OCR LEVEL 3 CAMBRIDGE TECHNICALCERTIFICATE/DIPLOMA IN

PERFORMING ARTS

DRAMA IMPROVISATIOND/502/5099

LEVEL 3 UNIT 11

GUIDED LEARNING HOURS: 60

UNIT CREDIT VALUE: 10

TECHNICALSCambridge

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DRAMA IMPROVISATION D/502/5099

LEVEL 3 UNIT 11

AIM OF UNIT On finishing their training many actors find work with one of the many small and dedicated companies who take improvised performances to a variety of venues throughout the country. This unit will encourage learners to explore the skills essential to becoming a member of such a company. Learners will begin to understand the demands and rewards of such work through a variety of research, practical workshops, rehearsals, reflection and refinement. They will be facilitated to experiment and take risks within the performance space culminating in the realisation of both spontaneous and polished improvisation performances for an audience.

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Drama Improvisation Level 3 Unit 11

ASSESSMENT AND GRADING CRITERIA

Learning Outcome (LO)

The learner will:

Pass

The assessment criteria are the pass requirements for this unit.

The learner can:

Merit

To achieve a merit the evidence must show that, in addition to the pass criteria, the learner is able to:

Distinction

To achieve a distinction the evidence must show that, in addition to the pass and merit criteria, the learner is able to:

1 Be able to use the skills of improvisation

P1 demonstrate improvisation techniques to create drama

M1 participate in classes and workshops showing improvements in improvisation skills and techniques

2 Be able to use and develop improvisation

P2 use improvisation to create drama in response to stimuli

M2 develop improvisation skills in response to peer and tutor feedback

3 Be able to perform in improvised drama

P3 perform in improvised drama, using appropriate skills of voice, movement and use of space

M3 perform improvisation sustaining a character or a piece of dramatic action

D1 improvise within a performance space to communicate and engage with an audience effectively

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TEACHING CONTENTThe unit content describes what has to be taught to ensure that learners are able to access the highest grade.

Anything which follows the i.e. details what must be taught as part of that area of content.

Anything which follows an e.g. is illustrative. It should be noted that where e.g. is used, learners must know and be able to apply relevant examples to their work although those do not need to be the same ones specified in the unit content.

Be able to use the skills of improvisation

Games and exercises to encourage creativity, imagination, cooperation, concentration and focus including

• Story telling games: e.g. all learners sit in a circle – a context or character or opening phrase or sentence could be decided upon. Going around the circle, each member adds a word/phrase/sentence to the story until it is deemed finished.

• Park Bench: spontaneous impro – two/three learners sit on chairs/bench and start appropriate conversation – tutor says ‘freeze’ – one learner leaves ‘the bench’ and another takes their place and changes the narrative/characters & conversation.

• Similar but more physical game: spontaneous impro – three people given a context, e.g. party or wedding, start to improvise a scene, at an appropriate moment tutor says ‘freeze’ – all three must hold physical position – one learner leaves the space and another enters and using the position/posture of the other two learners as their inspiration they must start a completely different improvisation.

• ‘In the manner of the word’ cooperation/group work: one learner leaves the room and the rest of the group choose a word/verb/emotion – the learner returns to the space and asks the group to move or perform ‘in the manner of the word’, e.g. slowly, happily etc. The learner must guess the chosen ‘word’.

• Mime game: exercising the imagination — learners in a circle – one learner mimes an activity and the person next to them asks ‘what are you doing?’ The learner replies by saying that they are doing a completely different activity, e.g. the person could be cleaning their teeth but they tell the other person they are ‘flying a kite’. The other leaner must act out the new activity …. and the game is played around the circle.

• The chair game: spontaneous impro – working in two’s, one learner sits on a chair – the other learner must take on a character/situation and persuade the person who is sat to give up their seat to them.

• ‘Yes, and…’ To prevent blocking — Working initially in twos and then in larger groups a simple scenario or situation is given to the pair. As one comes up with an idea to advance the improvisation the other person must say ‘yes, and ……, developing the idea.

• Status: using playing cards – learners act a scene according to their number status.

• Spontaneous improvisation – learners should be given a title, situation or context and depict them initially with a freeze frame – the scene should be brought to life and ‘frozen’ at pertinent moments when individual characters should ‘thought track’ their feeling/emotions or ‘inner monologue’. Variations of this exercise can be explored with different size groups and situation.

• Cooperation, focus, concentration: whole group count to twenty – only one person can say each number, if two people say the same number – go back to ‘one’ and start again.

