IB THEATRE AT WEBER HIGH SCHOOL
This IB Theatre section of the Weber High Theatre Website is divided into areas covering the three assessments which together make up the requirement of the course at Standard Level. There is also a section for the Journal which is a fundamental tool for the course. Scroll down to find the relevant information about each area.
This is the manifesto of The Royal Exchange Theatre in Manchester. (one of the devising theatre groups we will be discussing). As IB Theatre students at Weber High School, do you agree with it?
1. I want theatre to challenge me, I want it to challenge all of us
2. I want a theatre where absolutely everyone feels welcome
3. I want a theatre to be a safe place for difficult conversations
4. I want theatres that everyday people can afford to go to
5. I want theatre to demonstrate more ethnic diversity on and off stage
6. I want theatre to be a place for children
7. I want theatre to know it belongs to the public and to reflect this in everything it does
8. I want a theatre that knows everyone can make theatre
9. I want a theatre that understands theatre can happen anywhere and should happen everywhere
10. I want a theatre that gets into communities and listens
11. I want a theatre that recognises that the audience is part of the performance
12. I want theatre to connect more with ordinary people
13. I want theatre to speak for people whose voices wouldn’t be heard otherwise
14. I want theatre to be demanding and entertaining at the same time
15. I want theatre to allow me to walk a mile in someone else’s shoes
16. I want to be transported into different lives and worlds
17. I want theatre to be a place to relax
This is the manifesto of The Royal Exchange Theatre in Manchester. (one of the devising theatre groups we will be discussing). As IB Theatre students at Weber High School, do you agree with it?
1. I want theatre to challenge me, I want it to challenge all of us
2. I want a theatre where absolutely everyone feels welcome
3. I want a theatre to be a safe place for difficult conversations
4. I want theatres that everyday people can afford to go to
5. I want theatre to demonstrate more ethnic diversity on and off stage
6. I want theatre to be a place for children
7. I want theatre to know it belongs to the public and to reflect this in everything it does
8. I want a theatre that knows everyone can make theatre
9. I want a theatre that understands theatre can happen anywhere and should happen everywhere
10. I want a theatre that gets into communities and listens
11. I want a theatre that recognises that the audience is part of the performance
12. I want theatre to connect more with ordinary people
13. I want theatre to speak for people whose voices wouldn’t be heard otherwise
14. I want theatre to be demanding and entertaining at the same time
15. I want theatre to allow me to walk a mile in someone else’s shoes
16. I want to be transported into different lives and worlds
17. I want theatre to be a place to relax
TASK 1
THE RESEARCH PRESENTATION
THE RESEARCH PRESENTATION
For this assessment, you will choose one practice or Theatre Tradition (a theatre tradition is a theatre practice that has a fixed set of specific *performance conventions that have not changed significantly over time) from the prescribed list provided by the IB and explore the practice practically and physically. It should be a practice that is unfamiliar to you. *(A performance convention is a significant and identifiable element of performance that is usually culturally recognized, accepted and identified as a key feature of the theatre tradition. Performance conventions have a particular function within a tradition and are a key feature of communication to the audience. Many conventions are unique to their theatre tradition, although some may appear in similar form but with significant variations in other world theatre traditions.)
Subsequently, you will deliver a 15 minutes (maximum) presentation to your peers, which will be filmed.
CONTENT
1: THEATRE IN CONTEXT
What Cultural context was this theatre tradition developed? Why was it developed? How did this impact how and why it was traditionally performed?
2: ELEMENTS
The overall focus of your presentation will be either: Face, Body, Voice or Gesture. Then, you will do a...
3. DEMONSTRATION
Apply your research to a moment of Theatre (this will be about 4minutes of your presentation). In your presentation, you should physically demonstrate your exploration, showing a work in progress. You need not apply your demonstration to the tradition directly, but it must be related to it. For example, you may chose to demonstrate Kathakali Mudras (Hand Gestures) in a Brothers Grimm fairy tale. Alternatively, you may build part of a Bunraku puppet as part of your research, which you use to help you explore the tradition practically. However, the focus should always be on the practical application of the tradition you have undertaken. Ensure you explain your demonstration. You may have some help with your demonstration from a peer, if needed. Ultimately, you will be assessed individually though.
4. CONCLUSION
Conclude and reflect upon your research, from the perspective of a performer.
