DRAMAPerforming art written to be seen rather than readReflects the drama of everyday life holds it up for examination

SCRIPTWRITINGDIANA HWANG/JOHN BATEMAN (18/4/2011)

EXPLORING AND DEVELOPING HIGHER ORDER THINKING SKILLSVisioning ResearchProblem solvingLogicPlanningAnalyticalfrom Nikos Theodosakis. The director in the classroom: How filmmaking inspires learning.

THREE ACT STRUCTUREAct 1 : The set- upIntroduces scene and characters. Ideally about 25 pages long. The hook will be introduced before page 10 and the inciting moment will occur before the end of act 1.Act 2 : The conflictEach climax will be higher than the last, and strategically placed to provide the audience with a breather. Act 2 usually occurs between pages 25-75. The point of no return will occur at around page 45-50. Act 3 : The climaxThe plot is resolved, problems are solved and loose ends are tied up at the end. from Rachel Shirley. (2009). All about writing screenplays.

DIALOGUESArguably the most critical part of creating dramaServes many purpose:Moves the story forwardImparts informationBreaks actionControls paceDefines the characterCreates tension

In real life, discourse between people contains interruptions, repetitions, false starts and digressions.

from Rachel Shirley. (2009). All about writing screenplays.

WHEN NOT TO USE DIALOGUE?If the purpose of the dialogue could be better illustrated by action. Body language often creates more tension than overt expressionIf it is too wordy. Cut down if it is more than ten lines long, unless the lengthy monologue is serving to illustrate a character trait or unusual situation.If it repeats informationAn ideal screenplay should contain a mixture of dialogue and action sequence.

CHARACTER DEVELOPMENTCreate a character profile e.g. name, bizarre phobia, or the way they speak - eventually triggers writers imagination into adding other characteristics until a fully fictional rounded character is formed.Avoid stereotypes subconscious e.g. the eccentric professor, the rebellious teenager, the grouchy old man. Project unexpected characteristic upon stereotypes - brings sharp relief e.g. the rebellious teenagers who knits.Develop believable characters with a soul.

SCRIPTWRITING PROCESSUnderstand the scriptwriting mediumLook at features of scriptsKnow your storyDevelop the ideaSequenceCreate a frameworkVisualize a performance spaceFirst draftRedraftWorkshop/discussionFormatting and conventions

EDITING THE SCRIPTOnce the screenwriter has transcribed their first draft onto a formatted script, and taken into account the three-act structure, the following changes might be considered for revision.Do the first ten pages grab the reader?Does the story correspond to the three-act structure of telling a story?Is the script at an acceptable length of 90 to 120 pages?Look out for typos.

Can tension be enhanced to any flat scenes?Are there any stereotypes? If so, weed out or change or add an interesting slant.Is there anything superfluous that can be cut from the story in order to tighten it?Cut out prose. The script must show, not tell.Seek feedback from an informed, impartial source.After addressing these points, put the script away for three weeks or so, and then read again with a fresh viewpoint.

STAGECRAFTTechnical aspects of theatre - comprises many disciplines:

Sound: musical underscoring, vocal & instrument mixing, sound effects Lighting: involves the process of determining the angle, size, intensity, shape, and color of light for a given scene.Scenery: includes set construction, scenic painting, drapes, curtainsProps: includes furnishings, set dressings, & all items large & small which cannot be classified as scenery, electrics or wardrobeVideo : relatively recent field of stagecraftMechanics: design, engineering & operation of flown scenery or flying of performers & mechanized scenic elements & special effectsProduction: comprising stage management, house management, show control (e.g. cue, time)Costume : design, construction, procurement and maintenanceMake-up : application of make-up/wigs to accentuate an actor's features

Basic form - managed by a single person (often the stage manager of a smaller production) - arranges all scenery, costumes, lighting, and sound, and organizes the cast. Professional level e.g. Broadway- managed by hundreds of skilled carpenters, painters, electricians, stagehands, tailors/seamstresses, and wigmakers.

PROPS/SCENERYEVA CHAKRABARTY (21/4/2011)

SettingSometimes we recall a story not for what happened or for who was in it, but for an atmosphere that was powerfully evoked that made us feel we were actually there.

PROPSA prop must look real to the audience. Many real objects are poorly adapted - due to their size, durability, or color under bright lights or behave differently than the real object would, often for the sake of safetyExamples: A weapon (e.g. gun/sword) lacks the intentional harmfulness of the corresponding real weapon. Often are replicas, or have safety features to ensure they are not dangerous e.g. knives are often made of plastic/rubber.

ACTIVITYEach group is given a different act to work onUse the newspapers given by your lecturer and create 5 props which you will use for the acts assigned to your group

PLOTAct 1: Witches prophecyAct 2: Killing of DuncanAct 3: Killing of BanquoAct 4: Killing of Lady Macduff, Witches prophecyAct 5: Macbeths death, Malcolms triumph

STAGE MANAGINGEVA CHAKRABARTY (21/4/2011)

Stage manager: Organizes the production and coordinating communications between various personnel

LIGHTINGLight board & sound board are sometimes operated by the same person . The functions of lighting include:

Illumination : Ability to see what is occurring on stage. Any lighting design will be ineffective if the viewers cannot see the characters, unless this is the explicit intentRevelation of form: Altering the perception of shapes onstageFocus : Directing/Distracting the audience's attention to an area of the stage. May trigger or advance the action/plot onstage.Mood : Setting the tone of a scene. Harsh red light has a totally different effect than soft lavender light.Location/time of day: Blues can suggest night time while orange and red can suggest a sunrise or sunset.

