lighting audit - Home | Toot Hill School€¦ · Web viewThis would mean that the lantern patched into channel 1 would be at about half its full brightness. Fader 2 is at level

GCSE Applied Performing Arts Toot Hill School

General Information

This guide has been designed to allow you to produce the best possible coursework portfolio you can. Each page we ask you to write over the next two years is important as it will cover some aspect of the course we need to mark you on. Once your coursework portfolio is complete it is worth 70% of your final grade so as you can see, it is very important that the work you produce is of the highest standard right from the very start.

There are 6 sections to the coursework and each section will be completed at different times during the course. The sections are broken down like this:

Skills Development Section A: Acting workshop (Year 10) Page 2 Section B: Lighting and Sound workshop (Year 10) Page 39 Section C: Movement and Voice (Year 10/11) Page 39

Performance Development Section D: Performance coursework (Year 10/11) Page 65 Section E: Exam performance coursework (Year 11) Page 84

Appendices Appendix A: Professional Practice (Year 10/11) Page 139

Each page of coursework must be completed on A4 paper, white or coloured, and contained in a plastic wallet stored in an A4 folder. Each page in the portfolio MUST be given a number so we can keep track of your work. It would help if you write the number you have given a page on the index grid in this booklet.

You must also make sure that you head up each page with the same heading as in the booklet. Also include any sub-headings we suggest because they indicate the different marking and assessment areas.

You can write as much or as little as you like for each page but that will affect your marks accordingly. A page per heading is a good indication of length although you can write more.

Finally, if we decide that the coursework portfolios are weak in a particular marking area or that they are missing particular information we may add ‘Appendix’ sections to the end to help you gain the best possible marks.

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Section A – Acting Workshop

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Page 2 Front CoverPage 3 First Audit Sheet Page 4 Mental Warm Ups (sheet and photos) Page 5 Physical Warm Ups (sheet and photos) Page 6 Evaluation of warm up process Page 7 Rehearsal Skills – Tool Box Explained Page 8 Rehearsal Skills – Tool Box used and evaluated Page 9 Developing Character - Monologue Page 10 Developing Character - Duologue Page 11 Stanislavski Research Page 12 Professional Talk from an Actor Page 13 Final Evaluation Page 14 Witness Statement Sheet Page 15 Second Audit Sheet

Front Cover

On this page you need to ensure that you have the following information:

The title: Acting WorkshopYour name: [Whatever it is]

Then leave a gap and write:

Course name: GCSE in Applied Performing Arts (Single Award)Your school: Toot Hill SchoolYour centre number: 28308

Try to make your title page look professional in it’s layout and style.

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First Audit Sheet [Skills Development and Evaluation]

You need to complete an acting audit sheet which is available on this page of the booklet. It is designed to record what you know at the start of the course. Cut it out, mount it on a sheet of coloured paper or card and include it on page 2 of your portfolio.

Remember to include the heading above at the top of your page.

Knowledge/skill Used Evidence

Warming upConduct at rehearsals

Body & spatial awareness

Characterisation (using voice and

movement)Interpretation of

scriptImprovised work

Acting from stimulus

Dramatic devices & rehearsal

techniquesUsing technical

aspects to enhance performances

How to rehearse effectively

Researching other performances

Health & Safety – preparation,

performing and clearing up

An actor backstage

Working with props & costume

Working with masks

Reflecting on performing to a live

audienceReflecting on

watching an live performance

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Mental Warm Ups [Skills Development & Professional Conduct]

In the workshop you will learn 5 practical mental warm up excercises. Firstly remember to include the heading above at the top of your page.

Then you will decscribe each warm up and include a photo of the group doing the warm up.

You might wish to lay it out like this:

Warm up Descripion PhotoZap Zing Block In the drama game style warm up

the group gets into a circle and and electricity bolt is passed around. You can only pass it on to the next person by using the word ‘Zap’. If you want to fire it across the room you have to say ‘Zing’ and then the persons name you are firing it at. Finally that person can block a ‘Zing’ by saying block and the bolt returns to the person who had fired it and thay must ‘Zap’ it away. People are knoked out if they are too slow or they get confused and do and say the wrong thing

Etc

Etc

Etc

Etc

Then you need to have a second section entitled:

Mental Warm Ups [Work Related Aspects]

In this second half of the page you will need to do the following:

Talk about how two of the mental warm ups you tried helped you to be more ready and prepared to start a drama lesson

Explain why mental warm ups are used in professional theatre to help actors parpare for rehearsals

Each of these two sections should be at least a paragraph each and ideally half of the page.

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Physical Warm Ups [Skills Development & Professional Conduct]

In the workshop you will learn 5 practical physical warm up excercises. Firstly remember to include the heading above at the top of your page.

Then you will decscribe each warm up and include a photo of the group doing the warm up.

You might wish to lay it out like this:

Warm up Descripion PhotoEight Shakes Eight shakes involves you shaking

your left arm, then right arm, left leg then right leg and then doing them all at the same time (except the legs!). You can repeat this as often as needed during a physical warm up session.

Etc

Etc

Etc

Etc

Then you need to have a second section entitled:

Physical Warm Ups [Work Related Aspects]

In this second half of the page you will need to do the following:

Talk about how two of the physical warm ups you tried helped you to be more ready and prepared to start a drama lesson

Explain why physical warm ups are used in professional theatre to help actors parpare for rehearsals

Each of these two sections should be at least a paragraph each and ideally half of the page.

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Evaluation of warm up process [Planning, Research and Evaluation]

Now, working in groups choose 2 physical and 2 mental warm ups and try them out. Use the heading above at the top of your page and then use table below to record your expereinces of using the warm ups.

Warm up(Planning)

What we did… (Planning and Research)

How well did it work… (Evalauation)

Eight Shakes Eight shakes involves you shaking your left arm, then right arm, left leg then right leg and then doing them all at the same time (except the legs!). You can repeat this as often as needed during a physical warm up session.

We tried eight shakes but everyone kept laughing. This is probably because we looked silly. I think that if we were in a full rehearsal we might have taken it more seriously.

It did help me feel at little bit more relaxed as we were doing it. In particular it helped me feel less tense as I had had a stressful lesson before drama which is the best subject in the world.

Etc

Etc

Etc

Etc

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Rehearsal Skills: Tool Box explained [Skills Development]

On this page you will need to redraw and complete the diagram below using the information provided for you in the lesson. Make sure your notes are detailed. If you don’t write down what each of them are you will forget.

Also make sure you use the heading above.

Rehearsal Process

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Hot Seating

InterpretationThe script

Given Circumstances

Units and Objectives

Emotion Memory

Role Play

Thought Tracking

Drama Toolbox

Characterisation


Rehearsal Skills: Tool Box used [Planning, Research & Evaluation]

On this page you will need to explain and evalaute how you have used the Tool Box techniques in the practcial workshop using a scripted piece of work.

Remember, the more you say and the more detail you go into the better. Use the heading above at the top your page

Tool Box Technique

What I did… (Planning and Research)

How well did it work… (Evaluation)

Given circumstances

At the start of the process when I needed to find what information was in the script about Briggs

I also used this technique when I was devising a character of my own to begin to form a picture of him

I could understand how my character felt about others and what others said about me. This gave me a clear idea of the relationships he had with others on stage

This technique enabled me to begin to form the building blocks and the foundations of the character. Without these the character could not develop further.

Hot seating I used this to develop the given circumstances further with my scripted character

With my improvised character I used this technique to deepen the information I already had.

It forced me to react to situations in character, giving me a more 3 dimensional understanding of my performance.

I also began to think about my physicalisation & vocalisation. For example I began to sit on the edge of my seat and fidget with my hands and feet.

It helped me react to others in character.

Etc

Etc

Etc

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Characterisation: Monologues [Planning, Skills, Work and Evaluation]

In this section you are going to evalaute your approach to acting in a monologue. This will require you to use all the skills we have just developed and apply them in a performance situation. You must try to write a detailed account of the process.

What I learned about developing a character

In this section you need to talk about who your character was, the details of that character given to you in the play and how you reasearched and developed your understanding of that character further.

You need to cover how you made sense of the situation that character was in through research or personal experience.

You shopuld then talk about how you imagined their movement (physicalisation), the way they spoke (vocalisation) and their relationship with other characters.

What I learned about rehearsing professionally

Talk about the warm up techniques you used at the start or end of each rehearsal.

You need to talk about what you then did in rehearsals, in particular you should talking about the tool box techniques you applied and how well they worked or not for you.

Also cover how you developed your understanding of your character through rehearsing and changing the way you performed the piece.

Performance and evaluation

Finally you need to evaluate the rehearsal process. For reheasals talk about what worked for you, what didn’t and what you have leanred about developing chracterisation skills as an actor.

Then evalauate your performance. Talk about whether the thing you palnned and developed in rehearsal actually worked on stage and whether you managed to communciate your character successfully to an audience.

Finally outline what things you would do different next time you develop a character. Choose at leats 3 targets in this area.

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Characterisation: Duologues [Planning, Skills, Work and Evaluation]

In this section you are going to evalaute your approach to acting in a duologue. This will require you to use all the skills we have just developed and apply them in a performance situation. You must try to write a detailed account of the process.