TIPS
For this assessment, you will choose one practice or Theatre Tradition (a theatre tradition is a theatre practice that has a fixed set of specific *performance conventions that have not changed significantly over time) from the prescribed list provided by the IB and explore the practice practically and physically. It should be a practice that is unfamiliar to you. *(A performance convention is a significant and identifiable element of performance that is usually culturally recognized, accepted and identified as a key feature of the theatre tradition. Performance conventions have a particular function within a tradition and are a key feature of communication to the audience. Many conventions are unique to their theatre tradition, although some may appear in similar form but with significant variations in other world theatre traditions.)
Subsequently, you will deliver a 15 minutes (maximum) presentation to your peers, which will be filmed.
CONTENT
1: THEATRE IN CONTEXT
What Cultural context was this theatre tradition developed? Why was it developed? How did this impact how and why it was traditionally performed?
2: ELEMENTS
The overall focus of your presentation will be either: Face, Body, Voice or Gesture. Then, you will do a...
3. DEMONSTRATION
Apply your research to a moment of Theatre (this will be about 4minutes of your presentation). In your presentation, you should physically demonstrate your exploration, showing a work in progress. You need not apply your demonstration to the tradition directly, but it must be related to it. For example, you may chose to demonstrate Kathakali Mudras (Hand Gestures) in a Brothers Grimm fairy tale. Alternatively, you may build part of a Bunraku puppet as part of your research, which you use to help you explore the tradition practically. However, the focus should always be on the practical application of the tradition you have undertaken. Ensure you explain your demonstration. You may have some help with your demonstration from a peer, if needed. Ultimately, you will be assessed individually though.
4. CONCLUSION
Conclude and reflect upon your research, from the perspective of a performer.
TIPS
- Consider the presentation style, and your delivery, as this will be assessed too.
- Try to include images and videos to enhance your presentation. You don’t necessarily need to make a ‘PowerPoint/Prezi’ but you must rehearse your presentation and subsequently, do not read from cards!
- You may give handouts to your audience too. Remember, you are assessed on how well you actually deliver the presentation, so using and developing these transferable skills are very important.
Any of the World Theatre Traditions listed below can be used for the Research Presentation
found on pages 57 and 58 of the THEATRE GUIDE
Bunraku
Comedia dell'Arte
Kabuki
Kathakali
Wayang Kulit
Kecak
Noh Theatre
Cantonese, Yueju and Peking Opera
Punch and Judy Puppets
Karagozi Shadow Puppets
Wayang Golek Puppetry
Kyogen Farce
Talchum Mask Dance
Hun Lakhon Lek Puppetry
Karagoz Shadow Puppetry
Pantomime
Comedy and Tragedy (Ancient Greece)
Comedy and Tragedy (Ancient Rome)
Topeng Dance
Yuan Drama or Zaju
Khayal Al-zill Shadow Puppets
English Renaissance Theatre
Victorian Melodrama
Comedy Of Manners or Restoration Comedy
Medieval Mystery Plays
French Farce
Barong Dance
Rakugo "Sit Down" Theatre
Khon Dance Drama
found on pages 57 and 58 of the THEATRE GUIDE
Bunraku
Comedia dell'Arte
Kabuki
Kathakali
Wayang Kulit
Kecak
Noh Theatre
Cantonese, Yueju and Peking Opera
Punch and Judy Puppets
Karagozi Shadow Puppets
Wayang Golek Puppetry
Kyogen Farce
Talchum Mask Dance
Hun Lakhon Lek Puppetry
Karagoz Shadow Puppetry
Pantomime
Comedy and Tragedy (Ancient Greece)
Comedy and Tragedy (Ancient Rome)
Topeng Dance
Yuan Drama or Zaju
Khayal Al-zill Shadow Puppets
English Renaissance Theatre
Victorian Melodrama
Comedy Of Manners or Restoration Comedy
Medieval Mystery Plays
French Farce
Barong Dance
Rakugo "Sit Down" Theatre
Khon Dance Drama
Click the buttons below to be directed to sample research projects
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TASK 2
THE DIRECTOR'S NOTEBOOK
THE DIRECTOR'S ROLE
A director is responsible for the staging of the play. He or she interprets the play text and identifies his or her directorial intentions regarding how the play will be presented and the impact he or she wishes to have on a particular audience. The director works with actors and a production team to stage the play, transforming ideas into action.
THE DIRECTOR'S NOTEBOOK
The director’s notebook is a document developed by the director prior to rehearsals and any meetings with the performers or production team.
It is a record of the director’s personal process of interpreting the play, developing a directorial intention and an idea of what impact he or she wants the play to have on an audience. The director begins to think about how particular moments may be staged using elements of performance and production.
