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Explain how research material was gathered and used within the process, and evaluate the ways in which ideas were communicated to the audience

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Explain how research material was gathered and used within the process, and evaluate the ways in which ideas were communicated to the audience Before starting on the Unit 4 process, we created individual workshops based on the quote "We are all lonely individuals, acting out our lives in a hostile environment made only acceptable by our dreams of escape", with each person taking a different interpretation. As well as introducing us all to vital leadership skills, it showed us how many different ways there were to view one quote, let alone widening it to a whole performance piece or even a range of texts. My workshop was based on Brian Clark's 'Whose life is it anyway?" using the main character as the "lonely individual". I saw a production of this play in April 2005, and instantly loved it, and saw the connection with our stimulus quote. This play had important social relevance, and ended up linking well to our eventual Unit 4 concept: failing to see reality. After a serious car accident which severed his spinal chord and left him quadriplegic, Ken attempts to persuade the hospital to discharge him, letting him die with dignity. ...read more.


After reading these lines, I felt far more sympathy for Helena's character than is often portrayed, and so with my interpretation, did not want to portray her as unintelligent, or mock her too strongly. Our concept was to highlight blind love, not to ridicule the victims of it. Near the start of the process, we studied Berkoff as a practitioner because of his ability to create scenarios and characters through the simplest of improvisations. Unit 4 was the first real time I had to create an extended piece of drama without the use of a script, especially without the foundation of GCSE Drama. Therefore, workshops where we focussed on devising were incredibly useful, and gave us the confidence we needed as a group. We worked on activities such as creating a scene, adding a character, adding a twist in the plot, etc, and began to see how simple it was to devise and develop a performance. We used such a range of literature within our piece to create a clear journey for the audience, using both classical and modern texts to highlight our central theme of blind love. ...read more.


As well as creating humour, this shorter scene showed the audience how much more easily they could have communicated with each other. This particular approach seemed successful as the contrast was so clear, and audience feedback suggested that it was fully understood. In other scenes such as the adaptation of Time and the Conways, we used exaggeration of character to convey our concept. It was crucial that the audience understood that we were showing two people who were completely in love, yet neither had the courage to admit it. We communicated this by making both characters appear particularly nervous and unsure of their own emotions; Madge played by Ele often fidgeted with her hands and sat in a very awkward position with uncomfortable body language. I played the part of Gerald, and as soon as the scene began, I walked away from Madge, avoiding eye contact, with occasional glances towards her at appropriate moments. The other cast members supported this by standing on blocks behind both of the central characters and mimed pushing us together. Every time the conversation became stagnant they eased the pressure off, and appeared disheartened. Without this enhanced characterisation, the purpose of that particular scene, and therefore the purpose of our production would not be sufficiently clear. Helen Fletcher 13A Structured Record ...read more.

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