1. Be able to develop characterisation as an actor.
Research and development; assessing fuction/relevance of characterisation;analysis of text to buld a character profile;conducting research to build information about character/role; deconstructing a script eg units/objectives/barriers; communication with director and/or company to develop interpretation of the role; assessing nature of actor/audience relationship.
Planning for characterisation: observation; background research; inner life; issues of status/power; imitation; exploration; identification; emotion; concentration; focus.
2. Be able to develop and rehearse material using different acting styles.
Acting styles; eg naturalism, realism, expressionism, surrealism, epic, greek, choral and ensemble, melodrama, commedia del'arte, restoration, pre-Elizabethan, Elizabethan/Jacobean, grotesque, farce, physical or visual theatre, political, theatre of cruelty, theatre of the absurd.
Practitioners; eg Alfreds, Artaud, Berkoff, Boal, Brecht, Brook, Michael Checkhov, Fo, Grotowski, LePage, Littlewood, Marmet, McBurney, Meckler, Mnouchkine, Ninagawa, Saint-Denis, Stanislavski, Strasberg.
Practice; selected styles; interpretation of text and development of a role; isolating key features of the style; identifying actor/audience dynamics; use of actors log; rehearsal costume/props.
Skills and techniques; use of improvisation; observation; adoption and application of appropriate acting style; experimentation with movement and characteristics - tension, height, bodily openness and eye contact; experimentation with with voice characteristics - volume, inflection, tone; experimentation with speech characteristics - pace, pausing, accent, diction, and 'special' idiosyncrasies; use of gesture and image; emotional range and investment; interaction and responsiveness; use of space, time weight dynamics; inner and outer characteristics.
Growth and development; experiment and risk; engagement with the role; character decisions; extension and refinement; learning and memorising; sustained spontineity.
3. Be able to perform as an actor using different acting styles.
Acting styles; eg naturalism, realism, expressionism, surrealism, epic, greek, choral and ensemble, melodrama, commedia del'arte, restoration, pre-Elizabethan, Elizabethan/Jacobean, grotesque, farce, physical or visual theatre, political, theatre of cruelty, theatre of the absurd.
Physical expression; Posture; gesture; use of tension; height; openness; space and eye contact; range and appropriateness of energy.
Vocal expression; Range and use of instrument; volume; inflection; tone; pace of speech; accent and dialect; diction; vocal idiosyncrasies.
Investment; Commitment on stage; interaction and response; 'playing the moment'; public solitude; direct audience address; use of emotional range; coherence and consistency of role; character journey; relationship with audience; synthesis of character work and technique.
In order to pass this unit the learner must be able to fill the following requirements;
Independent enquiry.
Creative thought.
Reflection
Team work.
Self management.
Effective participation.
More information regarding the syllabus will be present within the handout given to you upon commencement of the unit. Please take the time to understand exactly what is asked of you. If you have any difficulty do not hesitate to contact Miss Kent.
Applying Acting Styles
Unit Aims and Outcomes
This is unit 20 of the BTEC syllabus and will be studied by year 12 this january.
Aim and Purpose
The aim of this unit is to enable learners to develop a range of approaches to acting; they will do this through a study of at least two acting styles drawn from different historical periods, and through planning and producing two contrasting performances of scenes drawn from scripted plays.
Unit Introduction
The development of drama caan be seen as an ongoing process through which styles of actig have evolved and altered. Each period throughout history has produced recognisable styles of acting that suit the work of contemporary playwrights and, in turn, communicate meaning to an audience.
Throughout the 20th century and into the 21st century, a great deal of critical analysis and evaluation of the various acting styles has taken place. During the same period a number of important practitioners have emerged, producing a variety of ideas. techniques and even philosophies of acting. These at times contradictory sources represent material from which learners can draw, in developing versatility accross a range of acting styles. Each play, each production, will suggest a specific style or styles that the actor must adopt and control with confidence. Certain plays and productions may require a mix of styles: a director may, for example, choose to mix a Stanislavski and Brecht performance principles within a single production of a Shakespeare play. The actor must be prepared to join the experiment to ensure that stylistic techniques are applied with equal rigor.
All acting stles require learners to apply key acting skills and knowledge. Free and practised use of voice, speech and movement; insightful approaches to working on text; informed techniques of characterisation; and awareness of the changing nature of effective communication with an audience, all require focus and consideration. Each of these areas must be considered in turn, to ensure that appropriate choices are made - enabling learners to communicate through each chosen acting style with maximum effectiveness.
Learners shoud take part in a series of practical workshops. They should rehearse and give at least two performances before an invited audience to last at least 10 minutes each.
Learning Outcomes.
On completion of this unit a learner should;
1. Be able to develop characterisation as an actor.
2. Be able to develop and rehearse material using fifferent acting styles.
3. Be able to perform as an actor using different acting styles.
(p.1 Edexcell BTEC Level 3 Nationals specification in Performing Arts - January 2010 c Edexcell Limited 2009)
Aim and Purpose
The aim of this unit is to enable learners to develop a range of approaches to acting; they will do this through a study of at least two acting styles drawn from different historical periods, and through planning and producing two contrasting performances of scenes drawn from scripted plays.
Unit Introduction
The development of drama caan be seen as an ongoing process through which styles of actig have evolved and altered. Each period throughout history has produced recognisable styles of acting that suit the work of contemporary playwrights and, in turn, communicate meaning to an audience.
Throughout the 20th century and into the 21st century, a great deal of critical analysis and evaluation of the various acting styles has taken place. During the same period a number of important practitioners have emerged, producing a variety of ideas. techniques and even philosophies of acting. These at times contradictory sources represent material from which learners can draw, in developing versatility accross a range of acting styles. Each play, each production, will suggest a specific style or styles that the actor must adopt and control with confidence. Certain plays and productions may require a mix of styles: a director may, for example, choose to mix a Stanislavski and Brecht performance principles within a single production of a Shakespeare play. The actor must be prepared to join the experiment to ensure that stylistic techniques are applied with equal rigor.
All acting stles require learners to apply key acting skills and knowledge. Free and practised use of voice, speech and movement; insightful approaches to working on text; informed techniques of characterisation; and awareness of the changing nature of effective communication with an audience, all require focus and consideration. Each of these areas must be considered in turn, to ensure that appropriate choices are made - enabling learners to communicate through each chosen acting style with maximum effectiveness.
Learners shoud take part in a series of practical workshops. They should rehearse and give at least two performances before an invited audience to last at least 10 minutes each.
Learning Outcomes.
On completion of this unit a learner should;
1. Be able to develop characterisation as an actor.
2. Be able to develop and rehearse material using fifferent acting styles.
3. Be able to perform as an actor using different acting styles.
(p.1 Edexcell BTEC Level 3 Nationals specification in Performing Arts - January 2010 c Edexcell Limited 2009)
MODULE FOCUS
This module focusses on the applying of different or contrasting ascting styles. It will demonstrate the approach of naturalistic, true to life theatre performance through the use of Konstantin Stanislavski's 'Method' of acting and hold it in comparison with political inspired 'made strange' performance works of Bertolt Brecht. The links alongside this page will direct you to pages with information regarding each dramatic practitioner. It will also provide exercises for you to complete within your working log books. Follow the exercises for extra credits and to boost the theory elements of your performance grades.
