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

How did your role emerge, how was it communicated, and in what ways was the stimulus material developed through the drama process?

Extracts from this document...


Q1) How did your role emerge, how was it communicated, and in what ways was the stimulus material developed through the drama process? As a group, we immediately wanted to avoid the typical structure of each actor playing one character and using a central monologue to communicate. It seemed rigid, and unoriginal, and the audience were likely to become disinterested if it became excessively predictable. In relation to Peter Brook's quote "Drama is exposure; it is confrontation it is contradiction and leads to analysis, involvement, recognition and eventually to an awakening of understanding", we aimed to throw the audience in different directions, testing their perceptions of our concept of blind love. We therefore felt that portraying a range of characters using a variety of different stimuli would be more suitable, given the different personalities within our group. The first role I played was based on Helena from Shakespeare's A Midsummer Night's Dream. She is a classic example of someone refusing to acknowledge the truth, and because there was a comic element, we decided to use it as the first of our edited texts. I saw Helena as someone with very low self-esteem, and particularly selfish at times. ...read more.


The staging in the scenes based on A Midsummer Night's Dream aided the characterisation of both main characters involved. The chorus members acted as a forest where Dan and I would struggle to move through, and the blocks on stage also acted as obstacles and barriers. Helena's emotional inability to be on the same level as Demetrius was echoed through the staging, as she could physically not keep up with him, and he could easily escape. This gave me something very real to fight against as an actor, as I was not simply pretending to try and reach him, but physically it became much more difficult. Our original stimulus material consisted of a Steinbeck quote "We are all lonely individuals, acting out our lives in a hostile environment made only acceptable by our dreams of escape." We ran a series of workshops around this, with each group member taking a different interpretation of the quote. This introduced us to the challenge of directing and generating completely original pieces of drama. One lesson working on Berkoff led me to research some of his plays, and one that looked particularly interesting was his "The Secret Love Life of Ophelia". ...read more.


Our instinct very early on was to use Babble as our closing scene, and the title of our piece was chosen: (the last line of the poem) "It doesn't fit this time". This made this line stand out as an important statement which the audience would hopefully leave thinking about. It was when we were exploring plays such as Beauty and the Beast and Time and the Conways that our final concept really began to take form. We saw a common link between all the stimulus material we had collected, in that all the characters were victims of some sort of blind love. Helena in 'Dream' failed to see Demetrius' disinterest, Gerald and Madge from 'Conways' failed to see that they were both hopelessly in love with each other, and Beauty failed to see beyond the appearance of the Beast. This was a major breakthrough in the latter stages of the process where everything started to fit together. It linked perfectly with the original loneliness quote, as all the characters were putting on this defence mechanism of a "dream of escape" and so did not face reality. It also had obvious connections with the Berkoff play "If they fail to see" and the statements of the characters in the "acting" poem: "Now we're acting the partners in love". 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. 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. Theatre crosses social barriers. Evaluate this quote.

    Also, if theatre crosses social barriers, it should be available for all social classes of people to watch. However, the price of the ticket is soaring high for the people in lower classes to afford. Does this mean theatre is for the rich and wealthy people?

  1. Evaluation of personal drama work/perfomance.

    My next stage was bringing the set to life, placing the furniture in the rooms and not making the actors move. I had a lot of trouble placing the furniture down because a lot of the time one part of the audience couldn't see what was going on and then another block of the audience couldn't see and so on.

  2. Evaluation Of GCSE Drama Performance - Gregory’s Girl

    being cast them , there were not any other characters that I would rather of been cast as. Interaction: Our group worked very well together and interacted sufficiently. We all contributed to the final piece in numerous ways whether it be through props, line learning, research etc.

  1. How does the staging of the original production of Equus illustrate the play’s themes?

    The actors move in time with each other and should always feel like a horse even if they do not necessarily fit the token image of the animal". Masks allow escapism, as a mere man can become a hero with a mask on.

  2. Developmental Process. To explore the different aspects of city life, we all came ...

    The characters we came up with were; a person head of an office firm, a soldier returning from the war in the east, a wife of the solider and then a prostitute. Each one of us spoke about which characterisation would be a form of change for each actor and

  1. The conflict and contrast between the utopian ideals and Elizabethan politics presented in Shakespeare

    This is articulated by the supposedly sweet and tender Miranda: 'But thy vile race -/Though thou didst learn - had that in't which good natures/Could not abide to be with ..'(31) In these lines Caliban's race is seen as the reason for his barbaric behaviour - it is his very nature that makes him savage and dangerous.

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

    We then explored sirens in a book I had and decided that that was a far more realistic way to go to represent our seductresses. As for the War scene we gathered research on the style we wanted to emulate by watched videos of 'Monty Python's Flying Circus' and 'Black Adder Goes Forth'.

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