What I learned about developing a character

In this section you need to talk about who your character was, the details of that character given to you in the play and how you reasearched and developed your understanding of that character further.

You need to cover how you made sense of the situation that character was in through research or personal experience.

You shopuld then talk about how you imagined their movement (physicalisation), the way they spoke (vocalisation) and their relationship with other characters.

What I learned about rehearsing professionally

Talk about the warm up techniques you used at the start or end of each rehearsal.

You need to talk about what you then did in rehearsals, in particular you should talking about the tool box techniques you applied and how well they worked or not for you.

Also cover how you developed your understanding of your character through rehearsing and changing the way you performed the piece.

Performance and evaluation

Finally you need to evaluate the rehearsal process. For reheasals talk about what worked for you, what didn’t and what you have leanred about developing chracterisation skills as an actor.

Then evalauate your performance. Talk about whether the thing you palnned and developed in rehearsal actually worked on stage and whether you managed to communciate your character successfully to an audience.

Finally outline what things you would do different next time you develop a character. Choose at leats 3 targets in this area.

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Stanislavski

On this page you need to research the life and work of Constantin Stanislavski. Don’t just type his name into Google and print what comes out. This page needs to be well presented and IN YOUR OWN WORDS.

Researching Constantin Stanislavski

Who was he?

Why did he create his system

Describe at least three rehearsal techniques he applied:

Describe how you have used some of his rehearsal techniques in your work:

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Talk from a professional actor [Skills Development & Work Related Aspects]

Use the heading above and the table below to record notes from the talk given by a professional actor.

Acting Record SheetDate :Venue:Speaker:

Roles and Responsibilities

Work Experience

Qualifications

General Notes

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Final Evaluation of Acting Workshop [Skills Development and Evaluation]

Use the heading above and the table below to record and evalaute your experiences during the acting workshop.

Check List What have I learnt…(Skills Development)

How can I use it in future… (Evalaution)

Warm Ups During the warm up section of the workshop I learnt 10 different warm up tecniques, 5 mental and 5 physical. The most useful metal warm up was Zap Zing Block and the most useful physical warm up was Eight shakes. This was because they were easy to understand and fun to do.

I never really understood how inportant warm ups were in the rehearsal process. Not only do they help you focus and get into the rehearsal but they also allow you to relax and help you to develop character details.

In future I intend to use warms when we are developing role plays and preparing for performances.

Blocking and Proxemics

Tool Box Tecniques

Physicalisation and Vocalistation

Preparing for Performance

Talk from Professional Actor

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Witness Statement Sheet [Skills Development & Work Related Aspects]

Use this sheet to record witness statements to confirm that you have completed the Acting workshop. One witness should be a member of staff; the other two should be fellow students you have worked with. Remember to include the heading as well as the witness statements in your portfolio

Witness Statement One

Name:

Date:

Statement:

Witness Statement Two

Name;

Date:

Statement:

Witness Statement Three

Name:

Date:

Statement:

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Second Audit Sheet [Skills Development and Evaluation]

You need to complete a second acting audit sheet which is available on this page of the booklet. It is designed to record what you have learnt during the workshop. Include it in your coursework but…

DO NOT FILL THIS IN UNTIL THE VERY END OF THE GCSE COURSE


Warming upConduct at rehearsals

Body & spatial awareness

Characterisation (using voice and

movement)Interpretation of

scriptImprovised work

Acting from stimulus

Dramatic devices & rehearsal

techniquesUsing technical

aspects to enhance performances

How to rehearse effectively

Researching other performances

Health & Safety – preparation,

performing and clearing up

An actor backstage

Working with props & costume

Working with masks

Reflecting on performing to a live

audienceReflecting on

watching an live performance

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Section B – Lighting Workshop

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Page 16 Front CoverPage 17 First Audit Sheet Page 20 Flood Lantern Page 21 Fresnel Lantern Page 22 Profile Lantern Page 23 Lantern Question and Answer Page Page 26 Gobos Page 27 Gels Page 32 Lighting Performance Preparation Page 33 Lighting Rig Plan (with explanation notes) Page 33 Lighting Cue Sheet and Lighting Script (with notes) Page 34 Lighting Evaluation Page 35 Professional Talk from an lighting Technician Page 36 Final Evaluation Page 37 Witness Statement Sheet Page 38 Second Audit Sheet

Front Cover


The title: Lighting WorkshopYour name: [Whatever it is]




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Audit Sheet [Skills Development and Evaluation]


Use the table below to record your experience and understanding of the following areas…


Rig

Fresnel

Profile

Flood

Parcan

Gobo

Gel

Barndoors

Shutters

Wash

Spot (hard/soft)

Cue

Plot

Cue Sheet

Health and safety

Lighting board

Dimmer pack

DMX

Patch board

Rigging

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Types of Theatre Lanterns (info only)

This sheet outlines the 3 main types of lanterns you will be using in Toot Hill Theatre and in smaller venues on tour. This section is for information only. Use the advice on the next few pages to complete this coursework section.

Flood Lantern

Bulb

Flood

Symbol for flood on a lighting plan

Information

This is the simplest type of lantern, consisting of a halogen lamp and a reflector in a box, with no lens. The reflector concentrates the light towards the opening in the box. There is no control over the focussing of a flood, other than its general direction.

How it spreads light

Fresnel Lantern

Bulb and Lenses

Fresnel with barn doors

Symbol for a Fresnel on a lighting plan

Information

The Fresnel (pronounced "Frennel") is a soft-edged spotlight with more control over beam angle than floods, but less control than profiles.

The lens is a series of stepped concentric circles on the front and pebbled on the back and is named after its French inventor, Augustin-Jean Fresnel (1788-1827). He developed the lens for French lighthouses so that they could be seen further out to sea and could achieve a longer focal length with a lot less glass than a standard plano-convex lens. It was first used in stage lighting in the late 1920s.

The size of the beam can be adjusted by moving the lamp and reflector closer to or farther from the lens, either by a screw mechanism or a simple slide. The beam can be shaped by the four barn doors attached to the front of the lantern.

Fresnel "flooded" Fresnel "spotted down"

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Profile Lantern

Bulb and Lenses

Profile

Symbol for a profile on a lighting plan

Information

Profile lanterns produce clearly defined spots of light and are the most focussable and versatile of the lanterns. They have a lens (some have two lenses), a lamp and a reflector, and they also have shutters and a gate.

Profiles get their name from their ability to project the shape of anything placed in the gate of the lantern between the lamp and the lens. These shapes may be formed by the shutters, or they may be cut out of thin metal (a "gobo" - see diagram right). Profiles with two lenses (zoom profiles) are best for projecting gobos and other shapes, as the size and sharpness of the beam is fully adjustable throughout the beam angle range of the lantern.

A followspot is a special type of profile lantern with additional controls, extra handles, sights, built-in colour changer and iris, and is usually of much higher power.

With the lenses far apart, the beam is narrow

With the lenses close together, the beam is wider.

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Flood Lantern [Skills development & Work Related Aspects]

Now you need to complete the following sections which then need to be redone in neat in your portfolios.

Use this sheet to record information that you will need to include in your coursework. Remember to include the heading as well.

Draw a Flood Lantern and label the diagram:

Describe what effects a Flood Lantern might create on stage:

Describe your experience using a Flood Lantern and explain why you chose it.

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Fresnel Lantern [Skills development & Work Related Aspects]


Draw a Fresnel Lantern and label the diagram:

What effects can you create with a Fresnel lantern? Explain and draw them:

Soft edged spot

Spot size

Round or square spot

Describe your experience of using a Fresnel Lantern and explain why you chose it:

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Profile Lantern [Skills development & Work Related Aspects]


Draw and label a Profile Lantern:

Explain what effects can be created by using a Profile Lantern. List and draw them:

Soft edged spot

Hard edged spot

Projected image or pattern

Round or square spot

Describe an occasion where you have used a Profile Lantern and explain why you chose it:

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Lantern Q & A Page [Skills development & Work Related Aspects]

Using the information you have been given during the workshop answer the questions below in your portfolio using the heading above.

Questions

What is a 1K Fresnel and why would you use one?

Draw a set of Barn Doors, explain what lantern they are used with and what effect they create.

Draw a Shutter, explain what lantern they are used with and what effect they create.

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Gobos and Gels (info only)

This section covers Gobos and Gels and provides you with the information you need to complete pages 24 and 25. This section is for information only.

Profile Lantern

Gobo inserted in front of bulb

Gobos

Gobos are small metallic sheets that have a picture, image of pattern cut into them.

They are placed in a Gobo Holder and inserted into the middle section of a PROFILE

lantern (see diagram) and once the lantern is focused it will project the image of the Gobo

Profiles get their name because they create the ‘profile’ of the image on the Gobo.

It is possible to make your own Gobo if a commercial one is not available by using the metal from a drink can and cutting an image into it (really, it does work!)

Below is a selection of Gobos commercially available

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Fresnel

Profile

Flood

Gels

Gels are coloured sheets of transparent plastic that ate placed in Gel Holders and poisoned at the front of a lantern.