It is a record of the director’s personal process of interpreting the play, developing a directorial intention and an idea of what impact he or she wants the play to have on an audience. The director begins to think about how particular moments may be staged using elements of performance and production.
THE DIRECTOR-LED APPROACH OF THEATRE PRACTICE
The director works with an existing piece of theatre, either a text (written or oral) or a piece of theatre created by a group or company. The director’s task is to prepare this piece for an audience. The director works very closely with the designer(s) to develop a vision for the setting, atmosphere and aesthetics of the piece of theatre. The director works in collaboration with the production team and the performers to bring the piece of theatre to life for an audience.
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ASSESSMENT RUBRIC FOR IB THEATRE SL & HL DIRECTOR'S NOTEBOOK
IB grade bands for the four assessment criteria for the Director's Notebook for IB Theatre SL & HL: Theatre in Context: The play text, its context and the ideas presented;
Theatre Processes: Artistic responses and live theatre experiences;
Presenting Theatre: The director’s intentions and intended impact; and
Presenting Theatre: The staging of two moments of the play.
IB grade bands for the four assessment criteria for the Director's Notebook for IB Theatre SL & HL: Theatre in Context: The play text, its context and the ideas presented;
Theatre Processes: Artistic responses and live theatre experiences;
Presenting Theatre: The director’s intentions and intended impact; and
Presenting Theatre: The staging of two moments of the play.
TIPS FOR THEATRE DIRECTORS
Nine tips for aspiring theatre directors from John Caird, British stage director. His tenth tip: "Read my book!" - Theatre Craft: A Director's Practical Companion from A to Z
Nine tips for aspiring theatre directors from John Caird, British stage director. His tenth tip: "Read my book!" - Theatre Craft: A Director's Practical Companion from A to Z
THE ART FORM CHECKLIST
An explanation of theatre as art form, with a checklist of aspects of a theatre piece that can be helpful when working with a play text or creating new work
An explanation of theatre as art form, with a checklist of aspects of a theatre piece that can be helpful when working with a play text or creating new work
RESPONDING TO A PLAY TEXT
A guide to the process of responding to the text of a play, with suggestions on recording the immediate reaction, analysis, structure, interpretation, and research
A guide to the process of responding to the text of a play, with suggestions on recording the immediate reaction, analysis, structure, interpretation, and research
RECORDING RESPONSES
A graphic organizer to use as a guide for recording responses to a play text
A graphic organizer to use as a guide for recording responses to a play text
INTENTION AND IMPACT
A graphic organizer to help with thinking about your directorial intention and the impact you would like your piece of theatre to have on an audience
A graphic organizer to help with thinking about your directorial intention and the impact you would like your piece of theatre to have on an audience
MOMENTS OF ACTION
A graphic organizer for sketching out ideas on staging specific moments of the text, focusing on those related to tension, emotion, atmosphere, and meaning
A graphic organizer for sketching out ideas on staging specific moments of the text, focusing on those related to tension, emotion, atmosphere, and meaning
STUDENT PROCESS CHECKLIST
Checklist of the steps to go through when working with a play text
Checklist of the steps to go through when working with a play text
TEMPLATE FOR DIRECTOR'S NOTEBOOK
This template for writing content for IB Theatre Task 2: Director's notebook gives specific guidance to students on what to include in the notebook: The Play Text, Its Context, and the Theories Presented; Artistic Responses, Creative Ideas, and Explorations; Live Theatre Experiences; Director's Intentions & Intended Impact; and Staging Two Moments of the Play. Created by Rebekah Schneider, Seoul Foreign School in Seoul, Republic of Korea.
This template for writing content for IB Theatre Task 2: Director's notebook gives specific guidance to students on what to include in the notebook: The Play Text, Its Context, and the Theories Presented; Artistic Responses, Creative Ideas, and Explorations; Live Theatre Experiences; Director's Intentions & Intended Impact; and Staging Two Moments of the Play. Created by Rebekah Schneider, Seoul Foreign School in Seoul, Republic of Korea.
