Internal assessment resource reference number Drama/3/5 – A3
PAGE FOR TEACHER USE
2006
Internal Assessment Resource
Subject Reference: Drama 3.5
Internal assessment resource reference number: Drama/3/5_ A3
From Russia with Love
Supports internal assessment for:
Achievement Standard 90611 v2
Title: Research and carry out a performance or technical/production role in a significant production
Credits: 6
Date version published: November 2005
Ministry of Education For use in internal assessment from
quality assurance status 2006
1
© Crown 2005
Internal assessment resource reference number Drama/3/5 - A3
PAGE FOR STUDENT USE
Teacher Guidelines
The following guidelines are supplied to enable teachers to carry out valid and consistent assessment using this internal assessment resource.
Context/Setting:
This activity requires students to research and carry out a performance role in a significant production of Bruce Mason’s The Pohutukawa Tree. The focus of this activity is on the exploration and development of character using principles from the Stanislavski acting system.
Conditions:
The students will work as an ensemble to prepare the production. The play has been chosen for its significance and richness.
Each student will be assessed as an individual on the preparation and performance of their role.
The performance length will depend on the director and the running time of The Pohutukawa Tree.
Students will perform their production to their family and the wider community in an evening performance.
It is expected that the task will take up to 10 weeks to complete, including teaching, preparation, rehearsal and performance. Extra rehearsals and preparation out of school time may be required.
Resource Requirements
· A copy of the text for each student and suitable for annotation in pencil.
· A copy of applicable worksheets from the task for each student
· Student portfolios
· An appropriate rehearsal space
· An appropriate performance space
· Suitable production technologies
· Access to the school library, the internet and extra research texts
· Access to applicable resources relating to Stanislavski’s system. See Appendices
Additional Information:
This task can be used with other New Zealand plays. Suggestions have been made in the appendices.
An example of an annotated script can be found in the appendices.
Stanislavski is often spelt Stanislavsky. Students need to be made aware of this.
A number of worksheets have been included for teachers to use. The worksheets can be used as printed, or the questions in them used as a guideline for student portfolio work. If used as written, they need to be part of their wider portfolio of evidence. For example, students will also need to record voice and physical exercises and in depth research – see the Portfolio evidence checklist.
© Crown 2005
Internal assessment resource reference number Drama/3/5 - A3
PAGE FOR TEACHER USE
2006
Internal Assessment Resource
Subject Reference: Drama 3.5
Internal assessment resource reference number: Drama/3/5 – A3
From Russia with Love
Supports internal assessment for:
Achievement Standard 90611 v2
Research and carry out a performance or technical/production role in a significant production
Credits: 6
Student Instructions Sheet
______
This activity will take place over 10 weeks, using class time and out-of-class time.
You will research and carry out a performance of a character from The Pohutukawa Tree by Bruce Mason.
You will explore and develop your character using the Stanislavski system.
You will perform the production to an audience of your family and the wider community.
You will keep a portfolio record of your research; development of the role; preparation; performance; and reflection.
You will annotate your script using the Stanislavski system.
Task Instructions
Task One Beginnings
As a class, read The Pohutukawa Tree by Bruce Mason.
On the worksheets provided, record your impressions of the play after each reading session. Include any questions you have about the themes, characters and the setting of the play. Reflect on characters you relate to and to those you don’t.
Split into four groups. Each group will be responsible for researching one aspect of the world of the play. The four areas are: History, Sociology, Politics and Geography. As a group, first compile three key questions relating to your area of research. Refer back to the play where needed. For example, the group researching Sociology might ask “how were rural Maori treated by non-Maori after World War II?” Or “What were common themes of Bruce Mason’s other works?”
Relevant material for this research could be gathered from both primary and secondary sources, for example a primary resource might be an interview with someone who lived in New Zealand in the 1950s, perhaps a grandparent. A secondary source might be photographs of 1950s New Zealand showing how people lived and dressed. Don’t limit yourselves to internet research.
Spend time researching the answers to your group’s questions, then present this information to the class in written form, e.g. a handout for each class member so that they can add this to their own portfolio and use it as a basis to develop their own understandings.
Task Two The Role
Select a role you would like to play in The Pohutukawa Tree. Prepare a short audition piece. As you prepare, try to demonstrate some use of body, movement, voice and use of space. Also keep in mind what you learnt from Task one, and how it might affect your chosen character in the way they think, speak, behave and react. Audition for the director. You will be cast in a role for the production.
Once the roles have been cast, spend time reflecting on the role on the relevant worksheet. What is your initial impression of the character? What questions do you have about them?
As a class, discuss the director’s concept for the production. Consider the research from Task one in your discussion. How will some of your information be relevant to what the director wants and to your role? Record these on the worksheet under the following headings: overall style, design and expectations.
Task Three The System
Before you begin blocking the play, your teacher will take you through the key aspects of Stanislavski’s system, using practical exercises and extracts from the play. You will explore the following:
Concentration; voice; physical skills; working as an ensemble; analysis; script annotation to discover role; the given circumstances; emotion memory; the magic ‘if’; and observation.
Task Four Using the system: Script annotation
As part of developing your role, you will need to annotate your script as you rehearse. Always use pencil. Complete the following exercises:
Divide your script into units and beats.
Record your character’s blocking using the symbols given for movement and voice:
Pitch
Pause /
Pace eg: fast, slow
Tone eg: angrily, sadly
Volume < >
Movement: SR (stage right),SL (stage left),CS (centre stage), arrows, and stage diagrams
Answer the following questions as many times as you need to in your script:
What does my character want? (OBJECTIVE)
What are other characters doing that prevent my character from having their objective? (PROBLEM)
Given that particular problem, what action does my character take to meet the objective? (ACTION)
Task Five Using the system: Exploring your character
The following work should be completed on the worksheets provided, then added to your student portfolio.