Profile, Fresnel and Flood lanterns all accept Gels. Profile and Fresnel lanterns use the same type of holder. Floods require a larger Gel area and therefore require a different holder. Gels and Gobos can be used together to enhance the effect of the Gobo

Gels are used to create atmosphere on stage through the use of colour and tone. It is essential that you use a colour suitable for the events or emotions being conveyed on the stage

Colour communicates meaning. Complete the following chart relating colours to emotions

Emotion

EnvyLovePeaceHateWarLustGreed PassionPainEnergyInfinityJealousyDeathJoy

Colour

Green

Situation

SummerWinterSpringAutumnBirthDeathStormMorningDuskTownCountryDesert

Colour

Yellow

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Gobos [Skills development & Work Related Aspects]


Draw an example of commercial Gobo: Gobos

What is a Gobo?

What is a Gobo Holder and what does it look like?

Where do you place it in a Profile lantern?

What effect does it create?

Design your own Gobo and explain what you would use it for:

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Gels [Skills development & Work Related Aspects]


Examples of Gels: Using Gels:

Describe your experience of using gels. What colours did you use? What effects and atmosphere did this create? Was this successful?

Emotion

EnvyLovePeaceHateWarLustGreed PassionPainEnergyInfinityJealousyDeathJoy

Colour

Green

Situation

SummerWinterSpringAutumnBirthDeathStormMorningDuskTownCountryDesert

Colour

Yellow

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Lighting Rigs and Patch Boards (info only)

The main aim of a theatre lighting system is to provide a really flexible way of allowing the user to create the effects s/he wants.

The more versatile it is, the wider the range of effects that can be created.

At it’s simplest level a theatre lighting system should allow the user the push a slider on the lighting desk and the lantern connected to that channel will light up.

How it does that is more complicated than you might think. If you look at the diagram on the next page you will see a visual representation of a theatre lighting system

The Lighting Rig

Rigging is the process of hanging the lanterns on the lighting rig and plugging them into the plug sockets attached to the rig. Each of these sockets is numbered (in our theatre it is 1 to 68) and it is important to remember what socket number you have plugged a lantern into. Each socket on the lighting rig is connected via an electrical cable to a plug in the lighting box.

In our theatre lights can be rigged (attached) from horizontal bars in the roof, horizontal bars coming out of the wall or rigged (attached) to a range of floor stands.

The rig in the roof of our theatre looks like this. It is made up of lots of bars:

But there are other ways of rigging (attaching) lanterns. Below are pictures showing the different ways of rigging (attaching) a theatre lantern in preparation for patching and focusing it. You will have the opportunity to use ‘Boom Arms’ and ‘Floor Stands’ at a later date. During this workshop you will use the Lighting Bars in the theatre roof and ‘Floor Stands’ with ‘T bars’.

Once you have rigged your lights they need to be patched in. This is explained below.

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The Patch System

Once you have rigged a lantern you need to patch it in. Patching is the process of plugging the lighting board into the lighting rig. The patch board is made up of 24 plug sockets. Each of these sockets is linked directly to a fader on the lighting desk. Socket 1 is linked to fader 1 all the way up to socket 24.

To patch in a lantern you need to remember what socket on the rig you have plugged the lantern into. You then need to find the plug that is attached (via electrical cable) to the socket on the rig. That plug is situated next to the patch board and is numbered. That means socket 1 on the lighting rig would be connected to plug 1 next to the patch board.

Once you have decided which channel on the lighting board you want to light up your lantern you simply take the correctly numbered plug (which is attached to a socket on the lighting rig) and plug it into the socket on the patch board (which is connected to a slider on the lighting desk).

So if you follow the example on the following page you will see…

A profile lantern has been plugged into socket 21 on the lighting rig

The plug attached to socket 21 is connected to channel 17 on the patch board

This is directly linked to fader 17 on the lighting desk

This means that when you bring up slider 17 on the lighting desk the profile lantern plugged into socket 21 on the lighting rig will light up,

System Diagram

On the next page is a system diagram of a theatre lighting system. Use it to help you fully understand how the system works

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Sliders

A

B

Master B

Master A

Grand Master

Lighting Desk

Dimmer Rack and Fuses

The Dimmer Rack is what makes the lights fade up and down rather than simply switch off or on. There are 24 dimmers, each connected to a channel on the Lighting Desk

There are 24 channels on the Lighting Desk and each channel links to one of 24 dimmers on the Dimmer Rack

Dimmer Rack

1 to 24

1 to 24

Dimmers

1 2 3 4 5 6 7 8 9 10 11 12

13 14 15 16 17 18 19 20 21 22 23 24

Each of the plug sockets on the patch board links directly, through the dimmer rack, to the numbered slider on the lighting desk:

Patch socket 1=

Slider 1

Patch Board

8

14

21 6

17

9 11 1

161

1 52

13

31

23

21 22 23 24

Each of the plugs that plug into the patch board link directly to a socket on the lighting rig. The plug and the socket have the same number but that number does not have to be the same as the channel on the lighting desk and dimmer pack.


Lighting Desk

This section explores how to set up lights on the lighting desk once you have rigged and patched them in.

Setting The Desk

The lighting desk has 2 sets of 24 sliding controls; each slider controls a channel. This means that if you move slider 1 up and down this fades the lantern patched into channel 1 up and down.

Once you have worked out how bright you want each of the lights for a certain scene you make a note of it on your lighting cue sheet. When the notes are complete you are ready to run through a performance using cross fading

Cross Fading

The first step is to set up the initial lights you want on the first bank of sliders, which is called BANK A. You know what you want because you have it all written down on your lighting cue sheet.

You then prepare the next setting for the lights on BANK B. Again you use your notes on your lighting cue sheet to do this

When it is time to change from BANK A to BANK B you use the MASTER A and MASTER B controls and fade between them

You then use BANK A prepare the next settings for the lights.

You do this for the whole play. A complex play might have 30 or 40 changes in it. The Grand Master controls the whole desk and allows you BLACKOUT the stage.

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A

B

Master B

Master A

Grand Master

Lighting Desk

1 to 24

For example Fader 1 on the diagram is set at level 4. This would mean that the lantern patched into channel 1 would be at about half its full brightness.

Fader 2 is at level 8, this would mean that the lantern patched into channel 8 would be almost at its full brightness.

Finally fader 3 is at level 1. The lantern patched into channel 1 would give out a very low level of light.

9 –8 –7 –6 –5 –4 –3 –2 –1 –0 –

1 2 3


Lighting Performance Preparation [Planning, Skills & Work Related Aspects]


Talk about the following areas:

Which section of the script you were lighting:

How you planned which lights were needed for each state (each different set up):

What atmosphere you were trying to create with each of your lighting states:

State 1

Sate 2

State 3

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Rig Plan [Planning, Skills and Work Related Aspects]

On this page you should have a completed rig plan with each light marked on the sheet.

You then need to comment on the rig plan. Have an information box for each different type of light on the plan.

Cue Sheet and Lighting Script [Planning, Skills and Work Related Aspects]

On this page you should have the completed cue sheet for you lighting performance and a copy of your lighting script.

Again it is important to use Information boxes on the script to explain that you understand what you did.

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Info Box

Info Box Info Box Info Box

Info Box Info Box




Lighting Evaluation [Skills Development, Work Related Aspects & Evaluation]


Talk about the following areas:

What went well during you performance?

What didn’t work in your performance?

What would you do differently next time you light a play?

How easy did you find using the lighting desk?

Did your use of lighting create the right atmosphere on stage?

Evaluate someone else’s performance, what worked, what didn’t?

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Talk from Lighting Technician [Skills Development & Work Related Aspects]

Use the heading above and the table below to record notes from the talk given by a professional technician.

Lighting Record SheetDate :Venue:Speaker:

Roles and Responsibilities

Work Experience

Qualifications

General Notes

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Final Evaluation of Lighting Workshop [Skills Development & Evaluation]

Use the heading and table below to record and evalaute your experiences during the lighting workshop.

Check List What have I learnt…(Skills Development)

How I used my knowledge… (Evalaution)

Theatre Lights I have learnt the difference between three different types of theatre lights.

Fresnel lights are used when…

Profile lights are used….

Flood lights are…

Over all I have found knowing which theatre lights do what very useful.

During my performance I used all three of the lights.

I used the profile light to….

Gobos and Gels

Rig plans, cue sheets and lighting scripts

Patch board, rig and lighting desk

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Witness Statement Sheet [Skills development & Work Related Aspects]

Use this sheet to record witness statements to confirm that you have completed the Lighting Workshop. One witness should be a member of staff; the other two should be fellow students you have worked with. Remember to include the heading as well as the witness statements in your portfolio

Witness Statement Sheet – Skills development and work related practice


Name:

Date:

Statement:


Name;

Date:

Statement:


Name:

Date:

Statement:

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You need to complete a second lighting audit sheet which is available on this page of the booklet. It is designed to record what you have learnt during the workshop. Include it in your coursework but…



Rig

Fresnel

Profile

Flood

Parcan

Gobo

Gel

Barndoors

Shutters

Wash

Spot (hard/soft)

Cue

Plot

Cue Sheet

Health and safety

Lighting board

Dimmer pack

DMX

Patch board

Rigging

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Section C – Voice and Movement

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Page 39 Front Cover Voice Workshop Page 40 to 50

Page 40 First Audit Sheet Page 48 Elements of Voice Page 49 Practical workshop – Question and answer Page 50 Practical Task – Description and Photos Page 50 Practical Task – Evaluation Page 51 Second Audit Sheet

Movement Workshop Page 52 to 64Page 59 First Audit Sheet Page 60 Practical Workshop – Question and Answer Page 60 Practical Task 1 – Working Solo Page 61 Practical Task 2 – Video Extract Page 62 Practical Task 3 – Responding to Music Page 63 Witness Statement Sheet Page 64 Second Audit Sheet

Front Cover


The title: Voice and MovementYour name: [Whatever it is]




First Audit Sheet [Skills Development and Evaluation]

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You need to complete an voice audit sheet which is available on this page of the booklet. It is designed to record what you know at the start of the course. Cut it out, mount it on a sheet of coloured paper or card and include it on page 2 of your portfolio.