BELOW ARE EXAMPLES OF DIRECTOR'S NOTEBOOKS AND THEIR ASSESSMENTS
The examples below are taken from the IB Teacher Support Materials
The examples below are taken from the IB Teacher Support Materials
Assessment
Criterion Markband achieved
A Theatre in context: The play text, its context and the ideas presented 7–8
B Theatre processes: Artistic responses and live theatre experiences 7–8
C Presenting theatre: The director’s intentions and intended impact 7–8
D Presenting theatre: The staging of two moments of the play 7–8
Examiner comments
A. The student has researched and explained the cultural context of the play as well as mentioning the theoretical context. Research into cultural context is closely related to the ideas of the play, fitting with the political subject matter of the play. The student explains the ideas presented by the playwright making particular reference to how these ideas are presented and evident in the play. The student integrates research into the context from which the play originated with the ideas of the play, demonstrating an understanding of context, the ideas of the playwright and the relationship between the two.
B. The student explains their artistic responses focusing primarily on character, explaining that they see the oppression of character as the main focus of the play. The student presents a combination of their personal responses, artistic ideas and explorations of the play. The student makes very good links to a range of live theatre productions, explaining how these productions will inform their own production. Their references to productions, however, are largely descriptive and they do not explain how directors created moments of tension, emotion, atmosphere and/or meaning. As a result the student would not get the full marks in this band.
C. The student clearly describes their directorial intentions for the staging of the entire play text. Their ideas are effective and feasible and the student shows how they are appropriate by relating them directly to the play’s political context and the ideas presented by the playwright as identified in Criterion A. This is supported by an appropriate range of imaginative production and performance ideas. The student clearly explains the impact they want the entire play to have on the audience and consistently explains how their performance (characterization, movement) and production elements (set, costume, props, lights, sound) would together create this intended impact on the audience.
D. The student selects two distinct and focused moments from the play. The student is clear about their intention in the staging of these moments and explains how this will be achieved. The student identifies both moments as moments of meaning that convey key ideas, but also describes how tension, emotion and atmosphere will be created and the impact this will have on the audience. The student explains how they would use performance and production elements in the two selected moments of the play to effectively fulfill their intention of communicating the ideas of the play. They are consistently conscious of the audience experience.
Criterion Markband achieved
A Theatre in context: The play text, its context and the ideas presented 7–8
B Theatre processes: Artistic responses and live theatre experiences 7–8
C Presenting theatre: The director’s intentions and intended impact 7–8
D Presenting theatre: The staging of two moments of the play 7–8
Examiner comments
A. The student has researched and explained the cultural context of the play as well as mentioning the theoretical context. Research into cultural context is closely related to the ideas of the play, fitting with the political subject matter of the play. The student explains the ideas presented by the playwright making particular reference to how these ideas are presented and evident in the play. The student integrates research into the context from which the play originated with the ideas of the play, demonstrating an understanding of context, the ideas of the playwright and the relationship between the two.
B. The student explains their artistic responses focusing primarily on character, explaining that they see the oppression of character as the main focus of the play. The student presents a combination of their personal responses, artistic ideas and explorations of the play. The student makes very good links to a range of live theatre productions, explaining how these productions will inform their own production. Their references to productions, however, are largely descriptive and they do not explain how directors created moments of tension, emotion, atmosphere and/or meaning. As a result the student would not get the full marks in this band.
C. The student clearly describes their directorial intentions for the staging of the entire play text. Their ideas are effective and feasible and the student shows how they are appropriate by relating them directly to the play’s political context and the ideas presented by the playwright as identified in Criterion A. This is supported by an appropriate range of imaginative production and performance ideas. The student clearly explains the impact they want the entire play to have on the audience and consistently explains how their performance (characterization, movement) and production elements (set, costume, props, lights, sound) would together create this intended impact on the audience.
D. The student selects two distinct and focused moments from the play. The student is clear about their intention in the staging of these moments and explains how this will be achieved. The student identifies both moments as moments of meaning that convey key ideas, but also describes how tension, emotion and atmosphere will be created and the impact this will have on the audience. The student explains how they would use performance and production elements in the two selected moments of the play to effectively fulfill their intention of communicating the ideas of the play. They are consistently conscious of the audience experience.
Assessment
Criterion Markband achieved
A Theatre in context: The play text, its context and the ideas presented 1–2
B Theatre processes: Artistic responses and live theatre experiences 5–6
C Presenting theatre: The director’s intentions and intended impact 3–4
D Presenting theatre: The staging of two moments of the play 1–2
Examiner comments
A. The student does not provide any research into the cultural and/or theoretical context from which the play originates, though there is a brief mention of the playwright and his work. The student researches Rothko, who is the subject of the play, but the student does not link this research directly to the play. The student presents some of the ideas of the play, but these are outlined and underdeveloped. The student is awarded 0 for the first strand and 3–4 band for the second strand. According to best fit the student is awarded a 1–2 (0 and 2 for band 3–4).