• Exploring different genres and styles through improvisation e.g. comedy, tragedy, melo drama, kitchen sink, agit prop etc.

• Exploring games and exercises which explore the use of improvisation within Commedia dell’Arte.

Key historical background and influences, including:

• Atellan farces, Greek and Roman mimes, Commedia dell’Arte, Mummers plays, etc.

• Theatre Practitioners use of improvisation including: Konstantin Stanislavski, Bertolt Brecht, Jerzy Growtowski, Jacques Copeau, Peter Brook, Augusto Boal, Viola Spolin, Keith Johnstone, Joan Littlewood, etc.

• The influence and use of improvisation in film making, including the work of:

Charlie Chaplin, Buster Keaton, The Marx Brothers, Mike Leigh etc.

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Drama Improvisation Level 3 Unit 11

Be able to use and develop improvisation

• Building Characters:

Building a character – using a prop or item of costume learners should develop a character and context. They should develop dialogue, find the voice and physicality of the character – perform — respond to feedback

Off the text rehearsal exercises, including:

• Using a script, learners should develop off text scenarios and dialogues for characters e.g. using ‘The Three Sisters’, learners should improvise the off text scenes between Act One and Act Two with particular reference to Andrey and Natasha or Macbeth, hiring the assassins who are to kill Duncan etc.

• During the early stage of rehearsal of a scene, learners put down scripts and improvise the scene.

• Using a character from a script, learners should provide a ‘stream of consciousness’ for them.

• Off the text – developing characters, relationships and establishing minor roles – take all the characters from a play that the learners know – sit them in a circle – one character sits in the middle – to each character in turn they say –‘I am…give their name’ – the other character replies ‘I am your….declare their relationship to the other character (this could be obscure as they may never meet or speak to the character on stage) the other character replies – ‘I want you to…..’ the other character replies in the same vain.

• Developing characters and relationships – once learners are secure within a role, freeze the action and ask them to ‘thought track’ their character.

• Analysis and evaluation of improvised work using subject specific vocabulary and terminology

• Developing scenes and extending improvisations exercises including:

Developing scenes: Learners should take a scene from the spontaneous exercises which they consider has further performance potential:-

develop the narrative, dialogue, movement, gesture, use of space, stage craft, potential for an audience, production elements, respond to feedback. rework and develop ideas.

Develop scenes using a variety of stimuli, including: photographs, letters, diary entries, paintings, postcards, lyrics, poems, music, historical events, fairy stories, newspaper articles etc.

Exercise to shape and focus scene –using a developing scene, restrict the dialogue to three sentences for each character – replay the scene – restrict to one sentence – replay the scene – one word – replay the scene – discuss the benefits of the exercise and rebuild the scene according to the evaluation of the exercise.

Be able to perform in improvised drama

• LO2 How to build on work and ideas generated from LO1 and LO2

• Warm up routines

• Developing characters and scenarios for ‘polished’ performances including:

1) Aims and objectives

2) Length, shaping and focusing scenes

3) Voice modulation, physicality of role, use of performance space, use of props/costumes, sound, lighting

4) Rehearsals, time management

5) Understanding the context, the mood or expectations of the audience and the integrity of the piece being performed

• Evaluation of work

• Reworking and developing ideas

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DELIVERY GUIDANCEBe able to use the skills of improvisation

This part of the unit should be centred on practical workshops and classes which enable learners to explore the many elements of improvisation through a series of games and guided exercises. They should be enabled to take risks, have fun and develop the basic skills and techniques required for effective improvisation. Following practical exercises, tutors should instigate discussion and evaluation of the effectiveness, use and potential of the various games and exercises for developing skills/techniques, potential narratives and scenes. It is important that learners are encouraged to work with all members of the group throughout these sessions.

Learners should be encouraged and facilitated to undertake a ‘warm up‘ session before the start of each class/workshop. Whilst this should become an automatic start to each session, it should not be regimented in approach but further encourage exploration and risk taking. Although initially tutor led, as classes progress learners should take responsibility for leading the warm up sessions themselves thereby providing variety for all.

Learners should be taught the rudiments of how to research around the topic of improvisation. Areas for research should be delegated to the group and varying methods of feedback and presentation should be encouraged, e.g. practical, written and interactive. Using applicable methods the tutor should deliver any neglected areas of research to the group thereby ensuring continuity of knowledge for the group. Reflecting on filmed or live performances of skilled practitioners or using contemporary practitioners to conduct workshops could be beneficial. The tutor should extend elements of the research and practitioners ideas through further practical workshops, e.g. Boal’s approach to forum theatre.