Diction & Clarity

Projection

Volume /Dynamics

Sound Collage

Dramatic Pause

Interpretation

voice over

Range

Accents

Exercises

IT

Posture

Singing

Breathing

Warming up

Solo / Group/Harmony

Sound/ Tone / Style

Rehearsal

Mood / Atmosphere / Expression

Movement

The Voice Workshop (info only)

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Introduction

You use your voice when acting and singing. It is important to discover your own voice and not only mimic the voice of others. We are all born with a fantastic ability to make noise. Animals are uninhibited and it is only the influence of others, we conform and seek

approval, and the fear of being judged that stifles our natural ability to create noise.

Elements of Voice

Using your Voice – Acting and Singing

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PositionPostureCentre

Exercise

Facial expressionMovement

PrepareBody

GestureInterpret

PhysicalEmotional

Philological

ActingSilence tension

AtmosphereContrastsounds

StyleGenreInfluence

ClimaxTimingRhythm

TechnicalBreathingRelaxation

Control

PaceDynamics

RangeLimits

ExploreCharacter

PersonalityRehearsal

ToneAccent

ProjectionClarity

PitchSinging VolumeRange

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As human beings and part of the animal kingdom we are accomplished technicians. Picture your voice, how would you describe it?

Rough or smooth High or low Soft or sharp Tuneful or monotonous

We are all born noisy; the baby will scream and wail, our first sounds are authentic and as natural as a sneeze. As a child our very survival depends on our ability to communicate and we learn very quickly.

Try Howling, Hooting, Screaming, Barring

These noises are all part of our natural vocal, but we have chosen to limit ourselves to words. A human only has 2% difference in it’s chromosomes to an ape. We are all born with PVE =

Primitive Vocal Energy

When you bypass the rational, you find the immediate vocal response, shouts, screeches, chuckles, yells, laughter, anger, and the range is bigger for the sounds we produce. Listen to the shrieks of small children!

Range - Singing

42 | P a g e

Voice

Brain

Ear


Low High

MALE Bass Baritone Tenor Counter tenor Falsetto

FEMALE Contralto Metzo Soprano

Average Range is one and a half to two octaves

What is your range?

DO RA ME FAR SO LA TEE DO X 2

An Octave goes from C-C

Types of voice – Acting and Singing

Boyhood to manhood encounters a break, it soon settles and sounds normal again, the voice can then be rediscovered and the range increases.

Woman’s voices mature later and again a break is there, (Belt, Head)

The upper cerebral cortex of the brain houses all of your close emotions and the area for music, singing, crying, and when you feel moved by something. Without feelings the intension and meaning would be lost and vocalising would be meaningless. We show so much in our voice, love, hate, jealousy, wonder, sorrow, pleasure, pain, awe & tenderness.

Think about your influences, who do you like and why? How would you describe your own singing voice?

Voice and Character – Acting and Singing

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When you read a script you have to make a lot of decisions .You must decide

Who is going to read the part What is happening in the script What the words of the script mean Do you understand the motivation of the person saying the words How will you say it

In other words as an actor or performer you must interpret the script.

Scripts seldom tell you how to say the words so it is up to you to decide how you are going to say them.

Your interpretation will depend on several things including the type of person the character is:

Practical Task 1 - Goodbye

How many ways can you say “Goodbye” to each other

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How does the character

behave towards other people?

Where is the character?

What is the situation?

How would the character speak?

What does the character do to other people?

What do other people say to the character?

How do other people behave

towards the character?

What does the writer of the

script say about the character?

Type


Try all of the following

Nasty Scared Suspicious Worried Happy Angry Lonely

Try the same again with

”I Love You “

“Sorry”

The possibilities are endless.

Practical Task 2 - Vocal Warm-ups

Face- Banana, Pumpkin, Posture- Stand firm but relaxed feet slightly apart Hands relaxed by your side Relax the shoulders Open throat – (Yawning exercise)

Do not:

Slouch Fidget Lean on either hip Cross your legs Hands in pockets

Practical Task 3 - Breathing

Take a breath without raising your shoulders

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Practise how to breathe / Balanced breath4/4/4 – It will increase

No tenseness in your neck

Practical Task 4 - The Book Test

What is the book test?

Lie on the floor and put a book on your Stomach, when you breathe the book should move IF you are breathing from your diaphragmTongue and throat should be relaxedSound should be placed and felt around the teethResonance should be felt around the whole body but especially, the chest and forehead

Practical Task 5 - Tongue Twisters

Consider- Concentration, Confidence & Projection, speed Volume tone and enunciation

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She sells sea shells on the sea shore Peter piper picked a pick of pickled peppers Any noise annoys an oyster but a noisy noise annoys an oyster the most A purely rural duel truly plural is better than a plural duel truly rural A cricket critic cricked his neck at a critical cricket tournament Betty bit a bit of butter but it was a bitter bite but a bit of better butter Betty never bit Seventeen slugs in stain sunbonnets sat singing some short sad songs Nine needs nine knitting needles to knot Nina’s knickers nicely Please supply three thick plastic press blocks as previously Ted threw Fred’s three free throws far too far on Friday. Six selfish shellfish sat surveying seven Severn salmon swallowing shrimps

Coursework Booklet

Use these sheets to help you record the information and experience gained through the practical workshops. Use bullet points or prose to fill in the sections. Remember to use the headings at the top of each page in your coursework.

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Elements of Voice [Research, Skills Development and Professional Conduct]

Under the heading above redraw this diagram and fill in as many elements of voice as you can think of, and explain what each one means.

Practical Workshop : Question and Answer [Skills & Professional Conduct]

One this page you should use the heading above and then answer the following questions as well as you can. You have free choice as to how you lay them out. Make sure though that you have the question as well as the answer on your page.

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The Elements of Voice


Using your voiceBased on what you did in the workshop how would you describe your voice?What is PVE? How did you feel when you let go of your ration self and just made animal noises?

Singing rangeWhat is the average vocal range?What is your singing range and what did you do to find out?

Type of VoiceThink about your influences, who do you like and why? How would you describe your own singing voice?

Voice and CharacterThink of the characters you played during the acting workshop, how did you use voice to communicate that character?What would you do differently now having looked at voice in more depth?

Practical Task : Description [Skills Development & Professional Conduct]

In the workshop you participated in 5 practical excercises. Use the table below to record what each task was and include a photo of you doing it. Also remember to include the heading above at the top of your page.

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Task Descripion PhotoGoodbye During this exercise we had to try

and say the phrase ‘goodbye’ in a variety of different ways including nasty, frightened atc. We then had to say ‘I Love You’ and ‘Sorry’ in a variety of different styles.

Vocal warm up

Breathing

The Book Test

Tounge Twister

Page 36 – Practical Tasks : Evaluation [Skills, Professional Conduct and Evaluation ]

In this second half of the page you will need to create a second grid but this time you are evaluating what you learnt and how you can use it again.

Task What I learnt How I can use this knowledgeGoodbye This exercise taught me that the

meaning of words can be changed through the way that you say them. This means that you have to think really carefully about how you say a word because evry word in a play has two meanings. One is on the surface and is the meaning of the word, the other is hidden below the surface and is implied by how the word is said

In future I am going to think very had about how I say words to give them different meanings. I think I will mark how words should be said on any script I am using and ensure that when I rehearse I am applyin that element as well.

