Download IB THEATRE SENIORS SUMMER ASSIGNMENT 2015

IB THEATRE SENIORS
SUMMER ASSIGNMENT 2015
Your Assignment for the summer of 2015 will help you to get more and more familiar with
the assessments you will be working toward next year – and will especiallyl get you started thinking
about the director’s process – you will do a simple version of the DIRECTOR’S NOTEBOOK, which will
be one of your three main EXTERNAL ASSESSMENTS next year.
1. Go to ​
https://drive.google.com/file/d/0Bz8tfgeDlMwgMC04ai0yYUpqTkE/view?usp=sharing
for a downloadable pdf version of the entire new IB Curriculum syllabus. Save this to a safe
place for constant referral next season! Read the material at Syllabus (p. 17) carefully for a
full explanation of how the elements of the course relates to each other. Read the
Assessments section (p. 30) for a full explanation of each of the four assessments (3 for
everyone, 1 extra for HL). Pay particularly close attention to the section on the Director’s
Notebook (pp, 43 – 51).
2. To familiarize yourself with various aspects of the director’s art, take a look at
http://novaonline.nvcc.edu/eli/spd130et/director.htm​
- a page from a Northern Virginia
Community College online theatre course. Familiarize yourself with the general history of
directing in the theatre, paying close attention to the script analysis and interpretation
section.
3. Look for and select a PLAY TEXT to study this summer. Your play should be a full length
published play of any style and genre - your choice. This does not necessarily HAVE to be
your final choice of play for your official Director’s Notebook assessment, but it’s OK to use it.
4. Here is what the IB says about the Director’s Notebook assessment:
a. Students at HL and SL independently choose a published play text, read the text and
record their personal responses. They then:
1. research and record the cultural and/or theoretical context of the play and identify
ideas the playwright may be addressing
2. explore the play and record their own ideas regarding how this play may be staged for
an audience
3. explain their directorial intention(s) and explain how this will inform their staging of
two particular moments of the play; these can be moments of atmosphere, emotion
or tension or which communicate the meaning(s) of the play; they must demonstrate
an understanding of how performance and production elements function together to
create these moments
4. reference live performances they have experienced and how these have influenced,
inspired or informed their directing of these moments. The live theatre performances
must not be productions of the same play text selected for study in this assessment
task.
5. This process is recorded and presented in the form of a director’s notebook
5. Here’s what the IB says about choosing a play text:
a. Students choose a published play text that they have not previously studied, which they are
interested in practically exploring as a director and which would allow them to successfully fulfill
the assessment requirements and criteria of the task. Students should have little or no previous
experience of researching or practically engaging with the published play text they select for study.
b. It is expected that students will consult and refer to a number of play texts prior to their final
selection. It is important for teachers to allow students to select their own play text. The key to
success in this task is for students to select a text that excites their imagination and that they would
be passionate about transforming into action.
c. The play text must remain unaltered. Students are not permitted to edit, make additions or
alterations to the original printed work. They may, however, in communicating their vision for the
staging of the selected play text, add as much additional action or introduce additional elements of
design if this will help them to realise their vision for the staging. In every case this should be
appropriate to the play text and students must clearly identify and justify these additions.
d. The play text does not necessarily have to be set within the original practice or style for which it
was originally intended. Students may wish to set the play in a contrasting practice or style in order
to bring out a particular idea or theme appropriate to the work.
e. Students are permitted to work with play texts written in any language. Any descriptions of plot or
direct quotations, however, must be translated into the language in which they are being assessed.
6. Your summer assignment contains THREE parts
a. Select and choose a play to read this summer - this may or may not be your final
choice for the Director’s notebook assignment.
b. By July 20, 2015, send me an email at ​
[email protected]​
with a journal entry
indicating what play you have selected, a short synopsis of the piece, and thoughts
about why you have chosen this piece.
c. While reading, keep a detailed journal of thoughts, ideas, inspirations, questions, etc.
relating to the piece you are reading. Read the play at least twice over the summer.
Look for video clips of scenes and moments from the play that you can comment on.
This journal will be due at the end of the first week back in the fall.