DANCE TO THE MUSIC

SOUND/MUSICFunction: to evoke emotion, reflect mood & underscore actionsElizabethan Theatre: produced off stage using devices such as bells, whistles, & hornsCues: written in the script - played - appropriate time

SOUND/MUSICTechnical sound design: design & implementation of a sound system equalization, delay, volume, speaker & microphone placement ensures that the performance can be heard & understood by everyone in the audience, regardless of the shape, size or acoustics of the venue ensures that performers can hear everything needed to enable them to do their jobs Conceptual sound design: selection of music & sounds for a production based on intimate familiarity with the play themes and messages to be explored - create the desired moodschoice of using existing music or composing new music (OST)

ACTINGJOHN BATEMAN (25/4/2011)

Breatheget into the habit of breathing deeply before you speak or sing. Use your diaphragm (stomach muscles) and feel your ribs spread. Pretend youre yawning. Try it when something irritates you.Projectspeak loudly and clearly. Pretend to speak to someone next to you and then to someone across the room. Enunciatepractice saying your lines as though the consonants are extremely important.Go into the light - especially important for leads. You should feel this light on your face or in your eyes. Dont deprive the audience of your lovely face.

Positioning - if in groups, do not get into a straight line (boring!). Always be aware of your body and where you are in relation to your colleagues. Pick up your lines - get rid of the dead space after others lines. Dramatic pauses are only effective when used rarely. Be fast. One exception to this rule: if a line gets a laugh from the audience, wait till it stops - otherwise there is a chance you will not be heard.Memorize - your part and need to be familiar with the entire script. If you thoroughly understand the story, then you have context for your character. This allows you to build your character intelligently so that everything you do is in service to the story being told.

Listen & connect - Perform exercises with your partners in which the objective is to wordlessly react while they talk. Staying in character when the other actors are the focal point not only makes them look better, it also creates a believable scene. Chivalry - not clinging to your own ideas, status, or personality as a character - daring to give up control. Change is a good thing. TELL THE STORY. Never forget that in your audience at any given performance, it will be someones first show and someones last. Keep it real, convincing and memorable.

ACTIVITYStudents play a game called Emotion Orchestra.They get into 5 groups of 15. Each group will have to elect the conductor for the orchestra. The others are assigned into various sections of the orchestra according to the various sounds they have to produce (e.g. Shocked, Injured, Amused, Awe, Sad, etc). Each group should have at least 6 different sounds to produce according to the emotions. The conductor leads the orchestra of emotions as he/she pleases. Sections could be combined or could perform separately. Volume and tempo may also be adjusted.

COSTUMES/MAKE-UP/HAIR/ACCESORIESJANET MOININ (28/4/2011)

COSTUMESReflect ones identity - who the person is & the qualities of the person/group that makes them different from others. Characters in Macdepp - Sabah & Sarawakian culture present time (21st century) - change from the Scotland & English culture of Macbeth Elizabethan age (early 17th century). Most ethnic groups in Sabah - velvet black - dominant colour. Belief - black is a godly colour & represents power - protect the user from bad spirits. Sarawak long loincloth called a tawuop or tahup - made of cotton with coloured bands at the ends.

ACCESSORIESPlastic beads, gold and silver threads & sequins adorn clothesBelts made from various materials like shells, silver glass coins, bronze or other types of alloys. A waist cloth made of coloured rattan is used to tighten up the robe, pants, or vest. Necklace made from various materials are used as decoration around the neck and chest. Bracelets are also used to adorn the hands, wrists and feet.

HEADGEARProtection from the heat & to absorb perspiration. Sabah - men - headgear (sigah) - a square piece of cloth folded into different shapes - according to the district the person is from. Sabah - women - beads, combs, scarves & traditional hatsSarawak men - headgear called the burang sumba, - made of tree bark & decorated with feathers.Sarawak women - wear sugu tinggi - made of silver

SABAH

SARAWAK

ACTIVITYGet into 5 groups of 15. Those from the Costume committee should be equally dispersed into the 5 groups. Sketch the costumes for the following characters. Before you do so, think of one special quality that differentiates this character from the other characters.King DuncanBanquos ghostThe three bobohizansThe doctorThe messengers/porter

ELIZABETHAN ERAThe cosmetics worn by women during the time of Queen Elizabeth differed radically from today. Materials used--kohl, ceruse, vermilion, etc different. Standards of beauty change over the centuries. To understand the cosmetics worn by Elizabethan women, it's important to understand the effect they were trying to achieve--that "ideal" of beauty that they wanted to imitate.

One of Shakespeare's sonnets pokes fun at the common metaphors used to describe the ideal beauty: "My mistress' eyes are nothing like the sun Coral is far more fair then her lips fair If snow be white, why then, her breast is dun, If hair be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks... Pale skin - sign of nobility & wealthHair - tightly curling the front portion & rolls on either side of the head - false hair - commonly used - easier to manage than one's own locks.N.B: dun = grayish brown

ACTIVITY: MACDEPP IN CONTEXTWhat are the Sabahans ideals of beauty forwomen?men?Based on the popular Kaamatan/Harvest Festival pageants, Unduk Ngadau and Buvazoi Tavantang, can you list some characteristics? (e.g. make up, wigs, accessories)Comment on the use of make-up/hairstyle in the following pictures.

PUBLICITYSHARIFAH MAZNI SYED MOKHTAR (5/5/2011)

SPREAD THE WORD/WORKBrochuresPostersInvitation cardsBannersDoor giftsExhibition (comic strips, the making of the play)CommercialsSponsorship

PROMPTINGEVA CHAKRABARTY (9/5/2011)

Prompt: To help someone, especially an actor, to remember what they were going to say or do.Task: Think of ways to do so on the day of the dramatization without making it obvious to the audience.

Twist- Sugar, sugar I like to move it - You look wonderful tonight Dont stop believing*