Download THE EDGAR ALLAN POE PROJECT DEVISED PERFORMANCE

THE EDGAR ALLAN POE PROJECT DEVISED PERFORMANCE REHEARSAL PLAN INTRODUCTION: The following is a rehearsal plan and explanation for a devising process involving high school students in a Theatre Ensemble course. What exists below is much more of a roadmap than a definitive plan. As the process evolves, adjustments will be made based on the specific group ideas generated and the needs to each individual story and poem. The process of research, exploration, and rehearsal will culminate in a performance for middle and high school students studying the works of Edgar Allan Poe in Communication Arts courses. GOALS AND QUESTIONS FOR EXPLORATION: 1. What are the most theatrical ways to tell a story? 2. What are the convention differences between story, poem, and play structure? 3. How can we blend Poe’s original text with improvised text? 4. How can we create a clear distinction between exploratory rehearsals and a more concrete rehearsal structure? 5. How can we find creative transitions within scenes that reflect a transitional device within the larger structure of the performance? 6. How can we find a framing structure that imaginatively weaves all of these narratives into a cohesive whole? 7. What are the ways in which music and voiceover can be incorporated to enhance the theatricality of performance? DAY ONE: INTRODUCTION ­Group Discussion: What do we know about Edgar Allan Poe? ­View Poe Documentary and Take Notes ­Share out Surprises/ New Things ­Discussion: What are the most theatrical ways to tell a story? What is the most theatrical way to tell Poe’s stories? ­Assign Poe Stories and Poems to Groups ­Read Aloud in Groups ­Small Group Brainstorm: What are your initial impulses in how to best tell these stories theatrically? DAY TWO: CREATION ­Warm Up Game: Build a Poe Machine ­Discussion: What were the most interesting ideas for interpretation? What are the thematic ideas? ­Bricolage Exercise (Have groups watch each other) St. John
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1. Have each actor write down TWO word, line, or image from the text as inspiration 2. Stick the notes around the room and have them move around until they pick a note 3. Each individual must physically (and vocally) embody and interpret their note (it does not have to be literal) 4. Once individuals have created something, the group must then combine into a group piece or response to their story 5. Audience Group: What was provocative?/ Actor Ensemble: What was provocative? ­Merry­Go­Round Exercise 1. List all the possible characters in the story 2. Assemble in a circle 3. Rotate in a Circle so each characters creates a scene with every other (rest of group watching) 4. Discuss Discoveries ­Lady of Letters Exercise 1. Have each actor place a sheet of paper and writing utensil on the floor in the room 2. Have each group member choose a character from their story 3. Have them begin moving around that space as a character 4. When the instructor says, “Go!” they must find a paper/utensil and write a letter to another character about anything of their choice 5. Share the letters within groups ­Marbles Exercise 1. Have each group choose an object from their story 2. Discuss and draw all of the object’s attributes 3. Mime and use the object either individually or as a group 4. Give each group one of the following categories (Literal, Physical, Textural, Emotional, Visual) 5. Give them 4 minutes to create a short scenario with a sense of activity and purpose (does not need to be a full scene). Remind them that the focus is on interpreting the object, not necessarily connecting it to their specific story. 6. Perform Scenarios for the rest of the group ­Summarize and Write Down the Day’s Discoveries (things they want to bring into their play) ­Share out in larger group ­H.W. Group must select a piece of instrumental music that represents their story DAY THREE: CREATION ­Warm Up Game: Hypnosis (in Pairs and 3’s) ­Complete the Image in Story Groups ­Red Riding Hood and the Loaded Gun Exercise 1. In small groups, have them decide and title (one sentence) the beginning, middle, and end of their story 2. For each, they should draw a picture and write out the title (as specifically as possible) St. John
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3. Trade groups. Each group must make TWO edits to the beginning and middle of the other groups. They may edit words or images, but the purpose is to create more drama. 4. Groups return to their storyboards and edit the ending to make their story make sense. 5. Groups then retell the story in a circle. 6. Groups should then perform their story 7. Discussion: Improvements and Take­Aways ­Narrative vs. Action 1. Choose one actor to play Poe or a narrative voice in their story 2. The Narrator will tell the story to the audience and rest of the group will create the visual action to match or supplement the narration 3. If the Narrator wants to rest of the ensemble to play a scene, they can point to the actors or set them up with a (...) at which point the actors can play out a scene until the narrator takes control again. ­Constructing Narrative from Music 1. Play the group’s piece of music 2. Have them construct a movement piece that both tells their story, but is set in time to the music 3. Perform Movement Piece and Record DAY FOUR: CREATION ­Warm Up Game: The River ­Discussion: What are the most interesting discoveries in ways to tell your individual stories? How can you create a play that incorporates some or all of those discoveries? ­Tell the Story in Tableaux ONLY (5 Images)/ Perform for the Group and Record ­Layer in Sounds (No Words)/ Perform for the Group and Record ­Layer in Poe’s Text (Minimally)/ Perform for the Group and Record ­Finding Alice Exercise: 1. Groups return to their 5 images and create a title for each (one sentence) 2. Perform a one minute scene for each image 3. Run the 5 scenes in order 4. Run the 5 scenes backwards 5. Run the 5 scenes randomly (drawn from a hat) 6. Run the 5 scenes in order of importance (Most to Least or Least to Most) 7. What was the most interesting/powerful sequence? ­Return to the Text and Break Into Beats (Based on the Sequence) ­Choose essential Text for each Beat/ Begin Scripting DAY FIVE: CREATION (Play Part 1 of 3: Beginning Beats) ­Warm Up Game: Flocking ­Review most Powerful Images and Sounds ­Review Beats, Essential Text, and Scripting St. John
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­Begin Improvisations of Each Beat ­Work and Repeat Improvisations ­Record in Script ­End of Class Check­in and Perform ­Discuss: Audience Reactions DAY SIX: CREATION (Play Part 2 of 3: Middle Beats) ­Warm Up Game: Rhythm with Chairs (Use Actual Chairs) ­Review Improvisations ­Continue Improvising ­Work and Repeat Improvisations ­Record in Script ­End of Class Check­in and Perform ­Discuss: Audience Reactions DAY SEVEN: CREATION (Play Part 3 of 3: Ending Beats) ­Warm Up Game: Pass the Clap, Stop/Start ­Review Previous Improvisations ­Final Day for Improvising ­Work and Repeat Improvisations ­Record in Script ­End of Class Check­in and Perform ­Discuss: Audience Reactions DAY EIGHT: CREATION ­Warm Up Game: Laser Beams ­Run Full Versions of Plays in Small Groups (with scripts) ­Run Full Versions for Class ­Class and Instructor Feedback ­Discuss Framing Structure ­Begin Devising Framing Structure Ideas DAYS NINE­FIFTEEN: REHEARSAL ­Discuss Transition Into Rehearsal ­Daily Physical and Vocal Warm Up ­Ensemble Building Exercise ­Individual Rehearsals with Director/ Rest of Group Working on Own ­Check­in and Perform New Moments ­Share Individual and Group Discoveries St. John
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DAY SIXTEEN: PERFORMANCE AND REFLECTION Resources: ­​
Theatre for Community, Conflict, and Dialogue​
, Michael Rohd ­​
Theatre Games for Devising​
, Jessica Swale ­​
The Viewpoints Book​
, Anne Bogart and Tina Landau ­​
Theatre of the Oppressed​
, Augusto Boal St. John
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