7. As your first big assignment of the fall, you’ll prepare a 10-minute talk about your piece and
some of the ideas you’ve come up with for creative staging. Details about this assignment will
come when we get back in the fall - no need to worry about it now.
8. You are welcome to borrow a few plays from our library but feel free to cast your net far and
wide when looking for an appropriate piece to study.
9. There is no journal template for you to use in keeping your journal. Instead, consider what IB
says about journal writing and the Director’s Notebook: ​
Using the theatre journal in this tas
k​
The students should use their theatre journal to document their initial responses to reading the play
text and research conducted, as well as influences on their intended process and final production. The
journal should also be used to record the thoughts and ideas that contribute to the development of
their directorial vision. From the journal they will select, adapt and present for submission an
annotated selection of their research and exploration as the basis for the director’s notebook,
focusing on clearly communicating their processes and justification for their artistic decisions and
choices. Students should also use the journal to document their experiences of live theatre
productions seen during the course. Particular attention should be given to how directors of live
theatre integrate ​
performance and production elements to create effective moments of atmosphere,
emotion, tension or the communication of a message.
HAVE A GREAT SUMMER! FILL IT WITH THEATRE!
THE EMPTY SPACE – PETER BROOK
NOTE TAKING TEMPLATE
IB THEATRE SENIOR LEVEL
Name __________________________________________
A. THE DEADLY THEATRE
a. QUOTE 1:
i. Comment 1
ii. Comment 2
iii. Comment 3
b. QUOTE 2:
i. Comment 1
ii. Comment 2
iii. Comment 3
c. QUOTE 3:
i. Comment 1
ii. Comment 2
iii. Comment 3
d. QUOTE 4:
i. Comment 1
ii. Comment 2
iii. Comment 3
e. QUOTE 5:
i. Comment 1
ii. Comment 2
iii. Comment 3
f. QUOTE 6:
i. Comment 1
ii. Comment 2
iii. Comment 3
g. QUOTE 7:
i. Comment 1
ii. Comment 2
iii. Comment 3
h. QUOTE 8:
i. Comment 1
ii. Comment 2
iii. Comment 3
i. QUOTE 9:
i. Comment 1
ii. Comment 2
iii. Comment 3
j.
QUOTE 10:
i. Comment 1
ii. Comment 2
iii. Comment 3
B. THE HOLY THEATRE
a. QUOTE 1:
i. Comment 1
ii. Comment 2
iii. Comment 3
b. QUOTE 2:
i. Comment 1
ii. Comment 2
iii. Comment 3
c. QUOTE 3:
i. Comment 1
ii. Comment 2
iii. Comment 3
d. QUOTE 4:
i. Comment 1
ii. Comment 2
iii. Comment 3
e. QUOTE 5:
i. Comment 1
ii. Comment 2
iii. Comment 3
f. QUOTE 6:
i. Comment 1
ii. Comment 2
iii. Comment 3
g. QUOTE 7:
i. Comment 1
ii. Comment 2
iii. Comment 3
h. QUOTE 8:
i. Comment 1
ii. Comment 2
iii. Comment 3
iv. Comment 1
v. Comment 2
vi. Comment 3
i. QUOTE 9:
i. Comment 1
ii. Comment 2
iii. Comment 3
j. QUOTE 10:
i. Comment 1
ii. Comment 2
iii. Comment 3
C. THE ROUGH THEATRE
a. QUOTE 1:
i. Comment 1
ii. Comment 2
iii. Comment 3
b. QUOTE 2:
i. Comment 1
ii. Comment 2
iii. Comment 3
c. QUOTE 3:
i. Comment 1
ii. Comment 2
iii. Comment 3
d. QUOTE 4:
i. Comment 1
ii. Comment 2
iii. Comment 3
e. QUOTE 5:
i. Comment 1
ii. Comment 2
iii. Comment 3
f. QUOTE 6:
i. Comment 1
ii. Comment 2
iii. Comment 3
g. QUOTE 7:
i. Comment 1
ii. Comment 2
iii. Comment 3
h. QUOTE 8:
i. Comment 1
ii. Comment 2
iii. Comment 3
iv. Comment 1
v. Comment 2
vi. Comment 3
i. QUOTE 9:
i. Comment 1
ii. Comment 2
iii. Comment 3
j. QUOTE 10:
i. Comment 1
ii. Comment 2
iii. Comment 3
D. THE IMMEDIATE THEATRE
a. QUOTE 1:
i. Comment 1
ii. Comment 2
iii. Comment 3
b. QUOTE 2:
i. Comment 1
ii. Comment 2
iii. Comment 3
c. QUOTE 3:
i. Comment 1
ii. Comment 2
iii. Comment 3
d. QUOTE 4:
i. Comment 1
ii. Comment 2
iii. Comment 3
e. QUOTE 5:
i. Comment 1
ii. Comment 2
iii. Comment 3
f. QUOTE 6:
i. Comment 1
ii. Comment 2
iii. Comment 3
g. QUOTE 7:
i. Comment 1
ii. Comment 2
iii. Comment 3
h. QUOTE 8:
i. Comment 1
ii. Comment 2
iii. Comment 3
iv. Comment 1
v. Comment 2
vi. Comment 3
i. QUOTE 9:
j.