B. The student describes their artistic responses, creative ideas and explorations of the play text prior to the development of their directorial intentions, presenting a range of possibilities and ideas. The student makes links to live theatre experiences. The student outlines how one director, in the live theatre they have experienced as a spectator, created moments of meaning and how another director used performance elements to transition between scenes.
C. The student outlines their directorial intentions for the staging of the entire play text. This is partially supported by some appropriate production and performance ideas. The student outlines the impact they want the entire play to have on the audience paying attention to some performance and production elements but these are generally listed. The student’s ideas are underdeveloped without explanation regarding how their ideas are related either to intention or intended impact.
D. The student lists how they would stage two selected moments of the play. This work is limited in scope. The student lists performance and production elements in the two selected moments of the play but does not offer any sort of explanation regarding the thinking behind these choices. There is some attempt to explain how production elements fuse together but this is not coherent or clear.
Criterion Markband achieved
A Theatre in context: The play text, its context and the ideas presented 1–2
B Theatre processes: Artistic responses and live theatre experiences 5–6
C Presenting theatre: The director’s intentions and intended impact 3–4
D Presenting theatre: The staging of two moments of the play 1–2
Examiner comments
A. The student does not provide any research into the cultural and/or theoretical context from which the play originates, though there is a brief mention of the playwright and his work. The student researches Rothko, who is the subject of the play, but the student does not link this research directly to the play. The student presents some of the ideas of the play, but these are outlined and underdeveloped. The student is awarded 0 for the first strand and 3–4 band for the second strand. According to best fit the student is awarded a 1–2 (0 and 2 for band 3–4).
B. The student describes their artistic responses, creative ideas and explorations of the play text prior to the development of their directorial intentions, presenting a range of possibilities and ideas. The student makes links to live theatre experiences. The student outlines how one director, in the live theatre they have experienced as a spectator, created moments of meaning and how another director used performance elements to transition between scenes.
C. The student outlines their directorial intentions for the staging of the entire play text. This is partially supported by some appropriate production and performance ideas. The student outlines the impact they want the entire play to have on the audience paying attention to some performance and production elements but these are generally listed. The student’s ideas are underdeveloped without explanation regarding how their ideas are related either to intention or intended impact.
D. The student lists how they would stage two selected moments of the play. This work is limited in scope. The student lists performance and production elements in the two selected moments of the play but does not offer any sort of explanation regarding the thinking behind these choices. There is some attempt to explain how production elements fuse together but this is not coherent or clear.
TASK 3
THE COLLABORATIVE PROJECT
INTRODUCTION:
Students collaboratively create and present an original piece of theatre (lasting 13–15 minutes) to a specified target audience from a starting point selected by the ensemble. They submit a process portfolio (15 pages maximum) which documents their own individual approaches and skills, the exploration of the starting point selected by the ensemble, the nature of the collaboration and the student’s individual contribution to the creation and presentation of the piece of theatre. The student submits a video recording (4 minutes maximum) in support of the process portfolio which the student selects from the unedited video recording of the created piece.
Perspective
All students approach this task in the role of collaborative creators of original theatre within an ensemble.
Aim
The aim of this task is for students to:
• participate in the collaborative process of creating an original theatre
piece for presentation.
• examine and research processes of collaboratively creating original
pieces of theatre.
• examine their own skills and approaches
• analyze their contributions, artistic choices and contributions to the
collaborative process of creating and staging a piece of original
theatre.
Understandings
Through this exploration students will understand:
• the importance of research to inspire and develop an original theatre
piece from a starting point.
• the nature of collaboration in theatre.
• the artistic processes and skills necessary to collaboratively create
original theatre and how these are realized in production.
• the impact of their individual contributions and artistic choices.
Students collaboratively create and present an original piece of theatre (lasting 13–15 minutes) to a specified target audience from a starting point selected by the ensemble. They submit a process portfolio (15 pages maximum) which documents their own individual approaches and skills, the exploration of the starting point selected by the ensemble, the nature of the collaboration and the student’s individual contribution to the creation and presentation of the piece of theatre. The student submits a video recording (4 minutes maximum) in support of the process portfolio which the student selects from the unedited video recording of the created piece.
Perspective
All students approach this task in the role of collaborative creators of original theatre within an ensemble.
Aim
The aim of this task is for students to:
• participate in the collaborative process of creating an original theatre
piece for presentation.