Complete the answers to the given circumstances as listed on the worksheet.
Consider your character’s super-objective. Describe it. Be aware of the links it has to the character’s objectives, problems and actions in your annotation. Use the space on the worksheet to record this.
Choose a point in the script where you can use emotion memory. Work with a partner to describe your own memory and then discuss how this might be applied to your performance. Record the impact this has on your development of the role on the worksheet.
Do the same using the magic ‘if.’
Choose a person from real life who you might model some of your character’s behaviour on and observe this person without them knowing. Record any useful findings on the worksheet.
Apply these techniques during rehearsals.
Task Six Rehearsal
Complete the rehearsal log after each rehearsal, and review it with the director at the start of each session as a way of focusing on what needs to be achieved during the next session. Continue to reflect in your portfolio on the discoveries you make about the role, research into the role, and development of that role.
Record any feedback given to you by the director and peers on your progress so far.
Return to the director’s concept you recorded in Task Two, and your character notes from Task Five. Reflect on your discoveries and the progress you have made in exploring and developing your role in your portfolio.
Return to the research into the world of the play from Task One. Are there direct links you can now make to your performance? Highlight these in your portfolio with additional notes if needed. Is there more research that now needs to be completed as part of your development of role? Add any extra research into your portfolio and label/highlight. Make additional notes to show your understanding of this research. What does it mean for your performance? How will you interpret it?
Commit to the rehearsal process by memorising your lines by the deadlines set, attending rehearsals, and participating positively in the process.
Task Seven Performance
Perform your character as rehearsed to an audience of family, and the wider community, sustaining your performance. Take note of any reactions and comments given to you by the audience, fellow actors and the director. Record these in your portfolio.
Task Eight Reflection
Prepare your portfolio for assessment as a record of your work with Stanislavski’s system. There should be evidence of:
your interpretation of research;
understanding and insight into your development of role;
your participation in the processes of preparation, rehearsal and performance;
Complete the following questions in your portfolio:
· How useful was your research into the world of the play when it came to understanding your role and preparing for the performance?
· How useful as an actor did you find Stanislavski’s system when exploring and developing your role? Record answers next to each of the techniques you used:
o Voice and physical skills
o Concentration
o Working as an ensemble
o Analysis – super-objective
o Units and beats breakdown
o The given circumstances
o Objective, problem, action analysis
o Emotion memory
o The magic ‘if’
o Observation
- How did using this system affect the success of the play in your opinion?
Portfolio Checklist
Your portfolio should contain
ÿ Your annotated script
ÿ Notes on the director’s concept
ÿ Worksheets
ÿ Notes on exploration of character
ÿ Research – personal and group, on the world of the play
ÿ Notes on exercises: voice, physical, concentration, emotion memory, magic ‘if’, observation…
ÿ Notes on the development of role
ÿ Notes on Stanislavski’s system
ÿ Reflection
Student Worksheets
These worksheets will form part of your portfolio of evidence. Additional work should be done in your student portfolio.
Task One
Record your impressions of the play after each session of reading.
SESSION ONE: ______
Questions I would like answered:
______
Characters I relate to so far and why:
______
Characters I don’t relate to and why not:
______
SESSION TWO: ______
Questions I would like answered:
______
Characters I relate to so far and why:
______
Characters I don’t relate to and why not:
______
______
Research into the world of the play.
Group names:
Area to be researched: POLITICS GEOGRAPHY SOCIOLOGY HISTORY
Three key questions my group will research:
1.
2.
3.
Notes from research: (You may need extra space for in depth research. Use your portfolio for this.)
Sources used:
Task Two
Role you have been cast as in The Pohutukawa Tree:______
Your initial impression of the character:
______
Questions you have about him/her:
______
The Director’s concept for the production
Overall Style:
______
Design:
______
Expectations of the director:
______
Task Five
The Given Circumstances:
Record answers to the following questions in character. Use your portfolio for more in depth answers. Refer to your script for answers, as well as your own intuition.
Who am I? ______
Where am I? ______
When is this taking place? ______
What surrounds me? ______
What significant events have taken place in the recent past?
______
How did these events make me feel?
______
What are my relationships? Describe each one:
______
For your answers it is expected that you will use examples from your character’s life in the play. Be specific, by describing how and why each technique was used.
My character’s super-objective is:
______
I know this because
______
My super objective affects the way my character behaves and thinks and reacts in the following ways:
______
Record your thoughts on your use of emotion memory for your role. One way I might use it is when my character…
______
Emotion memory would help me at this point in the play ______because ______
Record your thoughts on your use of the magic ‘if’ for your role. One way I might use it is when my character…
______
The magic ‘if’ would help me at this point in the play ______because ______
Findings from my use of observation (please do not record the person’s real name): how did they move? Speak? React? Did they have any mannerisms?
______
I chose this person because ______
* Please note that ongoing portfolio entries should record your use of the system during rehearsal, and the success or otherwise.
© Crown 2005
Internal assessment resource reference number Drama/3/5 - A3
PAGE FOR TEACHER USE
Task Six Rehearsal Log
Important dates and deadlines:
______
Complete this log after each rehearsal. You will need to make additional copies in your portfolio to fit all your rehearsals.
Goals specific to the ensemble for this rehearsal:
Goals specific to my own role for this rehearsal:
Work achieved during rehearsal:
Forward planning – goals for next rehearsal, tasks to complete, notes:
Directors notes specific to my character:
© Crown 2005