Be able to use and develop improvisation

Building on the confidence and ideas gained in LO1, learners should practically work on extended improvisations, responding to feedback in developing and rehearsing their ideas.

Learners should be taught to reflect on the merits of a variety of stimuli as the basis for good improvisation.

Using a variety of plays/scenes with which learners are familiar, the tutor should enable them to explore a variety of ‘off the text’ improvisation ideas.

Throughout this element of the unit, learners should again be encouraged to reflect, discuss and evaluate their work and that of others. Whilst risk taking should still be encouraged, learners should begin to identify their strengths and weaknesses within the field of improvisation. They should be facilitated to improve their weaknesses but also understand ‘how to play to their strengths’. Filming work for personal and peer evaluation should be encouraged.

Be able to perform in improvised drama

The tutor should guide the learner towards their practical performance/s ensuring they have a good understanding of applicable stage craft. Learners should be encouraged to feel for the mood or understand the expectations of an audience and work to respond spontaneously but appropriately while maintaining the integrity of the piece. Learners should with necessary assistance develop a rehearsal schedule and a strong sense of time management. Tutors should ensure that learner’s performances are technically supported as appropriate. Audience questionnaires should be compiled to aid feedback and discussion and, following the performance, they should be collated and discussed. Following the initial performance and feedback, tutors should facilitate learners in the refining, developing and extension of performance work.

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Drama Improvisation Level 3 Unit 11

SUGGESTED ASSESSMENT SCENARIOS AND GUIDANCE ON ASSESSMENTTutor evidence and a ‘learner’s log’ together should chart the journey and progress that the learner has made throughout the unit for the moderator.

Assessment and Grading Criteria P1 M1

For both P1 and M1 tutors should provide evidence of the commitment, progress and ability levels of learners in a format accessible to the moderator, e.g. written evidence or filmed evidence formatted onto a DVD supported by notes or discussion with the individual learner documented in note form by the tutor. In addition the learner should provide further evidence in the form of a workshop log; this should evidence learning and include reflection, analysis and evaluation of practical work.

Assessment and Grading Criteria P2 M2

Evidence for both criteria should be filmed showing practical work before and refinements after feedback. The DVD should be appropriately formatted for viewing by the moderator. Further evidence by the tutor documenting the transition should be provided to support the DVD. The learner should provide further evidence in their log to support their learning and progress within the unit.

Assessment and Grading Criteria P3 M3 D1

Evidence of the performances should be filmed and formatted onto DVD and made available for the moderator. Evidence of audience feedback could be provided by the tutor or within the learner’s log; alternatively, completed audience questionnaires could be included. Demonstration of the further refinement of work in response to the feedback could again be filmed for the moderator if appropriate.

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RESOURCES

A suitable working and performance space to facilitate the requirements of the unit

A range of stimuli, props and pieces of costume suitable for building characters and context

Suitable texts to accommodate ‘off the text exercises’

Augusto Boal Games for Actors and Non-Actors Routledge 978-0415061551

John Hodgson & Ernest Richards Improvisation Methuen 978-0413349200

Clive Baker Theatre Games Methuen 978-0413453808

Viola Spolin Improvisation for the Theatre Northwestern University Press 978-0810140080

John Abbott The Improvisation Book Nick Hern Books 978-1854599612

Chris Johnston The Improvisation Game Nick Hern Books 978-1854596680

Keith Johnstone Impro for Storytellers Faber & Faber 978-0571190997

Jeanne Leep Theatrical Improvisation Palgrave Macmillan 978- 1137299239

Shomit Mitter Systems of Rehearsal Routledge 978-0415067843

Scott Graham & Steven Hoggett The Frantic Assembly Book of Devising Theatre

Routledge 978 -0415467605

Barry Grantham Playing Commedia Nick Hern Books 978-1854594662

www.improvencyclopedia.org

www.foghornimprov.com

www.childdrama.com/warmups

www.contemporarydrama.com

LINKS TO NOS

Reference Suite NOS

Community Arts CCSCA5 Assist in developing a community arts project

Community Arts CCSCA4 Contribute ideas for community arts projects

Community Arts CCSCA8 Obtain and use research information

Proskills PROHSS 1 Make sure your own actions reduce risks to health and safety

CONTACT USStaff at the OCR Customer Contact Centre are available to take your call between 8am and 5.30pm, Monday to Friday. We’re always delighted to answer questions and give advice.

Telephone 02476 851509Email cambridgetechnicals@ocr.org.ukwww.ocr.org.uk