Vocal warm up

Breathing

The Book Test

Tounge Twister



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Diction & Clarity

Projection

Volume /Dynamics

Sound Collage

Dramatic Pause

Interpretation

Voice over

Range

Accents

Exercises

IT

Posture

Singing

Breathing

Warming up

Solo / Group/Harmony

Sound/ Tone / Style

Rehearsal


Movement

The Movement Workshop (info only)

Elements of Movement and Dance

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A History of Contemporary Dance

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PositionPostureCentre

Exercise

ExpressionMovementContrastClarity

Facial Body GestureInterpret

Character

PhysicalEmotional

Philological Rehearsal

ExperimentSelect

ChoreographyEvaluate Compose

RelationshipsOrganiseQuality

Body ActionsSpaceTime Influence

PlanStructurePerformMusic

MotifEliminationGestureImprovise

PaceDynamics

RangeLimits

TechnicalBreathingRelaxation

Control

ExploreInfluence

StyleGenre

Movement&

Dance

Notes:


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DANCEInnovator

sJacquesDalcrose

Laban

MarieRambert Delsarte

IsodoraDuncan

Ruth St Dennis

Marion North

KurtJoss Glen

TetleyChristopher Bruce

Margeret morris

Lester Horton

Alvin Ailey

CharlesWeildman

Doris Humphre

y

Martha Graham

Merce Cunningh

am

Eric Hawkins

RobertCohan

Richard Alston

Paul Taylor

Bonnie bird

Robert North

Matthew Bourn

Lea Anderson

Ted Shaw

Notes:


The Process of Dance

Ideas↓

Experiment-Improvisation with putting ideas into movement↓

Select the most appropriate movements↓

Organise the structure and form a cohesive whole↓

Perform and evaluate

Questions to ask

Where are my audience? Am I communicating my idea? What Style do I wish to perform in: Ethnic, jazz, folk, contemporary, new, ballet, tap,

rock and roll, Charleston, street, hip hop Is the dance going to be comic or abstract (about movement itself), dance drama (Telling

a story), dramatic?

Dance should have

Motif Contrast Repetition Climax Timing Variation Development of direction Development of levels Body Shapes Group work Unison- Dancers moving together, at the same time using the same movements Canon- Dancers moving one after the other , using the same movement Mirroring – Symmetrical & Asymmetrical

Body Parts in isolation Copying, leading, following, Group work

How to develop a Solo Dance

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Examples of ways to develop a dance (solo)

Alter body posture , standing, lying, sitting Add or change action Change the size Change the level Alter the focus Change the direction, dimension or plane Alter air or floor patterns Increase or decrease tempo Change accents Reverse the order of the movements Charge dynamics or quality Use only 1 part of the motif or change the order Mix bits of different motifs together Alter any aspects of physical setting Starting and finishing positions Stillness Canon contrast highlights climax

How to develop a Duo or Group dance

Examples of ways to develop a group dance

Alter body posture , standing, lying, sitting Add or change action Change the size Change the level Alter the focus Change the direction, dimension or plane Alter air or floor patterns Increase or decrease tempo Change accents Reverse the order of the movements Charge dynamics or quality Use only 1 part of the motif or change the order Mix bits of different motifs together Alter any aspects of physical setting Starting and finishing positions Stillness Canon contrast highlights climax

Further Group formations

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Additional Movement and Dance Actions

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RUN JUMP HOP SKIP ROLL SLIDE HOVER

SLITHER GLIDE WHIRL SHRINK EXPAND

STRETCH FREEZE LEAP BOUND STRIDE CURL

FALL TWIRL REVOLVE POUNCE DART FLUTTER

WALK STALK RISE COLLAPSE STAMP JERK

BALANCE DIVE OPEN CLOSE WRIGGLE PRESS

CREEP SHAKE CLAP GROW TWIST TURN STOP

GALLOP TOSS SWING GRIP SPREAD TIPTOE

HIT BOUNCE ENCIRCLE STEP KICK SHRUG

SPIN CRAWL LIFT MELT DRIFT SWAY FLOP

PULL PUSH SHIVER PEEP CROUCH EXPLODE

SETTLE ARCH RUSH TAP TREMBLE PAUSE

STAND KNEEL LIE ZIGZAG SKIM JAB THROW

WHIP SLICE MEANDER WANDER FLICK DRAG

SOAR WRING DAB CARVE SCATTER GATHER

CRUMPLE SHOOT WHISK DISSAPPEAR DRIFT

BEND STRETCH TWIST JUMP BALANCE

TURN STEPPING WEIGHT GESTURE

Practical Task 1 – Working Solo

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Notes:


The first practical task is to begin to think about your movement and start to apply some of the skills you have learnt to these exercises. Working solo explore these different environments through movement.

Mist Mud or glue Lighter gravity Heavier gravity Desert island Windy desert Between 2 sheets of glass Through a tunnel As Animals (Exaggeration)

Practical Task 2 – Video Extracts

Watch the following Video Extracts:

Berkoff’s East - Motorbike, Pictures, Fairground,

DV8 - Pub drinking scene

Practical Task 3 - Responding to Music

Respond to the piece of music played to you. Then create a group dance that uses at least five of the group formations or movement ideas you have learnt during the dance course.

Page 38 – First Audit Sheet [Skills Development and Evaluation]

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Notes:





Interpretation

Exercises

Warming up

Breathing

Posture

Solo / Group

Style & Influence


Rehearsal

Non-NaturalisticBerkoff/ East

Mime

Cannon

Unison

Motif

Dance drama

DV8

Symbolism/Levels

Breathing

Posture

Alignment

Control

Strength

Practical Workshop : Question and Answer [Skills & Professional Conduct]

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One this page you should use the heading above and then answer the following questions as well as you can. You have free choice as to how you lay them out. Make sure though that you have the question as well as the answer on your page.

Modern Dance ChoreographersName three modern Dance choreographers whose work you have seen.Say which one you enjoyed most and why.Describe your favourite moment.

Process of DanceDraw a diagram showing the Process of Dance.Explain what the 4 main questions are when devising a piece of dance.

Group FormationsDraw a diagram showing some possible group formations.Explain why they would look effective to an audience.

Practical Task 1 - Working Solo [Skills, Professional Conduct & Evaluation]

In the workshop you participated in a range of exercises based around movement. Use the table below to record 5 of those movement exercises using the column titles and the example to help guide you. Also remember to include the heading above at the top of your page.

Task Descripion PhotoMud or Glue During this exercise we had to try

and move as if we were stuck in mud or walking across a floor with glue on it. We had to concentrate on our movements to ensure that the looked realistic. I worked with two other people

What I learnt How I can use this knowledgeI learnt that to move in a controlled way is very difficult and that when working in a group you have to rely and trust each other completely or the dance will not look natural

I am really looking forward to using dance and movement in a piece of Drama. This particular exercise has given me an idea for using slow motion to show an accident or tragedy.

etc

etc

etc

Practical Task 2 – Video Extract [Skills, Professional Conduct & Evaluation]

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During the workshop you watched performances of the play East and dance from the DV8 company. In this section of the coursework you are going to review and explore the work you have seen. Use the grid below to record 3 moments you enjoyed and remember to use the heading above at the top of your page.

Video Describe dance/scene Why did you enjoy it?East – Motorbike In this section of the DVD actors

climed on top of other actors and used them as motorbikes. As they are riding the motorbike they deliver a poem about the feelings you might have riding a motorbike too fast.

What I enjoyed about this section of the video was that instead of sitting on chairs to show a motorbike they used other actors. This was a really physical piece of theatre and I was rally impressed with the control of the actors on stage.

etc

etc

Practical Task 3 – Responding to Music [Skills, Professional Conduct & Evaluation]

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On this page you need to explore and evaluate the dance performance you did when responding to the piece of music. In particular you need to focus on the skills you applied from the workshop and how you might use them in future work.

The first section of this page asks you to list the group techniques you used in your dance and explain why you chose them and how you can use them in future

Technique Descripion PhotoCannon In our dance we used cannon three

times. As the bomb went off we all turned away in sequence to show the shock wave passing along the underground carrage then we slowly dropped to the floor supporting each other.

Why did we choose this technique How I can use this knowledgeWe chose this technique because we wanted to show the passage of the bomb blast and it was a good way to control the dancers during that sequence.

In the future I will be confident to use cannon both in dance and in movement pieces. It would also be a nice technique to use with actors when delivering line.

etc

Then finally we would like you to answer the following questions on the bottom half of this page:

What went well during your practical workshop?

What didn’t work in your practical workshop?

What would you do differently next time ?

What do you think your performance communicated to an audience?

Evaluate someone else’s performance, what worked, what didn’t?

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Witness Statement Sheet [Skills development & Work Related Aspects]

Use this sheet to record witness statements to confirm that you have completed the Lighting Workshop. One witness should be a member of staff; the other two should be fellow students you have worked with. Remember to include the heading as well as the witness statements in your portfolio

Witness Statement Sheet – Skills development and work related practice


Name:

Date:

Statement:


Name;

Date:

Statement:


Name:

Date:

Statement:

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Interpretation

Exercises

Warming up

Breathing

Posture

Solo / Group

Style & Influence


Rehearsal

Non-NaturalisticBerkoff/East

Mime

Cannon

Unison

Motif

Dance drama

DV8

Symbolism/Levels

Breathing

Posture

Alignment

Control

Strength

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Section D – Performance Coursework

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Page 65 Front CoverPage 66 Skills Evaluation Page 68 Planning Skills Development Page 70 The Project Brief Page 70 1st Production Meeting Page 71 Research Page 72 2nd Production Meeting - Planning Content Page 73 3rd Production Meeting - Planning Drama Forms Page 74 Planning and Developing Character Page 75 Action Plan Page 76 Progress Reports – Examples and blanks Page 80 Performance Review Page 81 Script Page 81 Photo Album Page 80 Personal Evaluation Page 83 Witness Statement Sheet

Front Cover


The title: Performance WorkshopYour name: [Whatever it is]




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Evaluation and Planning

In the first part of this coursework section you will include an evaluation of what you learnt in the last project [evaluation], how you intend to use that knowledge to improve and develop what you do during this project [planning] and the research you have done to develop your ideas [research].