• examine and research processes of collaboratively creating original
pieces of theatre.
• examine their own skills and approaches
• analyze their contributions, artistic choices and contributions to the
collaborative process of creating and staging a piece of original
theatre.
Understandings
Through this exploration students will understand:
• the importance of research to inspire and develop an original theatre
piece from a starting point.
• the nature of collaboration in theatre.
• the artistic processes and skills necessary to collaboratively create
original theatre and how these are realized in production.
• the impact of their individual contributions and artistic choices.
Excerpt from IB Theatre guide (First assessment 2017), pp. 51-62, related to the research presentation, with an introduction to the topic, task details, and the external assessment criteria.
List of key terms and phrases used in the IB theatre assessment objectives and assessment criteria.
A checklist of the eleven different tasks involved for the student completing Task 4, Collaborative Project, for IB Theatre.
IB grade bands for the four assessment criteria for the Collaborative Theatre Project Process Paper for IB Theatre SL & HL: Theatre in Context: The personal context and research into a professional company.; Theatre in Context: The formation of the group and exploration of the starting point (including target audience and intentions for the piece); Theatre Processes: Reflections on the development of the piece and the specific explorations led by the student; and Presenting Theatre: Evaluation of the student’s contribution to the final 13–15 minute performance and their artistic choices (as seen in the video).
COLLABORATIVE CREATION OF ORIGINAL THEATRE
The collaborative creation of original theatre involves a group of theatre makers (creators, designers, directors and performers) who work together practically to examine and develop ideas in order to generate theatrical material that is then structured and organized into a piece of theatre.
The piece of theatre is rehearsed and presented to an audience.
There are three parts to this process, although these are sometimes run concurrently.
- -Creating, generating and developing theatrical material
- -Organizing and structuring the material into a piece of theatre
- -Preparing (production and performance), rehearsing and presenting the piece for an audience
- -The piece of theatre that has been created is not necessarily scripted in traditional forms.
Unlike play text–based theatre written by a playwright(s), collaboratively created theatre is often developed by the performance and production team that also stage it and present it.
The collaborative creation of original theatre is also often referred to as devising.
STARTING POINT
The starting point provides the inspiration for the collaborative creation of the piece of theatre. It gives a focus to the initial stages of practical exploration.
The starting point must be one of the following.
- -Event
- -Idea, issue, question or theme
- -Image or photograph
- -Non-dramatic text
- -Object
- -Person
- -Piece of music
- -Site
- -Street art, graphic novel or comic strip
As theatrical material is drawn out from the starting point and developed, the focus and subject matter of the piece will become clearer to the ensemble and they will discover the areas of interest that yield the most material and enthusiasm as well as address the emerging intentions of the ensemble. As a result of this development, the subject matter of the final piece, which has originated from the starting point, may move away from the starting point considerably. It is important for students to track the evolution of the subject from starting point to final production.
MY THEATRE PROFILE
It's important for you to audit your skills and identify your approaches and interests.
This process can help you develop a profile that will help you decide who to work with.
The ensemble may be made up of people with similar interests, or individuals might choose to work with people who have different skills.
Either way, each student needs to be able to present their skills, approaches and interests to each other in order to form the ensemble group.
Use this worksheet to help develop your personal theatre profile.
THE NATURE OF COLLABORATION
This is a collaborative project and students must work with at least one other person and with no more than five other students (making a maximum ensemble size of six). In instances where there are fewer than two students, students may work with peers that are not in the theatre class, such as theatre students from the year below, or others who are not taking the IB Diploma Programme theatre course (as long as the ensemble size does not exceed six).
Each student begins the process by identifying their own personal contexts, individually reflecting on their own personal approaches, interests and skills in theatre. This is essentially an audit of the experiences each student has had during the theatre course to date, and a process of identifying where each individual is at the start of the project and what they are able to bring to the task. Students then use the outcome of this process to identify who they want to work with or how they will work together with others. The ensemble may be formed of either like-minded individuals who share a common interest or be made up of diverse individuals who bring different ideas and approaches to the process of creation and presentation. The formation of the ensemble is therefore a key part of this task and teachers should give time for this where appropriate or feasible.
This is a collaborative project and students must work with at least one other person and with no more than five other students (making a maximum ensemble size of six). In instances where there are fewer than two students, students may work with peers that are not in the theatre class, such as theatre students from the year below, or others who are not taking the IB Diploma Programme theatre course (as long as the ensemble size does not exceed six).
