Component 1 Devising Theatre HOW DO I PERFORM

Component 1 Devising Theatre HOW DO I PERFORM MY DEVISED SCENE?

WHAT WILL I LEARN? In this section you will learn certain techniques to help you to give a better performance in your devised scene, which will be the sort of things your examiner is looking for. There are 10 things to remember in this section: Make sure you can recite all of them and why each is important.

1 GET TO KNOW YOUR CHARACTER If you have a character to portray in your devised scene you should get to know the character thoroughly. There are certain questions you should ask yourself about the character: 1: WHO AM I? Name, age, occupation, physical health, place of origin, status, characteristics, etc. 2: WHERE AM I? outside/inside, room, building, city, country, etc. 3: WHEN IS IT? Hour, month, season, year. 4: WHAT ARE MY RELATIONSHIPS? To the place, to the other characters, etc. 5: WHAT HAS HAPPENED BEFORE? Events that took place in the character’s life before the devised scene began, etc.

EXERCISE � Choose one of the characters that you play in your devised scene. � Write a short biography for your chosen character, using the questions to guide you. � After writing your biography and learning it, tell your character’s life story to the rest of the group. � Using the techniques of hot seating, allow yourself to be interrogated by the rest of the group. Remember to answer their questions in character.

2 MOTIVATION As well as the more obvious features of your character, another less obvious but equally important aspect in getting to know your character is ‘motivation’. But what is motivation? It is why someone behaves in the way they do. If you apply it to your character, thinking about their motivation would mean: � � Why is your character there? Why is your character speaking? Why do they say what they do? What their intentions are at a particular moment in the scene. Your character’s motivation can change during the scene, and the same applies to our daily lives. For examples, a person’s original motivation is to go into town to do some shopping, but on the way they get a puncture. Now their motivation has switched to getting the tyre fixed.

EXERCISE �Choose one of the characters that you play in your devised scene. �Imagine that your character is entering a room. Give three reasons why they are entering that room. �In the same way, imagine that you are leaving the room. Give three reasons for your exit. �All the time you’re performing the exercise it’s a good idea to have the word WHY in your head.

3 LEARN YOUR LINES The chances are that in your devised scene you will have lines to learn. For some students memorising will be a simple task. For others it can be a very difficult process indeed. This section will give you some handy hints if you find it difficult to read and remember your lines.

HINTS & TIPS � Sir Anthony Hopkins, the famous Welsh film actor, writes his lines down. He writes each line three times. By the third time, he feels he’s committed the line to memory. � Repeat your lines over and over again. Try standing in front of the mirror and saying the lines. This way you can see what your face and body are doing as you say the lines. � Stand up with your script and just start acting as you would do in your devised scene. This allows you to get a feel for your character. Associating words and actions can be a big help. � Record yourself reading out your lines but make sure the recording is clear. You don’t even have to be in character, read in monotone if you wish. Then listen to your self. � Run through your lines with a friend or family member. It doesn’t matter if they are an actor or not. What’s important is that they can tell you if you've missed out a few words.

IF YOU FORGET YOUR LINES If you forget your lines during the performance don’t freeze! Instead try to remember the five DON’Ts: DON’T get flustered! DON’T look towards the prompt corner ! DON’T call out ‘Prompt!’ DON’T look out to the audience! DON’T look towards your teacher! Stay in character. Keep the scene going to the best of your ability, and with the help of your fellow cast members hopefully you will get back on track. In the exam you only have one chance to impress the examiner.

4 DON’T FIDGET It’s more than possible that you will be nervous when performing your devised scene – especially in front of an examiner. Be aware of what you do when you are nervous, and try to avoid the following: � Flicking or playing with your hair � Scratching � Rocking on your feet � Shuffling your feet � Hiding your hands in your sleeves. You should only do these things on stage if you are using them to indicate your character.

5 CONCENTRATION & INVOLVEMENT If you lose concentration, break out of character, laugh when you are not meant to during the performance then you will lose marks! During the performance never look directly at a member of the audience (unless you are using direct address) and don’t make eye contact with the examiner. Doing so will suggest a lack of involvement and that you are not ‘in the moment’ when performing. Keep in character ALL of the time, even when you are not speaking or moving. When you are not speaking, listen to what others characters are saying.