Skills Evaluation [Skills Development and Evaluation]

In this section what you need to do is to evaluate what skills you used in the last piece of work and what you learnt through using them.

Use the table format in your coursework if it helps but if you want you can present the information any way you like. Remember the most important thing is that you evaluate what you did in DETAIL! To help you there is an example on this page and a list of possible skills on the next page.

Remember, you must evaluate AT LEAST 5 different skills for a C grade, much more for a B or A grade. Use the heading above on the top of your page.

What professional skills and working practices did I use in my last piece of work?

Working practices and skills Evaluation of use

Warming up [Example] [This bit explains what you did] We started using warm-ups when we were improvising our script at the beginning of the project. Once we got going though, we did it less because we just wanted to get on with it and they took up too much time.

[This is the important bit, this is where you evaluate what you did and what you have learnt] I think that during this next project I would like to try to use warm-ups all the way through because as we rehearsed performances it was difficult to get everyone to focus at the start of a session. I also think it would have been better to use different warm-ups for different sessions. Foe example if we were writing you script or improvising we might do a word game warm up such as Zip Zap Bop but if we were acting we might do a range of physical warm-ups.

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Warming up

The tool box of devising and acting techniques

Rehearsal techniques

Marking out the rehearsal space

Scheduling rehearsals

Researching: character, content, other theatre companies ideas

Annotating scripts

Learning lines

Experimenting with different ideas

Developing characterisation

Completing progress reports

Being pro active, turning up on time, clearing away, taking ownership of all my responsibilities

My commitment to character

Punctuality to rehearsals

Character research

Offering a range of ideas when working on a piece and then choosing the best one. NOT just settling for our first idea

Being pro-active

Constantly evaluating my work and setting ways to improve through my progress reports

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Planning Skills Development [Planning, Skills Development & Work Related]

In this section you must plan what skills you want to develop during this piece of work and why?

Use the table format in your coursework if it helps but if you want you can present the information any way you like.

Remember the most important thing is that you write in DETAIL why and how you wish to develop you chosen skills! Use the list on the next page to guide you. To help you there is an example on this page and a list of possible skills on the next page.

You must discuss AT LEAST 5 different skills for a C grade, much more for a B or A grade. Use the heading above at the top of your page.

What professional skills and working practices am I aiming to use this time?

Working practices and skills How I will use them



Being pro-active

Use more of the Rehearsal, Tool Box and Stanislavski techniques learnt in the acting workshop when developing character. In particular I need to work on my character beyond the workshop time and develop details at home

It is crucial to be on time and a quality essential for employment. I will keep a copy of the rehearsal schedule on me at all times. I will also try to ensure that other group members are on time, particularly during lunchtime and after school rehearsals where we usually have most problems

I must come over as dedicated and committed part of the team. If anything needs to be done I should be first to volunteer. Last time I didn’t say as much as I should even when I had an idea. This time I must always contribute when we are developing work.

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What professional skills and working practices am I aiming to use this time


Warming up






Annotating scripts

Learning lines







Character research


Being pro-active


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Research and Planning

In this section you must record the research you have done based on the stimulus and show how you planned, using the research, to develop your work.

This must be recorded in lessons and then used later to produce the actual coursework.

Your coursework must include all of the following sections and be presented using a range of forms such as: diagrams, text, images.

The Project Brief [Skills Development and Work Related Aspects]

The project brief is the sheet of paper we gave you with all the instructions on telling you what we wanted you to do. You must include this on the second page of your coursework. If your original sheet has notes on and looks well used all the better.

1st Production Meeting [Planning and Research]

Once you have received your brief you need to hold your 1st production meeting to research the area it asks you to work on. In this meeting you must discuss possible sources for the research and types of research that would be useful.

Record the results of the discussion and who is responsible for each task below.

Notes:

Sources & types of research decided on:

Why:

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Research [Planning/research and Professional Development]

Record your research and where it came from below. You will need to include the key bits of research in your final coursework so make sure everyone has a copy and that you keep hold of it. Once you have gathered your research cut and stick it on this page and include NOTES about why you have chosen it and why it is relevant.

Research collected:

Research selected and why:

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2nd Production Meeting [Planning/research and Skills Development]

During your production meeting you need to discuss ideas for the content of your piece.

Use the section below to record ideas and evaluate the effectiveness of each idea.

Notes:

Ideas selected and why:

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3rd Production Meeting [Planning/research and Skills Development]

During your production meeting you need to discuss the drama forms you wish to include in your work.


Notes:


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Developing Character [Planning/research and Skills Development]

Once you have decided upon your content you need to start developing character. Use this section to record any character development work you do including research, warm-ups, off text activities etc.

You should keep coming back to this section and filling more in throughout the project.

Notes:

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Action Plan [Planning/research, Skills Development and Work Related]

Finally in this section you must plan how you are going to develop you work over the time period given for the project.

You need to ensure that the following are included in your plan:

Dates for start of devising process

Date for finalised script

Dates for rehearsals after school

Dates for props to be sourced by

Dates for costumes to be completed by

Date for lighting to be completed by

Date for sound to be completed by

Date for tech performance

Date for final performance

Date for striking set

Date for group evaluation

You can represent your plan in the form of a list or a diagram but you must include dates for each stage of your plan, including the final deadline performance/exam date.

Progress Report Examples and Blanks

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These example sheets show you how to record an awareness of the standard of your work [evaluation] and what to do to improve it at critical points through development [planning].

Progress Report Date:

Evaluation of the work so far:

I feel the movement pieces within our piece are an effective idea, but the do not flow and look unrehearsed. So although they could be of a professional standard they are not at present. If an audience were to view our piece as it is the length of it would be insufficient. I t needs to be longer to ensure it meets with the requirements of the brief. I am also lacking in commitment to my character and I need to develop this in order to improve the standard of the piece. I also feel we could choose more effectively the forms of Drama as often we do not spend enough time asking HOW we could show it and settle for the first solution.

What do we plan to do to improve it:

We will rehearse the movement pieces to music and ask a dance teacher or a student who is a dancer to help us choreograph this section of the work. To increase the length we will include monologues fro key characters as well as developing a scene which explores another point of view from the central character. To improve my commitment o my role I am going to apply some tool box techniques. I will try hot seating and emotion memory to give my performance more focus.

Ms Hopkins or Mr Puddy could be used to help with our selection of the forms of Drama and how we show it.



The drama is now nearly at the stage where it is long enough to meet the requirements of the brief. I am pleased with the commitment to character we are all displaying. Using hot seating, emotion memory and adding a focusing warm up to our rehearsals has really helped. We are using a wider variety of forms too. This improves the standard of the piece. EG we now use flashbacks, narration and slow motion. I now need to look at the piece overall. It is not of a standard I am satisfied with yet because it does not flow. It is lacking in pace and our scene changes are not swift enough.


We will use the rehearsal technique of performing the piece at twice the speed. Mr Puddy also advised us to rehearse scene changes on their own and add music to cover noises on stage.

The cast needs to become really comfortable with their lines too. This means all our cues would be picked up faster and the pace of the piece would increase.

Blank Progress Reports [Skills Dev, Work Related and Evaluation]

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Use the examples above to fill in the four sheets on the next few pages of this booklet. The purpose of these sheets is to evaluate what you have done so far and plan for your work in the future.

The more you evaluate and then plan the more marks you get.

You should have four progress reports that cover the run-up to the performance date. These should cover two pages of your coursework.

If you wish to include more progress reports you can either make them fold out or make them smaller.


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Performance and Evaluation

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In this section you will review your performance, include your script and photographs of your performance and finally evaluate your own contribution to the project.

Performance Review [Skills Development, Work Related & Evaluation]

Write a page long review of the performance from your perspective. You should have a paragraph on the following points:

How you prepared on the day of the performance. How effective was your costume? Did you make any mistakes? Did the set work? How did the audience react? How well did your piece fit in with the brief? How did you feel after the performance had finished?

Script [Work Related Aspects]

You must include a copy of the script you used to learn your lines. It should have all your notes and comments on. It shouldn’t look like you’ve just printed it off. Attach your script to the numbered page above.

Photo Album [Skills Development and Work related Aspects]

You should include a photo gallery of your performance. This should cover two pages. Each photograph should have an explanation of what is going on and why you have included it.

Personal Evaluation

In this section you need to evaluate your role in the project.

This section covers 3 pages and is worth loads of marks so try your best to fill it in as well as possible. The first two pages you fill in yourself but the last page in this section, the witness statement sheet, requires you to ask two other people in your group to write about your achievements and sign it. Find someone who is going to say something positive and intelligent.

Personal Evaluation [Skills Development, Work Related & Evaluation]

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How did your work contribute to the success of the performance?

What skills did you learn or improve upon during the process?

How did the work of the team contribute to your success?


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How did the audience respond?

Is there anything you would change if you did it again?