Each student begins the process by identifying their own personal contexts, individually reflecting on their own personal approaches, interests and skills in theatre. This is essentially an audit of the experiences each student has had during the theatre course to date, and a process of identifying where each individual is at the start of the project and what they are able to bring to the task. Students then use the outcome of this process to identify who they want to work with or how they will work together with others. The ensemble may be formed of either like-minded individuals who share a common interest or be made up of diverse individuals who bring different ideas and approaches to the process of creation and presentation. The formation of the ensemble is therefore a key part of this task and teachers should give time for this where appropriate or feasible.
Excerpts from “Devised Theatre: No Guts, No Glory” by Joan Schirle (2005), covering collaborative principles that can encourage artists to develop trust and respect, come to a common understanding of the challenge, and to be clear about intention, roles, and agendas.
A form that can be used by a student group to record the agreements they have established for collaborative creation.
PROFESSIONAL THEATRE COMPANIES
Each student carries out research on an unfamiliar professional company that collaboratively creates and presents original theatre. This research may take a variety of forms and may involve websites, published articles, direct communication with the company, interviews or experiences of practical workshops, for example. Students examine the approaches employed by the professional company and consider how this research might influence their own personal approach to the process of collaborative theatre making.
Use these theatre companies for the Collaborative Project:
FORCED ENTERTAINMENT
FRANTIC ASSEMBLY
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Look at the other professional theatre companies by clicking the button below for more ideas.
EXPLORING THE STARTING POINT
Each individual student in a collaborative group must lead a practical exploration of an idea or material related to the starting point.
He or she should think about how to structure this exploration and what would yield the most potential theatrical material.
The practical exploration should be based on an area of the starting point that the student is interested in.
Once the collaborative groups have developed their material and their various pieces of action or scenes, they will need to decide how to put them all together.
Use the IB handouts on the buttons below to examine some of the approaches you might take for your group's starting point and structure.
Use this form to possible starting point suggestions for: Event; Idea, issue, question, or theme; Image or photograph; and Non-dramatic text (poem, short story, newspaper article, research paper, etc.)
Use this form to record your ideas for possible practical exploration activities: games and exercises; Visual; Physical; Voice-led; Written; Playing with materials; and Spatial.
A list of ten different models that can be used for structuring material in a collaborative theatre piece, with diagrams and definitions: The domino; The spiral or the onion; The chain; The collection; The washing line; The frame; The cycle; Traditional; and Aesthetic.
A checklist of the eleven different tasks involved for the student completing Task 4, Collaborative Project, for IB Theatre.
VIDEO RECORDING OF THE COLLABORATIVE PROJECT
Video recordings are included as part of the formal assessment requirements for Task 3, the Collaborative Project.
For these video recordings, it is important that the students are clearly visible and that the sound from the presented work is captured clearly.
Pre-Production (Before the assessment)
Plan the video and gather any resources you might need. Students should make sure:
- The camera is fit for the purpose and capable of capturing high-quality images and sound.
- The camera is mounted on a tripod. Make sure the tripod is level and adjusted to allow for any necessary panning.
- The camera is plugged directly into an AC power supply (where possible). Any trailing leads and extension cables should be taped down securely.
- There is enough memory to capture the entire presentation. Clear the hard drive or memory cards in advance of the assessment date, and ensure there is additional storage space at hand.
- The camera focus and exposure levels are appropriately set to ensure all the student actors are clearly visible, particularly when any additional lighting is introduced.
- The presentation space is sealed off from general access to avoid interruptions and distractions. It is useful to alert passers-by that an examination is in progress through the use of signs outside the space. Audience members should be reminded to switch off their electronic devices completely.
- Student actors are given time to walk through their presentation prior to filming, to give an indication of how the space will be used and the most appropriate way of framing each section. It might be a good idea to film the walkthrough to ensure that the recording equipment is in full working order.
Production (During the assessment)
Some suggestions to keep in mind when filming live assessments:
- Vision and sound are equally important in most video, so learn how to capture good sound as well as good pictures.
- Check to ensure that the camera is recording before the assessment commences, and leave a few seconds at the end of the assessment before stopping the recording.
- Camera work should be steady, in focus, well-exposed and well-framed.
- Try to avoid zooming in and out excessively while filming. A helpful rule to follow is to have a medium close-up on solo presenters or performers (slowly panning as they move left and right), and to move to a still wide-shot when there are groups of student actors or other presentation elements that need to be seen in the shot.
- Do not switch off the recording at any point during the presentation.
