Reminders: Component 3

1. Reminders: Component 3 • Exam is 1 hour 30 minutes. • Please answer section B first. This is the only part that you need to remember everything so it is best to do this first.

2. Warm up: Staging configurations • Using white boards draw the following stage configurations. (You have 15 seconds for each one.) • Thrust • Proscenium Arch • In the Round (aka Arena) • Traverse • Promenade

3. Proscenium Arch What is this staging called? I’m looking for accurate spelling.

4. Clean copies of DNA will be on your desks in the exam hall. Top Tips • Eat brain food: bananas and oily fish. Drink water. Get sleep. • You will need to look for the DNA questions in the exam booklet. It will tell you on the inside cover which page to go to. • Answer one of two questions in Section B (choose one of the many productions we’ve seen but NOT DNA!!!). There will be one design question and one acting question. • Answer all questions in Section A (DNA). • Use a black pen. • Write the correct question number in the box provided (esp. useful if you do not answer the questions in the set order).

5. Read the question carefully. Top tips • How long is the exam? • Bring an analogue watch if you can. Put it on the desk in front of you to keep you on track. Do not bring mobile devices. • Spend 1 hr and 5 minutes on Section A. Spend 25 minutes on Section B. • Do section B first.Check in the inside page for the Section B page number. • Look at how many marks each question is worth. This will indicate how long to spend and how much to write. • Section A timings: 15 minutes for 10 mark question/ 20 minutes for 15 mark question/ 30 minutes for rest of the paper. Plus proofreading.

6. Section B: Choose either A Christmas Carol, Of Mice and Men, Things I know to be true, The Box of Delights or Macbeth NOT DNA Time : 25-30 mins • Write down ‘Section B’ clearly at the top of your answer booklet so that the examiner knows that this is what you are first answering. • Remember that this is only worth 15 marks out of the 60 available therefore do not spend too long on this. • You will be presented with a choice of two questions. You must only choose one to answer. • Choose whichever one you think will better at. • The Examiner will not have seen the performance you saw so give enough description for them to understand the context. • Use bullet points in question to help you • Spend 5 mins planning and 20 minutes writing

7. Top Tips – Live Theatre Review Which ever question you answer you must include the following: • Name of production, company and venue • Style • Playwright intentions • Examples from two scenes • Analyse (describe what and how) • Evaluate (success: effect and impact) • Your personal response • Audience

8. What should you cover…

9. What do you need to know for your chosen performance to review: Acting: • Vocal performance • Physical performance • Interaction • Style Sound • Volume of effects • Recorded sound vs. live • Editing of sounds: Echoes, speeding up or slowing down • Atmosphere created Costume: • Garments worn for key characters • Colour of garments • Fabric used • Accessories • Hair or wigs • Period created • Location created • Time of year/style • Condition of garments Set • Colour palette used • Furniture and props on stage • Wall coverings • Floor coverings • Size of set pieces • Location of set pieces • Location created • Period/ Time created • Atmosphere created Lighting • Colour • Intensity • Highlighting of specific areas with lighting • Angles used and effect upon actors/ creation of shadows • Specials (strobes, spotlights, projections) • Time of day/season/atmosphere created • Location created

10. Writing a successful review – WACM (Wackem!) in every paragraph • W – What happened: describe a specific moment or aspect – use drama or design terminology • A – Atmosphere: How did it impact the atmosphere • C – Character: What did it reveal about the character (i.e. how did the costume or prop or aspect of set or decision about voice or decision about light have an impact on how you viewed the character?) • M – Me: what was your/ the audience reaction or what were your thoughts?

11. ‘Things I know to be True’ Example: ‘Things I know to be True’ toured the UK in 2017. The play raises questions about what the characters actually know to be true. • Character Example: Perhaps the most moving moment of the entire play was the link between the opening soliloquy of Bob and a second one in which he reveals the nature of the phone call. As the play was directed by Frantic Assembly it is physical theatre at its best. In the final scene the actor playing Bob was choreographed to lean forward defying the rules of gravity. The other characters were blacked out and the spotlight was on Bob, as they supported him to hold an impossible pose perhaps representing the extreme emotions at that moment. His facial expressions perfectly matched this as he looked out into the darkness of the audience almost pleading it not to be true. This is poignant as for most of the play Bob is presented as the most ‘ordinary’ of a family full of people with emotional and logistical problems so his break down at the end is even more powerful.

12. Section A: DNA – Work backwards answering the questions worth the most marks first. • Read instructions on front cover carefully and write correct question numbers on answer booklet when answering the questions. • TURN TO DNA - Write DNA at top of answer paper to make sure examiner knows which play! • Read the questions very carefully and highlight the important words. • Read the scene section carefully • Use words from each question in your answer. • LINK – make sure you link your answer to the chosen scenes • Use the bullet points given in question and write something for every bullet point. Tick them off or cross them out as you go.

