Unit 1

Record of work booklet

Name……………………………………………………………….

Form………………………………………………………………..

Week / Focus / Class time
1 / SCHP Contextualisation.
Barlowas a contemporary playwright.
His original intentions when writing this script (2006). /
  • Read the play as a whole class
  • Discussion and exploration of the use of comedy, themes and issues inThe 39 Steps
  • Introduction to the playwright and his intentions
  • Original performance conditionsand the contemporary audience’s response

2 / Language:
Verbal and non – verbal communication / Barlow’s use of language
  • What is not said?= Sub-text.
  • Standing up the text with movement & change in punctuation
  • Miming and movement inthe play
  • Discussion and review of Drama work and language used in this play and making your own notes.

3 / Vocal awareness /
  • Use of voice as an actor
  • Use of voice in the text
  • Interpreting a character through voice
  • Use of sound

4 / Characterisation /
  • Physicality in the space
  • Getting to know your character: Stanislavski developed a new and radical system for actors
  • A character out of context
  • A day in the life of…

5 / Response to a practitioner:
Konstantin Stanislavski
(1863-1938) /
  • Introduction to Stanislavski and his radical ideas on performance & theatre.
  • Making the connections –practitioner to play
  • Devise a Stanislaviskian scene
  • Discussion and evaluation of Drama work achieved. Followed by your detailed note-making of these sessions

6 / Visual, Aural Spatial
(These 3 elements were vital in an Stanislavskian production) / The 39 Steps– from a designer’s POV
  • Lighting
  • Staging/ Set design
  • Costume
  • Sound/ Music/Song
Design your production for the PAC or the Drama studio
7 / Interpretation /
  • Your roles
  • Your scenes
  • Other moments
  • Your ideas about how to produce this script for a contemporary audience

8 / Unit 1 Discussion and note-making: Review and evaluation sessions. /
  • Unit 1 discussion and review of Drama thinking and Drama work achieved.
  • Controlled assessment coursework sessions in class and in IT suite or in the House
  • One to one help sessions

Unit 1 schedule – The 39 Steps

AS Drama and Theatre Studies

Unit One – Exploration of Drama and Theatre

Text One

The 39 Stepsby Buchan/ Hitchcock/Barlow

Social, Cultural, Historical and Political context

Lessons1 - 6 – Introduction to Stanislavski as a practitioner

-Reading of the play

TASK – In groups of no more than 4, create 3 still images and short movement/ sound collages which connect these still images that your group feels communicates a truth about our society at the timethis play was written. Bring out the humour of this play in your still images and sound collages. Show and discuss.

TASKWith a partner research Barlow’s ideas when writingThe 39 Stepspaying particular attention to the notes on the following things:

  • Society at the time
  • Barlow’s intentions
  • The contemporary audience’s reaction

In light of your knowledge and understanding of the above, answer the following questions:

TASK Create a short piece of prepared improvisation depicting the target audience’s (21st century audience) reaction to the piece. Use what you have read and researched so far to give an accurate and informative point of view.

Please make use of the following:

  • Sound
  • Mime
  • Lighting
  • Staging – where will you consider placing the audience?

TASK: What is not said? Making use of the sub – text

A)Group discussion. Identify in small groups a moment when characters choose NOT to reveal their real, ‘true’ feelings. Think about what it is they choose to say and to not say to each other at this moment in the play? Consider and experiment in the space with comedy and humour.

Show and discuss.

B)Pair up with another partnership and go back over the scene using both the lines and the subtext. Two people should read through the scene as the playwright intended and two should add a line after each character speaks that tells us what they are really thinking.

Things to consider:

  • Are the characters being honest with each other?
  • What does each character want to achieve at this moment? (action)
  • How are they trying to get what they want? (motivation)
  • How does your use of comedy and humour encourage your audience to laugh? TASK

TASK – Non – verbal communication

A)Stand up Act 1, Scene 3 with Hannay and Annabella (p.6-7). Take note of the stage directions and develop these in your mime. Exaggerate your movement, gesture and facial expressions. Experiment with and vary the pace and rhythm of this mime. Consider how this brings out the humour of this moment for an audience.

Re-create the scene in mime. How does it change the relationship between these 2 characters for an audience when performed as mime?

Now stand up Act 1, Sc. 9 (p.21 with Policeman 1:’Excuse me please...’ and ending on p. 22 with Pamela’s line: ‘This is the man you want Inspector!’ Then put your scripts down and improvise this moment. Add in improvised dialogue and mime. How does this change this scene? How does it alter what is going on non-verbally in the scene through your use of mime and non-verbal communication?