Post-Production (After the assessment)
Once the recording is finished:
- Transfer the video recording to a computer to ensure that the work is backed up.
- Clearly label the video recording to ensure it is easily identifiable at a later date.
- Do not alter the video recording in post-production. Sound and brightness levels may be raised where appropriate, but there must not be any other interference with the authenticity of the recording.
For Task 3:
Collaborative project, students are required to select footage from the video recording to demonstrate their artistic choices. This process will require basic video-editing software to select the footage chosen for submission by each student from the full recording of the theatre piece.
CHOOSING THE RIGHT MOMENTS OF VIDEO
The footage from the video recording that the student selects for the examiner needs to show his or her contribution, artistic choices and how these were realized.
Students might choose, for example, to select a moment that they had a hand in creating, a section they performed in, a moment they have directed or a moment that shows their lighting design. This choice will be dependent on what their focus was in the creation and presentation of the piece.
In order to choose the best footage for the assessment task, students need to be aware of what their contributions to the creation of the piece of theatre were.
Use the IB handout (click the button below) to identify your specific contributions.
The footage from the video recording that the student selects for the examiner needs to show his or her contribution, artistic choices and how these were realized.
Students might choose, for example, to select a moment that they had a hand in creating, a section they performed in, a moment they have directed or a moment that shows their lighting design. This choice will be dependent on what their focus was in the creation and presentation of the piece.
In order to choose the best footage for the assessment task, students need to be aware of what their contributions to the creation of the piece of theatre were.
Use the IB handout (click the button below) to identify your specific contributions.
Individual students can use this form to help them identify their best moments in the video recording of their group's devised theatre piece. Students can, fill in the chart to outline what their responsibilities were in these specialist roles: Creator, Director, Performer, and Designer.
CAPTURING AND MEASURING AUDIENCE IMPACT
After the piece of theatre has been experienced by an audience, the students are required to capture and measure the audience’s response.
Following are some examples you can us ideas.
- Questionnaires
- Interviews
- Surveys
- Discussion
- Webpage/wiki/Facebook or social network space specifically dedicated to the production
- Activities and games
- A visitors' book
- Audio recorders
- Giving out bits of paper and asking people to draw their favorite moment on one side and give a brief explanation on the other
- “Vox-popping” individuals' immediate responses as they leave the space, that is, the first three words that come into their head when they think of the performance
Use this form to list ideas for how responses can be captured and measured in a talk-back session.
COLLABORATIVE PROJECT EXAMPLE A
Starting Point: A photograph —“Titan Arum”
Submitted Work, Student A
Please view the work in the following order.
Please view the work in the following order.
COLLABORATIVE PROJECT EXAMPLE B
Starting Point: Idea, issue or theme —“Insomnia”
Submitted work, Student B
Please view the work in the following order.
TASK 4
THE JOURNAL
Students should keep a journal from the outset of the course. This is the student’s own record, charting development, challenges and achievements, and, as such, students are free to determine what form it should take (written, audio and/or visual).
The aim of the journal is to support and nurture development and reflection, and it is expected that much of the students’ assessed work will emerge from it. Students should also be encouraged to explore connections between different areas of learning throughout the course.
The journal is not directly assessed or moderated but, since what it contains will reflect the sensibility of individual students, and will contain their responses to the different areas of learning, it should be regarded as a fundamental activity of the course.
Focus and selection of material
Students should not use the journal to engage with their personal emotions, but should strive to reflect on and analyse their experiences at various stages of development. Before adding anything to it, students should ask the questions “Why am I including this?” and “How is this a reflection of my experience of theatre, my discoveries in theatre, and the development of my knowledge, understanding and skills?”
Students should draw upon the journal as a useful resource once they start work on Tasks 1 - 3
The aim of the journal is to support and nurture development and reflection, and it is expected that much of the students’ assessed work will emerge from it. Students should also be encouraged to explore connections between different areas of learning throughout the course.
The journal is not directly assessed or moderated but, since what it contains will reflect the sensibility of individual students, and will contain their responses to the different areas of learning, it should be regarded as a fundamental activity of the course.
Focus and selection of material
Students should not use the journal to engage with their personal emotions, but should strive to reflect on and analyse their experiences at various stages of development. Before adding anything to it, students should ask the questions “Why am I including this?” and “How is this a reflection of my experience of theatre, my discoveries in theatre, and the development of my knowledge, understanding and skills?”
Students should draw upon the journal as a useful resource once they start work on Tasks 1 - 3