13. Don’t forget the importance stage directions and impact of location Top Tips - DNA • Over half your DNA marks are given on a particular extract. Spend 5 minutes visualising the theatrical scene as you read it. Imagine how it looks, sounds and feels, theatrically: it is not a film. • Look for the questions that end with ‘ this extract’; make direct links to that extract and its characters, themes and context. (Remind yourself what is happening before and after).

14. For specifics on vocal and physical skills, filmed examples and mnemonics to remember them, come to Studio 1. 3.20. Top tips • Write a lot about a little. Be specific and detailed. Do not make sweeping statements., WABOLL The actor will use their body language to show they are cross… or the actor should use the tone of their voice to show they are cross. IN WHAT WAY, WHY AND DEMONSTRATE FROM THE TEXT. WAGOLL The actor should emphasis the last word in the line, ‘what do you think, Danny?) as this would convey to the audience that John is picking specifically on Danny, putting pressure on him in an intimidating way. Added to this, a cold hard stare and a curl of the lip to show a slight snarl, would indicate to both character and audience that he does not want to be messed around. Thus adding to the tense atmosphere (thus demonstrating the impact of bullying).

15. The Tricky genre Question • Kelly has said that he doesn’t want DNA pigeon-holed into a specific genre, although it contains elements of both comedy and tragedy. However, it can easily be argued that it belongs to the ‘in yer face’ genre of theatre as it is such a challenging play for an audience to watch.

17. You may be asked questions on your ideas for: • How the play could be performed vocally and physically, using key terms to explain • How the play could be rehearsed, referencing specific rehearsal techniques • How the play could be designed for a named stage type, so you must have concepts for all four stage configurations • How the costume/hair/make-up could be designed for each character • How lighting could set the location/atmosphere/time period/season/ direct audience’s attention in key moments • How sound could be used to set the location/atmosphere/time period/ season/ direct the audience’s attention in key moments.

18. Rehearsal Techniques Question Example: Name two rehearsal techniques that an actor preparing for the role of X in the extract could use. Explain how these two techniques help to prepare the actor for this role in performance. The first part (i) you just need to name two and in the second part (ii) explain how it would help an actor to prepare for the scene. • If you are asked to discuss rehearsal techniques, the best way to approach them is exactly as you have in lessons. • Discuss the challenges of the extract/character in the question. • Explain (very briefly) what the rehearsal technique is/how it works. • Detail how the rehearsal technique could be used to overcome the challenge of this extract/character IN THIS SCENE.

19. Rehearsal Techniques • The Magic If: An actor can imagine what they would do if they were in position. Adds realism to performance and helps actor to relate to performance • Emotional Memory: An actor reflects on a moment in their life when they’ve experienced something similar. The memory can add colour to the performance. Roots performance in the real world, therefore more naturalistic. • Animal Study: An actor decides on an animal that would be similar to character. Consider how they move and interact. This may be particularly useful for helping an actor decide on their physicality and interaction. Particularly useful when they don’t have many lines but need to ‘stay alive’ in the scene. • Masks: An actor may wear a mask during rehearsal stripping them temporarily of facial expressions. Forces an actor to be aware of how they can use their physicality to communicate, particularly useful for re-acting (e.g. Phil) • Freeze Frames: Create a frozen moment in the play.Gives actors space and time to consider how they can use their physicality and the space/ levels to create meaning. • Off text improvisation: Actors consider movements not included in the script to explore. E.g. perhaps how Phil and Leah met or the scene improvising the scene when Adam is attacked. Fantastic for developing the relationship between characters also adds more depth.

20. Rehearsal Techniques • Tug of war: An actor delivers pieces of text when they are arguing whilst playing tug of war. As the intensity of the argument increases so does the their tugging. Adds tension in physicality and vocal performance. • Actioning: Assign a verb to each line that an actor has to deliver their vocal delivery. Helps to ensure there is variety in the delivery of lines. Very useful when the actor has repetition of lines or large chunks of text which are in the same vein. • Status Levels: An actor goes higher or lower in the scene dependent when they think that the character has more of less status. This should be non naturalistic. Chairs or tables can be used to help them get higher. This is very good for moments where there is a clear status hierarchy amongst a group. Allows the characters to consider relationships with other characters. • Thought Tracking: An actor speaks their characters thoughts out loud before delivering their lines. Once they think know how their character may be feeling they can return to the scene with more intensity. Helps characters to consider their inner workings and motivation. Also they appear more alive. Also useful for when not many lines and re-acting • Hot Seating: An actor sits in front of the cast and they ask them questions about their character’s relationships, back story and motivations. The actor responds in character and uses their understanding of the text to improvise answers if required. Allows an actor to develop a greater understanding of their characters motivations and gives them the freedom to experiment with vocal delivery and physicality free of the constraints of the text.