Show to another group/ audience and discuss:

  • Did they understand more or less about the relationship between the characters?
  • As an actor, what did this task force you to consider that you usually would not?
  • How did this help us / the audience and you/ the actor to understand the character, plot or scene better?

B) Now come away from the spoken language a little more by turning this scene into a series of physical movements. These movements should not be as realistic or literal as your mime. Show and discuss as before using the same discussion points.

TASKCatch up on any notes you have missed and finish any you have not completed. If you are up to date, you may get started on typing up your

coursework IN SCHOOL using your completed notes in this booklet.

TASK -Vocal Awareness

A)With your teacher, take part in the vocal warm up and discuss the use of the actor’s voice on stage.

B)In groups stand up the Act 2, Sc. 24 (minimum 1 page) and annotate the text as you go indicating your chosen use of at least three of the following:

  • Tone
  • Pitch
  • Rhythm
  • Volume
  • Accent
  • Pronunciation
  • Diction

TASK -Making reference to practical tasksto, consider a particular moment in the play where voice has proved influential or crucial to a scene’s success. Do not exceed 200 words.Be mindful to consider how you and others have used voice and silence for effect.

TASK - Characterisation

TASK - Getting into character. Create a short diary entry for one of the characters in the text. Turn this diary entry into a monologue. Use a technique for getting into character we have discussed.

Perform and discuss

In light of your feedback from the audience and your rehearsal process, reflect on your methods of getting into character and suggest ways of improving your own ability in this area.

TASK – Developing your characterisation and the story.

Create a piece of prepared improvisation showing the highlights of either or s story. You may bring in other characters to help you elaborate on their stories.

N.B: Some of their journey appears in the text and some does not, use your knowledge of the play and its characters to make this piece consistent and realistic.

TASK –Response to a practitioner & Interpretation

TASK – Perform 1 or 2 scenes from the play (without looking at the text and ad-libbing) in the style of Stanislavski – max 5 mins.

TASK – Prepare and learn by heart either Hannay’s opening monologue or the Radio Announcer ‘s speech (on p.33/ Act 1.Sc.15) in the style of Stanislavski– max 2 mins. Bring out the integrity of either of these characters as well as the humour in their speeches.

TASK – Independently reflect on how The System of the theatre practitioner, Stanislavski, has affected your interpretation of the characters, story, these scenes and your performance as an actor. Compare and contrast two techniques you used successfully. Try to present an analytical and critical point of view in your written assessment of your acting and interpretation of these characters.

TASK –Interpretation of the text

HWK:Stand up a key moment from the play and a five minute presentation explaining how you went about this task. You must clearly justify your reasoning for performing the scene in this way.

Create a five minute presentation in groups of no more than 4.

Please allow time and cost for resource sheets for the audience (see your teacher if you need help).

In your presentation, pay attention to the use of visual, aural and spatial elements as well as the other elements such as use of non – verbal communication we have looked at so far. Mention of at least 3 elements and/ or mediums in your presentation.

TASK –Visual, Aural and Spatial– Designing The 39 Steps. You are a creative director and designer for the National Theatre in London, and you must decide on how to stage a version of the play. You have to engage a contemporary audience, and you need to make some tough decisions about how to communicate through the visual, aural and spatial elements.

Start by using the space and resources to create a set for The 39 Steps.

Present to the group justifying your ideas. You may wish to be inspired by a practitioner.

Now draw your design, label and annotate as appropriate. Try to be creative, detailed and concise.

You have designed the set, now you have to come up with ways of using sound, lighting, costume and proxemics to complement the narrative.

You call a production team meeting to decide how to use these elements. In groups of no more than five, make some notes on each element which summarises your ideas. Remember to justify why you made each decision.

The director has been inspired by Stanislavski, it is part of your job to draw upon this practitioner’s style in your design ideas.

REVIEWING THE UNIT

As a class, go back over your notes from the last half term and start to amalgamate them into a piece of coursework.

You may include photocopies, diagrams, photos, drawings and anything you feel will help you to describe your process.

Here is a summary of what you need to write about for a final time;

  • Social, cultural, historical and political context
  • Language
  • Non – verbal communication
  • Vocal awareness
  • Characterisation
  • Response to a practitioner (just one: choose Stanislavski or Artaud)
  • Visual, Aural and Spatial awareness
  • Interpretation of the text

This part of Unit 1 should be a maximum of 1,750 words.