Cambridge
TECHNICALS
OCR LEVEL 2
CAMBRIDGE TECHNICAL
CERTIFICATE/DIPLOMA IN
PERFORMING ARTS
DEVISING DRAMA
M/505/1450
LEVEL 2 UNIT 8
GUIDED LEARNING HOURS: 60
UNIT CREDIT VALUE: 10
DEVISING DRAMA
M/505/1450
LEVEL 2 UNIT 8
AIM OF UNIT
There is a strong tradition of collaborative, devised drama
in many cultures and spanning many periods of history
and theatre. Many small contemporary groups continue
this tradition by working as an ensemble, combining their
creative and technical skills to excellent effect by touring small
venues throughout the country. This unit is structured to
encourage learners to experience that process. They will form
an ensemble, negotiating and working collectively, taking
responsibility for choosing a stimulus and then devising,
developing and rehearsing for a final polished performance.
www.ocr.org.uk
2
Devising Drama Level 2 Unit 8
ASSESSMENT AND GRADING CRITERIA
Learning Outcome (LO)
Pass
Merit
Distinction
The assessment criteria are
the pass requirements for
this unit.
To achieve a merit the
evidence must show that, in
addition to the pass criteria,
the learner is able to:
To achieve a distinction the
evidence must show that,
in addition to the pass and
merit criteria, the learner is
able to:
M1 demonstrate an ability
to shape and structure
material effectively for
performance
D1 analyse and evaluate
the strengths and
weaknesses of the
devising process
The learner will:
The learner can:
1 Know how to develop
stimulus material for
performance
P1 respond to a range
of stimulus material,
exploring the dramatic
possibilities
2 Be able to rehearse a
devised drama
P2 demonstrate an
ensemble approach
to the rehearsal of the
performance within a
given space
3 Be able to perform a
devised drama
P3 demonstrate creative
and technical skills
within the performance
M2 identify and analyse
own strengths and
weaknesses within the
performance
3
TEACHING CONTENT
Know how to develop stimulus material for performance
•
Genre, style and conventions
Genre, e.g. comedy, comedy of manners, black comedy, low comedy, high comedy, farce, romantic comedy, tragedy, modern tragedy, classical
tragedy, tragicomedy, melodrama, agit prop, history plays, miracle, mystery, morality, commedia dell’Arte, restoration, pantomime, kitchen sink,
documentary, theatre in education, etc.
Style, e.g. realism, naturalism, non-naturalistic, abstract, masked, representational, physical theatre, etc.
Drama conventions, e.g. defining space, freeze frames, mantle of the expert, thought-tracking, sound scapes, monologues, chorus, flashback
giving witness, narration, split scene, etc.
•
Strengths and skills of group, e.g.
singing, playing an instrument, dance, physical theatre, mime, mask, acting
technical skills and design skills – lighting, sound, costume, makeup, props, set
•
Stimulus material and research, including:
fairy stories, myths and legends, paintings, song lyrics, photographs, biographies, current/community affairs, historical facts, poetry, artefacts, etc.
•
Research, e.g.
relevant documentation, reading around the subject, using the internet, ‘mood boards’, reflection on other performances that have initiated similar ideas, collating and presenting ideas
•
Type of audience and intentions
children, peers, community group, etc. aims, themes , issues , education , entertainment, message
•
Considerations
length of performance, type of performance space, number of performances, budget
•
Shaping and structuring
acts, scenes, units of time, place and action, continuity, exposition, rising action, climax, catharsis, denouement, peripeteia, draft proposals
•
Development
storyboard, scenario, characters types/roles, relationships, scripting, analysis of developing performance, evaluation and feedback, revising /reworking ideas
•
Character development
‘hot seating’, stream of consciousness, sculpting the physicality, writing a monologue, improvising around relationships, flashbacks
•
Evaluate devising process – strengths and weaknesses
www.ocr.org.uk
4
Devising Drama Level 2 Unit 8
Be able to rehearse a devised drama
•
Practical considerations
performance dates/times, access to performance space, rehearsal schedule – technical /dress rehearsal, setting targets, i.e.
meeting deadlines, advertising
•
Ensemble responsibilities
Set, props, costume, make-up, sound, lighting, stage management
•
Maintaining the ensemble
warm ups, energising games, intentions for each rehearsal, roles and responsibilities, communications, collaborative directing
•
Voice, movement, character development, blocking, use of props, costume
•
Sound, lighting, other technical considerations –use of ‘PowerPoint’, video clips etc.
