) Use a KEY to explain the various symbols/objects on stage.

29. Set Design Key Wall Tables Stairs Door Soft Chair Window Hard Chair
Single Bed
Door
Window
Fireplace

30. EVALUATING OURSELVES
It is important to evaluate your work and the work of others
regularly in order to realise your development, your
successes and your weaknesses.
TASK
View the work of other groups and decide which actor
will evaluate it.
Complete the feedback formfor the actor evaluating
his/her own performance. (Movement, Voice, Portrayal,
Onstage positionand focus.)
Be honest, but constructive – this will benefit everyone
and help you prepare for the final examination.

31. EVALUATING THE PERFORMANCE
By now, you have created, developed and performed
your play in front of an audience.
You can now evaluate your development and prove how
successful you were during the unit.
Here are some points to think about

32. What targets have you set for your next performance?
Were your creative and development processes successful?
Was your
performance successful?
What were the main strengths of your performance? Why?
What were the main weaknesses of your performance? Why?
Did you succeed in conveying the meaning of the play to the audience successfully?