Witness Statement Sheet [Skills Development and Work Related Aspects]

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Use this sheet to record witness statements to confirm that you have completed the Performance Workshop. One witness should be a member of staff; the other two should be fellow students you have worked with. Remember to include the heading above well as the witness statements in your portfolio


Name:

Date:

Statement:


Name;

Date:

Statement:


Staff Name:

Date:

Statement:

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Section E – Exam Performance CourseworkR

equi

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All – Everyone must complete this section and one of the ones below Page 85 to 92All Page 85 Front CoverAll Page 86 Skills Evaluation All Page 88 Planning Skills Development All Page 90 The Project Brief All Page 90 1st Production Meeting - Sources of Research All Page 91 Research All Page 92 2nd production Meeting - Planning Content

Acting Skills - This section to be completed by actors only Page 93 to 103Actors Page 93 3rd Production Meeting - Drama Forms Actors Page 94 Planning and Developing Character Actors Page 95 Action Plan Actors Page 96 Progress Reports – Examples and blanks Actors Page 100 Performance Review Actors Page 100 Script Actors Page 100 Photo Album Actors Page 100 Personal Evaluation Actors Page 103 Witness Statement Sheet

Dance Skills - This section to be completed by dancers only Page 104 to 114Dancers Page 104 3rd Production Meeting - Dance Forms Dancers Page 105 Planning and Developing Characterisation Dancers Page 106 Action Plan Dancers Page 107 Progress Reports – Examples and blanks Dancers Page 111 Performance Review Dancers Page 111 Script Dancers Page 111 Photo Album Dancers Page 111 Personal Evaluation Dancers Page 114 Witness Statement Sheet

Singing - This section to be completed by singers only Page 115 to 125Singers Page 115 3rd production Meeting - Planning Song Singers Page 116 Developing style and interpretation Singers Page 117 Action Plan Singers Page 118 Progress Reports – Examples and blanks Singers Page 122 Performance Review Singers Page 122 Song Lyrics and Music Singers Page 122 Photo Album Singers Page 122 Personal Evaluation Singers Page 125 Witness Statement Sheet

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Req

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Lighting - This section to be completed by lighting technicians only Page 126 to 133Lighting Page 126 Planning lighting requirements Lighting Page 126 Lighting plans – Rough & Final Designs Lighting Page 126 Progress Reports – Examples and blanks Lighting Page 130 Rig Plan Lighting Page 130 Cue Sheet Lighting Page 130 Lighting Script Lighting Page 130 Lights, gobos and gels used Lighting Page 130 Photo Album – Rigging/stowing/running lights Lighting Page 130 Personal Evaluation Lighting Page 133 Witness Statement Sheet

Stage Management – This section to be completed by stage mangers only Page 134 to 138Stage M Page 134 Attendance Registers & Rehearsal Schedules Stage M Page 134 Stage Mark Out Diagram Stage M Page 134 Production weekly action plan Stage M Page 134 Health and safety checklist Stage M Page 135 Props lists/acquiring props Stage M Page 135 Props/prompt/lighting Script Stage M Page 135 Get In, Get Out Stage M Page 135 Photo Album Stage M Page 136 Personal Evaluation Stage M Page 138 Witness Statement Sheet

Front Cover


The title: Exam Performance WorkshopYour name: [Whatever it is]Job Title [Actor, Dancer, Singer, Stage Manger, Lighting]




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All – Everyone must complete this section

In the first part of this coursework section you will include an evaluation of what you learnt in the last project [evaluation], how you intend to use that knowledge to improve and develop what you do during this project [planning] and the research you have done to develop your ideas [research].

Skills Evaluation [Skills Development and Evaluation]

In this section what you need to do is to evaluate what skills you used in the last piece of work and what you learnt through using them.

Use the table format in your coursework if it helps but if you want you can present the information any way you like. Remember the most important thing is that you evaluate what you did in DETAIL! To help you there is an example on this page and a list of possible skills on the next page.

Remember, you must evaluate AT LEAST 5 different skills for a C grade, much more for a B or A grade. Use the heading above on the top of your page.



Warming up [Example] [This bit explains what you did] We started using warm-ups when we were improvising our script at the beginning of the project. Once we got going though, we did it less because we just wanted to get on with it and they took up too much time.

[This is the important bit, this is where you evaluate what you did and what you have learnt] I think that during this next project I would like to try to use warm-ups all the way through because as we rehearsed performances it was difficult to get everyone to focus at the start of a session. I also think it would have been better to use different warm-ups for different sessions. Foe example if we were writing you script or improvising we might do a word game warm up such as Zip Zap Bop but if we were acting we might do a range of physical warm-ups.

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Warming up






Annotating scripts

Learning lines







Character research


Being pro-active


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Planning Skills Development [Planning, Skills Development & Work Related]

In this section you must plan what skills you want to develop during this piece of work and why?

Use the table format in your coursework if it helps but if you want you can present the information any way you like.

Remember the most important thing is that you write in DETAIL why and how you wish to develop you chosen skills! Use the list on the next page to guide you. To help you there is an example on this page and a list of possible skills on the next page.

You must discuss AT LEAST 5 different skills for a C grade, much more for a B or A grade. Use the heading above at the top of your page.

What professional skills and working practices am I aiming to use this time?




Being pro-active

Use more of the Rehearsal, Tool Box and Stanislavski techniques learnt in the acting workshop when developing character. In particular I need to work on my character beyond the workshop time and develop details at home

It is crucial to be on time and a quality essential for employment. I will keep a copy of the rehearsal schedule on me at all times. I will also try to ensure that other group members are on time, particularly during lunchtime and after school rehearsals where we usually have most problems

I must come over as dedicated and committed part of the team. If anything needs to be done I should be first to volunteer. Last time I didn’t say as much as I should even when I had an idea. This time I must always contribute when we are developing work.

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What professional skills and working practices am I aiming to use this time


Warming up






Annotating scripts

Learning lines







Character research


Being pro-active


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The Project Brief [Skills Development and Work Related Aspects]

The project brief is the sheet of paper we gave you with all the instructions on telling you what we wanted you to do. You must include this on the second page of your coursework. If your original sheet has notes on and looks well used all the better.

1st Production Meeting [Planning and Research]

Once you have received your brief you need to hold your 1st production meeting to research the area it asks you to work on. In this meeting you must discuss possible sources for the research and types of research that would be useful.

Record the results of the discussion and who is responsible for each task below.

Notes:

Sources & types of research decided on:

Why:

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Research [Planning/research and Professional Development]

Record your research and where it came from below. You will need to include the key bits of research in your final coursework so make sure everyone has a copy and that you keep hold of it. Once you have gathered your research cut and stick it on this page and include NOTES about why you have chosen it and why it is relevant.

Research collected:

Research selected and why:

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2nd Production Meeting [Planning/research and Skills Development]

During your production meeting you need to discuss ideas for the content of your piece.


Notes:


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Acting Skills - This section to be completed by actors only


During your production meeting you need to discuss the drama forms you wish to include in your work.


Notes:


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Developing Character [Planning/research and Skills Development]

Once you have decided upon your content you need to start developing character. Use this section to record any character development work you do including research, warm-ups, off text activities etc.

You should keep coming back to this section and filling more in throughout the project.

Notes:

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Date for finalised script


Dates for props to be sourced by










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How you prepared on the day of the performance. How effective was your costume? Did you make any mistakes? Did the set work? How did the audience react? How well did your piece fit in with the brief? How did you feel after the performance had finished?


You must include a copy of the script you used to learn your lines. It should have all your notes and comments on. It shouldn’t look like you’ve just printed it off. Attach your script to the numbered page above.



Personal Evaluation




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Name:

Date:

Statement:


Name;

Date:

Statement:


Staff Name:

Date:

Statement:

Dancing Skills - This section to be completed by Dancers only

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During your production meeting you need to discuss the dance forms, style and interpretation you wish to include in your work.


Notes:


Developing Characterisation [Planning/research and Skills Development]

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Once you have decided upon your content you need to start developing the character(s) you are going to represent in your dance. Use this section to record any character development work you do including research, warm-ups, off text activities etc.

You should keep coming back to this section and filling more in throughout the project as you link the characters you are representing with the dance you develop.

Notes:


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Date for finalised concept











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How you prepared on the day of the performance. How effective was your costume? Did you make any mistakes? Did you use the space well? How did the audience react? How well did your piece fit in with the brief? How did you feel after the performance had finished?


You must include a copy of the script your dance was part of. It should have all your notes and comments on. It shouldn’t look like you’ve just printed it off. Attach your script to the numbered page above.



Personal Evaluation




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Name:

Date:

Statement:


Name;

Date:

Statement:


Staff Name:

Date:

Statement:

Singing Skills - This section to be completed by Singers only

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Production Meeting [Planning/research and Skills Development]

During your production meeting you need to discuss the song you wish to perform. If you are in a group you need to make sure the song fits in with the drama and dance, if you are singling solo you need to pick the song that best reflects your talents.

On this page you need to record all the songs you have considered and narrow then down to a short list. You then need to say why you have rejected or accepted each song on the short list.

Notes on possible songs:

Shortlist: Songs selected and why:

Developing Style and Interpretation [Planning/research and Skills Dev]

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Once you have decided upon your song you need to start developing the singing style and interpretation. Use this section to record the different ways in which you could deliver the song and how you are going to make it an effective and theatrical performance on stage.