•
Evaluation and feedback, reflect on original aims, objectives and intentions, rework or devise further
•
Technical and dress rehearsal.
Be able to perform a devised drama
•
Warm ups – vocal and physical, concentration games, energizing games
•
Health and safety – self, ensemble members, performance space, audience
•
Working as an ensemble – fulfil all tasks, support all members of the ensemble
•
Project character/role as appropriate to intentions, performance space, audience
•
Evaluate performance – performance, self and others, technical.
5
DELIVERY GUIDANCE
Know how to develop stimulus material for performance
Be able to rehearse a devised performance
The tutor should firstly ascertain the learner’s knowledge
and understanding of genre, style and dramatic conventions.
Tutors should use a variety of methods to demonstrate and
ensure a further and broad understanding of the terms,
including analysis/practical realisation of extracts from texts
of various genres and styles, devising short scenarios in a
particular genre or style whilst also using various dramatic
conventions, looking at pre-recorded performances of a
particular genre/style and making further use of research from
L01.
Throughout the rehearsal period, learners should be enabled
to ‘warm up’ both vocally and physically prior to starting
rehearsals. The tutor should try to read the needs and
moods of the learners, supporting them by using games and
exercises to focus, energise, inspire and aid concentration as
and when necessary.
With tutor guidance learners should construct a rehearsal
schedule. With tutor guidance they should understand how
to realise the performance within the performance space. The
tutor should ensure deadlines are met and that each rehearsal
Learners should understand how to develop roles and
has purpose and focus. Constructive feedback should be
characters using exercises such as ‘hot seating’.
given and, where possible, learners should be able to film
their work for self/group analysis. It is important that learners
Learners should be introduced, or provide their own examples
fully realise the ongoing process of evaluation, reworking and
of, a range of stimulus and consider their performance
further devising right up until the final performance.
potential. This process could involve tutor and learner-led
discussion, ‘thought showers’ and practical experimentation
of the performance potential. Tutors should facilitate the
Be able to perform a devised drama
learners in their final choice of stimulus for performance.
Tutors should facilitate learners throughout the devising
process, by setting deadlines, helping to focus and even
taking responsibility for aspects of the process, keeping
learners on task and helping to maintain the integrity of the
ensemble.
The tutor should ensure that all learners undergo a suitable
warm up routine. The tutor will ensure that the learner
has understood the health and safety implications of the
performance not only for themselves but also the rest of the
ensemble and the audience. Learners should be encouraged
to reach their full potential within their chosen role and as
part of the ensemble. The tutor should enable the learners to
evaluate the final performance by filming the work and ensure
positive and constructive feedback for all.
Learners should be encouraged to ‘step out of their comfort
zones’ experimenting and ‘playing’ with the potential of the
stimulus and the ensemble.
Tutors should encourage and facilitate further research
around the chosen stimulus, genre/style, character
development and, if applicable, audience, which therefore
allows learners to fully exploit possibilities and achieve to the
best of their potential.
Learners should be encouraged to ‘showcase ideas’ and
respond to constructive feedback as they shape, structure and
focus the performance.
Learners should be enabled and encouraged to use their
personal skills, both creative and technical, to facilitate the
devising process and performance, e.g. designing, making,
performing and operating. Finally, the tutor should enable
the learner to reflect and analyse the whole of the devising
process to enable them to take forward good devising/
working practices.
www.ocr.org.uk
6
Devising Drama Level 2 Unit 8
SUGGESTED ASSESSMENT SCENARIOS AND GUIDANCE ON ASSESSMENT
The learner will produce a portfolio to support their journey through the unit. On completion this should be available for the
moderator. The portfolio should be clearly divided into sections and of a loose leaf nature thereby enabling learners to include
a variety of documentation, e.g. hand written /word processed work, annotated handouts, diagrams, photographs, research
material, examples of script writing, etc. as appropriate, which supports their practical efforts. The portfolio should chart the
individual approach of the learner and not include tutor proformas. It is expected however that as an ongoing process the
tutor will read and annotate the content and effectiveness of the portfolio.