6 USE OF VOICE The examiner will give you marks for your vocal skill; pace, pause, pitch accent etc. All of these show your understanding of the character and the role you play in your piece. Above all, clarity of speech is vital. So it is important that you do not rush your lines, that you do not mumble, or perform as fast as you can because you are nervous and want to get the performance over and done with! It’s just as important not to slow down too much, you will run the risk of sounding robotic and will bore the examiner and audience! Just think how your character would actually deliver the words you and your group have written.

EXERCISE � Try these tongue twisters to help you speak clearly: Round the rugged rocks the ragged rascal ran Peter Piper picked a peck of pickled peppers Frenzied fleas fly frantically forward Six thick thistle sticks � Start off slowly, then gradually build up until you say them at a normal conversation speed. � When speaking them, exaggerate the words, making your tongue, jaw and lips work hard. � As you become surer of them, begin to project your voice and exaggerate the words more.

PACE IS IMPORTANT � You can vary the pace of your delivery. � Some lines will be delivered quite slowly, others quicker. � It depends on our character, their mood, and their determination. � In the same way, it is important for you to vary your tone and volume. � The examiner will mark you down if you speak in the same way throughout the scene.

PROJECTION �You should speak loudly enough to be heard, without having to strain. Remember to use a range of volume in relation to the script. �Without yelling, you should make sure that your voice is loud enough to be heard in the back of theatre. �Projection means that you focus your voice further away from you rather right in front of you.

7 EMPHASIS Emphasis is the stress laid on a word/words to indicate special meaning or particular importance. Think very carefully about the subtext of each line you deliver and emphasise accordingly. Subtext is the thought that is not expressed directly in the text, such as emotion or tension. It is the unspoken meaning that sits below the spoken dialogue (SUBTEXT).

EXERCISE � Emphasis can play an important role in anything you say. Emphasis can change the meaning of any words that you deliver. � If we emphasise different words in the following sentence, we can change the meaning every time: ‘I didn’t think it was you. ’

8 VARIETY As already mentioned, varying your vocal skills is very important. It will help to add interest to your performance and make it more engaging. There an infinite number of ways of saying the same thing, and the way that it is said changes the meaning.

EXERCISE � Pick one word/phrase from your performance. � Explore different ways of saying it. � Experiment to see how varying the way you say it can change the mood and emotion of it. � ANGRILY EXCITED SLOWLY BORED SURPRISED SARCASTIC QUICKLY WHISPER LOUDLY Have a gibberish conversation in pairs using a variety of vocal skills, make sure that your conversation has clarity of meaning.

9 MOVEMENT & SPACE The examiner will look carefully at your use of space and movement. If used sensitively and in a very disciplined manner, you will gain more marks.

MOVEMENT � Getting to know your character fully means you will now exactly how they move. � Your body language, gestures and moves should indicate both your mood and character. How do you walk? How do you sit down? What mannerisms do you have? � Your movement within the acting area is very important. � Some of you will move a lot, others not so much. � Even if you are sitting in a chair, you can still show reactions and responses by how you use the chair. � All movements should appear natural and spontaneous – NOT pre-planned and rigidly worked out (even if they have been). Such movements will look mechanical!

EXERCISE �Pick one section from your devised scene. �Act out the section, without using words, pay special attention to how you communicate through your use of body language, facial expression and gestures.

SPACE When considering space you must decide on the type of stage you will use for your devised scene – and the position of the audience. Each stage layout has advantages and disadvantages. Think about the intended audience response and how you would like the audience to feel when deciding your staging.

PROSCENIUM ARCH/END ON

THRUST

STAGE AUDIENCE TRAVERSE

IN THE ROUND

10 INTERACTION � The examiner will award marks for excellent interaction with other characters. � This means listening and responding to what they are saying and doing with their characters on stage. Always listen to what others say in the scene. Show that your response is a result of a thought, not just a line of dialogue. Always work as a team with others, pulling together to perform your scene. Remember to respond physically and facially as well as verbally – even though you may not have lines to say at any one time, you should still be reacting, as the examiner will be watching you during this time.

FINAL TIP UNDERSTANDING THE PRATITIONER AND GENRE � When devising your scene and choosing your practitioner and genre, make sure that you have a full understanding of both. � Remind yourself about the techniques of your chosen practitioner. � Remind yourself of the elements expected in your chose genre. � The examiner will award marks for an excellent understanding of your chosen practitioner or genre and will look for a very well thought-out performance.