You should keep coming back to this section and filling more in throughout the project as you begin to develop your performance style and interpretation.

Notes on style and interpretation:


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Dates for start of rehearsing process

Date for finalised piece


Dates for costumes and props to be ready by






Date for evaluation



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How you prepared on the day of the performance. How effective was your interpretation? Did you make any mistakes? Did you use the space well? How did the audience react? How well did your piece fit in with the brief? How did you feel after the performance had finished?

Song Lyrics and Music [Work Related Aspects]

You must include a copy of the song lyrics and the sheet music. It should have all your notes and comments on. It shouldn’t look like you’ve just printed it off. Attach your papers to the numbered page above.



Personal Evaluation




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Name:

Date:

Statement:


Name;

Date:

Statement:


Staff Name:

Date:

Statement:

Lighting - This section to be completed by lighting technicians only

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This section should only be completed by those who have worked as lighting technicians during the performance exam.

Planning Lighting Requirements [Planning, Skills and Work Related]

The content of this page should include all the information you have gathered from the group regarding their lighting requirements. Go through their planned drama scene by scene noting down the following things

What they require What your initial ideas are including possible gobos, lights and gelsInitial rough design sketches

This page should look like a working document. You can add more evaluation and information by sticking notes over the original page.

Lighting Plans: Rough and Final Drafts [Planning, Skills and Work Related]

This page should look really neat and be professionally presented. You can make this page a foldout A3 section of your coursework if you need the space.

This page should include a neat design drawing for each lighting change in the drama you are working on. It should have a drawing of the rig and which lights are being used and next to that a sketch showing what the light would look like on stage.

Remember that under each of these drawings should be a brief explanation of your design.





1. I have now completed the rough sketches of my initial lighting designs. The sketches have taken a couple of hours but I think that they really communicate my design.

2. I have also booked the portable lighting rig and spoken to the stage manager about time to begin setting the lights up with the group actually on stage.

Future Planning:

1. I will now show my designs to the group and ask for feedback. In particular I am interested to see what they think of the lights in the final scene because I am not sure they quite capture the mood of the piece.

2. I now need to set up the portable rig to check I know how to use it and also make sure all the lights, cables and fuses work


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Rig Plans [Planning, Skills and Work Related]

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You must make sure that you have full and detailed Rig Plan for your lighting of your group’s performance piece

Your rig plan should:

Be on A3 paper and fold out Have each of the lights you are using on it Have the colour of each light noted Include any gobos in the rig Have notes on it explaining why they are rigged in that pattern

Cue Sheets [Planning, Skills and Work Related]

You should have a fully filled in cue sheet and attached to it should be notes explaining what each state looks like on stage.

Lighting Script [Planning, Skills and Work Related]

You must include a fully annotated lighting script that looks like a working document. You should also include notes on it explaining how you used it.

Lights, Gobos and Gels used [Skills Development and Work Related]

On this page you should include a diagram of each type of light used explaining what it does and giving and example of where you have used it.

You should also include and Gels you have used with notes on why you have chosen that colour and what effect you wanted it to create.

Finally include drawings and explanations of any Gobos you have used.

Photo Album [Skills Development and Work Related]

You should include a photo gallery of you rigging the lights, working the lights and then stowing the lights. This should cover two pages. Each photograph should have an explanation of what is going on and why you have included it.

Personal Evaluation




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How did your lighting contribute to the success of the performance?


How did the work of the actors contribute to your success?


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How did the audience respond to you lighting?



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Name:

Date:

Statement:


Name;

Date:

Statement:


Staff Name:

Date:

Statement:

Stage Management - This section to be completed by SM’s only

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This section should only be completed by those who have worked as lighting technicians during the performance exam.

Attendance Registers, Rehearsal Schedules [Planning, Skills and Work]

This page should have all your attendance registers and rehearsal schedules attached.

These documents should look like working documents.

Your attendance registers and schedule should contain the following information:

List of actorsA register of every rehearsal scheduleNotes on each rehearsalNotes on future actions

Stage Mark Out Diagram [Planning, Skills and Work Related]

On this page you should have diagrams outlining a stage mark out diagram for each of the scenes in your group’s performance.

If you need more space you can attach a sheet of A3 and fold it out.

In particular this page should contain:

A diagram showing where each bit of furniture and each prop should be positioned for each scene. The diagrams should be marked and have notes explaining where props brought on to stage are stored.

Notes on each diagram explaining the planning and layout of the set.

Production Weekly Action Plan [Planning, Skills, Work & Evaluation]

This page should show what tasks you carried out each week during the preparation and performance periods. It should outline what the task was and when it was completed by.

It should be laid out on a weekly basis with a week number at the top and then the list with dates and notes underneath.

Health and Safety Checklist [Skills Development and Work Related]

This page should list the health and safety checks you should carried out at various stages of the production. It should cover three areas:

RehearsalPerformanceGet in, Get out

It should read as a check list of health and safety issues you should be aware of or check before and during a rehearsal, performance or work on the set. Notes explaining why you have included certain points on the list would get you more marks.

Props List/Acquiring Props [Planning, Skills and Work Related]

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The props list should list each prop required in each scene, where you are going to source it from and which prop table or stage area it is going to be stored on. An example might be…

Scene OneProp Source Storage ReturnGun Joke Shop (£6.99) Stage right prop table Stage right prop tableTable Lamp Home Table on stage Table on stageTable Props room Stage StageChair Props Room Stage Stage

Scene Twoetc

Props, Prompt and Lighting Script [Planning, Skills and Work Related]

It is your responsibility to have a master script that has all the lighting cues marked (as it is your job to call them during the performance) but also prompt notes and what props are needed where.

This script should be attached to this page and look dog eared, worn and used. It should have notes on all over it. That way it will look more professional!

Get In, Get Out [Skills Development and Work Related]

This page should include all your notes and plans for setting up the stage and props in the theatre and packing them away. You can include pictures lists and notes but the main thing is a list of things to do in a particular order.

You could also give the actors in your group particular responsibilities and mark this next to the task.

Photo Album [Skills Development and Work Related]

You should include a photo gallery of you rigging the lights, working the lights and then stowing the lights. This should cover two pages. Each photograph should have an explanation of what is going on and why you have included it.

Personal Evaluation




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How did your lighting contribute to the success of the performance?


How did the work of the actors contribute to your success?


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How did the audience respond to you lighting?



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Name:

Date:

Statement:


Name;

Date:

Statement:


Staff Name:

Date:

Statement:

Appendix A: Professional Practice

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In this section you will produce coursework that covers your understanding of the performing arts industry.

Title Page

You must include a title page that contains two bits of information. You can lay out the page any way you choose. The two bits of information are as follows:

The title “Professional Practice Folder” [Your name]

Theatre Visit

In this section you will produce coursework that covers your visit to see “Cider with Rosie” at the Lace Market Theatre.

Date of Visit: 12th March 2006 Location: Lace Market TheatrePlay Title: Cider With Rosie Playwright: Laurie Lee

Review

In this section you need to review the play Cider with Rosie. Use the headings below to structure your review.

“Cider with Rosie” Review

Technical area Review

What did you think of the set design?

Did the sound and music in the play help to create atmosphere?

Lighting

Think about the acting

What did you enjoy?

Talk about what the set looked like, how they used it and whether you think it worked. Also talk about how you might have improved it.

Think about the music and sound effects and discuss whether they worked. Did they add to the atmosphere? How good was the singing? Did it add or take away from the performance? Why?

Pick examples of the lighting and discuss what they did and how well it worked.

Pick out three characters in the play that were acted well. Say why they were good and what they could have done to improve. Talk about movement, voice and character in particular.

Finally sum up by saying what you enjoyed most in the production and what you felt could have been improved.

Other Plays (A-C students must do this)

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If you have been to the theatre, a concert (Rock, pop, classical), a dance show or any live performance event write a short review of each event following this format:

Event Name: ExodusEvent Date: November 2004Event Location: Toot Hill TheatreEvent Type : Theatre

Review: Exodus was a tour-de-force written by the brilliant and dynamic Mr Harnan and performed by an excellent cast of students from Toot Hill school. It was averagely directed by Mr Brown and I think the cast did very well despite his amateurish work.

The acting in the show was…..

The lighting, sound and staging was….

Overall the play was…

Remember to include any photos, tickets, brochures that you have.

Researching Jobs in the industry

In this section you will research jobs in the performing arts industry. For each advert you should have a brief explanation attached to the advert that covers the following…

A sheet with 8 of these is attached at the end of the booklet

Testimonials

Please use the Testimonials sheet at the back of the booklet to get 3 testimonials from other members of the group and one member of staff.

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Why I chose this advert:

Qualifications needed:

Pay:


Professional Testimonials

Please use this sheet to record three testimonials from students and staff that discuss your professional approach to the performing arts

Staff name_____________________ Date_______ Signed_____________________

Name_____________________ Date_______ Signed_________________________

Name_____________________ Date_______ Signed_________________________

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Pay:



Pay:



Pay:



Pay:



Pay:



Pay:


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Documents

lighting audit - Home | Toot Hill School€¦ · Web viewThis would mean that the lantern patched into channel 1 would be at about half its full brightness. Fader 2 is at level