The learners working as an ensemble of up to eight members will devise a piece of live theatre which lasts no longer than
15 minutes. Smaller groups should produce a shorter performance. However it is essential that all performances allow the
opportunity for each learner to fulfil their potential within the performance space.
Assessment and Grading Criteria P1, M1, D1
The learner will document the devising process from working with a range of stimuli to the final shaping of the performance.
For P1 they will outline and explore a range of performance possibilities for at least three stimulus items. For M1, working with
the final chosen stimulus, they will discuss and evaluate key decisions about the shaping and structuring of material, making
detailed reference to their own contribution to the process. The learner may wish to include examples of script writing or
further research to support their written documentation. The tutor will provide further documentation to support the learner’s
effective contribution and attitude to the process. To gain D1 the learner should offer an appraisal of the devising process and
outline a ‘staged approach’ which they or another group could use in the future to help realise a devised performance.
Assessment and Grading Criteria P2
As part of their portfolio, the learner should outline the process of rehearsing the performance within the performance space.
They should acknowledge their contribution and responsibilities and evaluate the process and product both as performer and
as designer/technical contributor etc.
Assessment and Grading Criteria P3, M2
Evidence for P3 should be filmed and formatted and chaptered on to a DVD for the moderator. Any further evidence of
the learner’s contribution to the ‘running’ of the production should be documented by the tutor in terms of their role,
responsibilities and effective achievements. For M2 and the final section of their portfolio, the learner should analyse and
evaluate the strengths and weaknesses of the performance with particular regard to their own role and that of others. To gain
M2 they should analyse and evaluate the potential of the performance in some detail.
7
RESOURCES
Workshop, rehearsal and performance facilities which allow learners to fulfil the requirements of the unit
A range of stimulus items
Selection of props, costume and pre-recorded music
Dramatic Events
Richard Halo & Peter
Reynolds
Faber & Faber
978-0571191611
Improvisation
John Hodgson & Ernest
Richards
Methuen
978-0413349200
Joan Littlewood
Nadine Holdsworth
Routledge
978-0415338875
Theatre Games
Clive Baker
Methuen
978-0413453808
Improvisation for the Theater
Viola Spolin
Northwestern University
Press
Impro
Keith Johnstone
Methuen
978-0413464309
Impro for Storytellers
Keith Johnstone
Faber & Faber
978-0571190997
Games for Actors and Non
Actors
Augusto Boal
Routledge
978-0415061551
The Frantic Assembly Book of Scott Graham & Steven
Devising Theatre
Hoggett
Routledge
978-0415467605
Drama Games for Devising
Jessica Swale
Nick Hern Books
978-1848420373
Devising Theatre
Alison Oddey
Routledge
978-0415049009
Devised and Collaborative
Theatre
Tina Bicat & Chris Baldwin
The Crowood Press Ltd
978-1861265241
Group Devised Theatre
Rosemary Parsons
Lap Lambert Academic
Publishing
978-3838324920
Ensemble Theatre Making
Rose Burnett Bonczek &
David Storck
Routledge
978-041553009-5
OCR Drama for GCSE
David Cross and Christopher
Reynolds
Hodder Education
978-0340983409
www.ocr.org.uk
8
Devising Drama Level 2 Unit 8
www.dramaresource.com/resources/features/devising-theatre
www.bbc.co.uk/schools/gcsebitesize/drama
www.teachit.co.uk/index
www.complicite.org/pdfs/Teachers_Notes_Devising_Pack.pdf
www.theatrefolk.com/spotlights/ensemble-activities-and-activities
www.dggb.org/files/EnsembleTheatreConf.pdf
LINKS TO NOS
Suite
Reference
NOS
Unique reference number (directors)
Investigate the viability of ideas for productions.
Unique reference number (directors)
Input into preproduction planning
Unique reference number (directors)
Cast performers to realise the creative idea
PROHSS (Proskills)
1
Make sure your own actions reduce risks to health and safety
9
CONTACT US
Staff at the OCR Customer Contact Centre are available to take your call
between 8am and 5.30pm, Monday to Friday.
We’re always delighted to answer questions and give advice.
Telephone 02476 851509
Email [email protected]
www.ocr.org.uk