21. Rehearsal Techniques • Vocal Exercises: Carrying out exercises such as scales, tongue twisters and projection games before moving into the staging of a scene. Allows an actor to ensure that their vocal range is fully utilised. Useful for moments where the character is angry, upset or happy to ensure their voice matches. • Role on the Wall: An outline of the character is stuck on the wall. The actor writes everyting the character thinks about themselves on the inside and outside all of the things said about them by other characters. A very useful way of gathering the full picture painted by the playwright. • Units and Objectives: An actor splits their script up into chunks (aka units) where the topic of conversation is the same, imagining they are creating chapters in the script. These units could be whole pages or just a couple of lines. characters thoughts out loud before delivering their lines. The actor then decides what their objective is. They can use this to colour their performance in the scene. Importantly the objective must change when their unit does. Splitting it into units makes the actors look objectively at their lines and allows variety in their performance.

22. Answering an acting question: Use: What? Where/When? Why? Paragraphs • In an acting question you need to explicitly link your ideas to the named scene using key quotations. • Consider firstly what their motivation with their character is in the scene and then link everything else to it. • The bullet points will remind you to discuss motivation, voice, movement and interaction. • You should use drama terminology throughout your answer. Example: The motivation of an actor playing Phil in the group scene when he first speaks is to shock the audience by the fact that he has spoken having remained silent up until this point and then effectively demonstrate his easy control of the situation that has the other characters panicked. While he listens to the other characters I would have his posture still and he would use minimum facial expressions or gestures to make the impact of his speaking even more dramatic when he does. He would be centre stage to give a hint to the audience about his later dominance. When he speaks he could then take control. One way in which this could be achieved is in the use of the performance space. He should be central and then move towards each of the other characters as he gives them their individual instructions. This use of proxemics also clearly shows that Phil has the greater power as he chooses when the other characters are allowed to be physically close to him. He would vary his tone and volume depending on who he is giving his instruction to, for example when he speaks to Jan and Mark ‘quotation’ he should … etc At this point he would also vary his facial expressions to reflect the position of the other character being addressed.

23. Acting Questions: Vocal Key Terminology • Accent: Changing pronunciation of words to reflect heritage, nationality or social class. • Articulation: Ensuring lines are delivered clearly so that the audience understands them. • Pace: The speed in which an actor delivers a line. • Pitch: How high or low an actor delivers a line • Projection: Ensuring a line is delivered in a way in which fits the performance space. • Rhythm: The beat with which an actor delivers a line. I.e. smooth/confident’ or broken/ stuttered. • Tone: The emotional colour an actor adds to a line which can be described in terms of emotion. • Volume: How loudly an actor delivers their line.

24. Acting Questions: Physical Terminology • Body language: the use of an actor’s body to communicate how their character feels – you should be able to explain how that emotion comes across. E.g. A character should have anxious body language with folded arms. • Facial Expressions: The use of an actor’s face to reveal how their character feels. Again link how. E.g. They should have an ‘angry facial expression with gritted teeth. • Gait: The manner in which the actor walks. It could be described as an ‘open gait’ for large strides or ‘closed gait’ for small steps. Link to emotions. • Gestures: The use of an actors hands and/or arms to show how they are feeling. E.g. Anxious gestures like wringing his hands. • Posture: The shape in which the actor holds their body to reveal their feelings. E.g. Confident posture with shoulders back and head raised high. • Proxemics: How close or distant an actor stands to/from another character to reveal their relationship. • Use of space: how an actor moves within the space. E.g. confidently and directly. E.g. standing in the middle of the space presents confidence where as a nervous character would stand to one side.

25. If you had a question on lighting… • Moving head – Versatile type of lantern that can be programmed to move so that beams of light sweep across the stage, change colour or project images. • Gels – These are used to change the colour of the beam. These are coloured plastic filters which are slotted at the front of lanterns. They come in many different colours. • Gobos– These are metal stencils which are slotted at the front of profile spotlights to project an image onto the stage. They can quickly project locations for the audience, particularly important for DNA. • Profile spotlight – A lantern which creates a hard edged beam of light. It is good for highlighting specific areas on the stage. • Fresnel Spotlight – This produces a soft edged beam which is good for lighting smaller areas of stage. It is more naturalistic than a profile spotlight. • Flood light – Lights large areas of stage in one intensity and colour – it literally floods the stage. • Strobe light – This special type of lantern flashes a bright light quickly on and off – appearing jumpy. It can be used to create moments of high tension Lighting can be exceptionally powerful and can be used effectively with set to create location, themes and atmosphere. Lighting Types and what each could be used for:

26. Proof read as you write • Use capital letters for all names • Write your answers as if you are writing for someone who doesn’t know the text. • Explain and describe everything you see in your head. Imagine the examiner is blind