• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

How did rehearsals and the production process contribute to the final performance?

Extracts from this document...


How did rehearsals and the production process contribute to the final performance? Although the majority of the rehearsals involved working closely as a whole group, there were occasional times where two or three members worked separately to focus on a particular element. One example of this was me, Dan, Josh, Sam and Nicole ensuring we were communicating the same facial expressions and gestures at the appropriate moments in the Positive Hour scenes. Our characters were desperately trying to make Hannah's character (Miranda) realise that her husband (Nick) was homosexual, and so we had to react at exactly the same moments to illustrate this "his yeast isn't rising". Our eyebrows would rise at moments of high sexual innuendo, and we would sigh in frustration when Miranda remained in denial. By designating specific movements to specific lines, the emphasis was stronger and the audience's understanding of the scene heightened. Watching this particular part back with the use of video definitely helped; it enabled us to see from an audience's perspective what was working, and what wasn't. Outside of group rehearsal time, we continued to research ideas as individuals, which often had a very positive effect. ...read more.


This led to a great deal of frustration at times, yet as our piece progressed, we saw the benefit more and more, and group members became less cynical. It was often difficult to fully explain how an idea would realistically work without working practically, and we often worked much slower when taking only a theoretical approach. One example of this was with the final scene with the "Babble'" poem. We had rearranged it so that each line (up to three words) were broken up and given to a different group member. Because it involved fluidity between all of us, we needed to practise it to ensure everyone knew their cues. We only realised how difficult this was when we actually acted it out, and so we saw the need for working this practically for a number of rehearsals. Similarly, when we re-ran a scene or blocked a transition, some members didn't take it seriously, and mocked certain elements such as the formation of the Beast. This was not only counter-productive as it did not represent how well a scene would actually work, but also led to something becoming comic within the group, and therefore limiting the impact of the scene, and wasting valuable rehearsal time. ...read more.


This meant there were now moments of silence in our relatively high-energy, fast-moving piece which really helped to focus and communicate our intentions effectively, as well as really ensuring the audience saw the difference between the scenes and characters. Being able to watch back the videos of our work in progress was definitely an asset, and one that we readily used. Seeing our piece from an audience's perspective was incredibly important, and we could easily evaluate the effectiveness of certain elements. Similarly, if one group member did not play a major part in a scene, we would occasionally have them watch it as an audience member. Steph, and others did this at several points, checking our projection and that the staging was effective, ensuring no-one was being blocked. It was often hard to view our piece objectively after working on it for so long, and so moments like these were really beneficial. In the last few days before the exam, we worked in full costume and with sound and lighting, which helped dramatically. It allowed us to fully immerse ourselves in our characters, and working with technical elements meant the atmosphere was exactly how it would be in the exam. Helen Fletcher 13A Structured Record ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Theatre Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Theatre Studies essays

  1. Evaluation of a Theatrical Production - 'Too Much Punch For Judy' By Mark Wheellers.

    when they went out clubbing. And they did look after each other, e.g. when Judy's husband left her, Joanna was there for her and took her out and they had fun together. The accident was represented using a stylised piece of Drama.

  2. The Last Days of Judas Iscariot

    The costumes seemed accurate with the images each character had to portray. The lawyers were dressed in business professional clothing, as most lawyers and professionals would wear. Cunningham had her hair tightly pulled back, expressing her professionalism and put-offish personality.

  1. How did group skills contribute to the development of the drama?

    I contributed a lot to the development of a movement piece, I took a piece of music called 'Clubbed to Death' from the Matrix and listened to it, noted where the distinguishing sections were and began to create a piece of movement to go with it.

  2. Explain how research material was gathered and used within the process.

    But after our final take on the stimulus was decided we began focussing on our economic and social research. Explorations, into mythological creatures especially, created fresh ideas during rehearsal time, for example in the prostitute scene. Thinking about the prostitute scene we kept coming back to the idea of sirens

  1. The Devising Process

    drama, as well as requesting to see a different side of Tudor England; points they hadn't learnt about in class. The children talked openly about the comparisons of our modern day to that of Tudor period and this proved useful in helping us compare the periods as children would.

  2. Drama and Theatre Studies DR4 Process Journal

    fear of one another, confusion of their whereabouts, and refusal to listen to one another, as well as their difference in morality being symbolised by their inability to relate. Therefore, a literal lack of communication through incomprehensible language would overshadow the underlying message.

  1. Explain how research material was gathered and used within the process, and evaluate the ...

    We also used some of the script, taking lines from a piece of dialogue between the characters Tristan and Yseult, in one of the most intense scenes in the play. They are attempting to define love, and use a series of opposing statements such as "It is everything, it is nothing...It is a sensation of senselessness".

  2. How did group skills contribute to the development of the drama, and how did ...

    What it did improve, however, was our concentration on us essentially as actors, looking at the scenes in greater detail. Working in different rooms and atmospheres often altered the group dynamic, but we learnt to work on different elements such as language and characterisation when we could not access props or set.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work