Fin
i. Comment 1
ii. Comment 2
iii. Comment 3
QUOTE 10:
i. Comment 1
ii. Comment 2
iii. Comment 3
Some Potential Topics for IB Theatre Research Investigation
Arabian Shadow Puppets
French Farce
Commedia dell' arte*
Kabuki
Vaudeville
Yiddish Theater
Victorian Melodrama
Kathakali
Noh Theater*
Butoh
Vietnamese Water Puppets
Resoration Comedy
Roman Theater
Spanish Farce
Roman Comedy
American Burlesque
Medieival Theatre: mystery, morality, passion plays
Sanskrit theatre
South African Apartheid theatre
Irish theatre
Brecht’s Epic Theatre
German Expressionism
Greek Comedy
Greek Tragedy*
Elizabethan theatre*
German romanticism
Absurdism
Theatre of Cruelty
Karagoz (Turkish Shadow Puppetry) Korean Mask Dance Kuttiyattam Legong Kraton Butoh
Bunraku Puppetry
Cantonese Opera
English Music Hall
Carnivale
Naturalism/Realism
Austrian Marionette theatre
Comedy of Manners
Grosso Criollo
Karagoz (Turkish Shadow Puppetry)
Kuttiyattam
Legong Kraton
Indonesian Tari
French Farce
Rakugo Japanese "sit down" theatre
Thai Nang Yai
African Folk and Popular Theatre
Romanian Marionettes Simcheongga Korean Storytelling Sri Lankan folk ritual and dance drama Thai Nang Yai
Balinese dance drama
Beijing Opera/Peking Opera
Botswana Mask Theatre
Pantomime
Native American Storytelling
This list is not exhaustive but instead offers a starting place for looking around.
*topics studied or to be studied in class; might be difficult to focus on an unfamiliar aspect
.
SOME POTENTIAL INDEPENDENT PROJECTS
ALL PROJECTS MUST BE DONE LARGELY WITHOUT STAFF HANDS-ON SUPERVISION
● DIRECTING THEATRE
o
WINTER ONE-ACTS
o
DIRECT A SHOW ELSEWHERE
o
DIRECT A PERFORMANCE IN-CLASS
● ACTING IN THEATRE
o
CREATE A ROLE IN THE FALL PLAY
o
CREATE A ROLE IN THE ONE-ACTS
o
CREATE A ROLE IN AN IN-CLASS PERFORMANCE
o
CREATE AND PERFORM A ROLE INDEPENDENTLY
● DESIGNING THEATRE
o
SET DESIGNS
o
COSTUME DESIGNS
o
SOUND DESIGNS
o
LIGHTING DESIGNS
● WRITING THEATRE
o
WRITE A PLAY
o
WRITE SCENES, MONOLOGUES, DIALOGUES
o
WORKSHOP YOUR WRITING FOR FEEDBACK
● TEACHING THEATRE
o
CONDUCT WORKSHOPS IN ANY VARIETY OF THEATRICAL FORMS OR CONVENTIONS
o
TEACH THEATRE ACTIVITIES OUTSIDE OF THE SCHOOL
● RESEARCHING THEATRE
o
OPTION B IN THE PACKET