AS Drama exam - Edexel

OP

ooo and what do you write about social and historical content?

Reply 2

iambic pentameter, posture, gesture, accent, voice, levels, movement, tone, poise, expression, brechtian, stanislavskian, didactic, pitch volume, types of theatre (in the round, end on, thrust, proscenium arch etc)
:smile:

Reply 3

Coco.

12

I wish my notes (barely developed) contained such elaborate words!

Anyway, I have used intonation and inflection (voice) and general KS3 stuff like hotseating, split scene..help me out? haha

For context I have reasearched the playwright and seen how his background may have had influences on the play. Also look into the social context of the play itself, when was it written etc, things going on during that period of time. You also have to commment on how the audience can relate to this...contemporary issues going on etc.

Reply 4

Coco.

12

francescarella

iambic pentameter, posture, gesture, accent, voice, levels, movement, tone, poise, expression, brechtian, stanislavskian, didactic, pitch volume, types of theatre (in the round, end on, thrust, proscenium arch etc)
:smile:

Oh gosh

Seeing as this is your field of expertise..is there a snazzy word for the use of a chorus/raised blocks (in an end on situation)

Reply 5

what play is it you're doing?
also, in the exam, what kind of question will you be answering- do you get a choice?is it direction, performance, technical etc...?
i think my board was AQA but i'm sure i can still help you no worries :smile:

and as for a word for chorus/raised blocks in an end on situation...i guess that's probably just use of split-level logistics :smile:

Reply 6

Coco.

Oh gosh

Seeing as this is your field of expertise..is there a snazzy word for the use of a chorus/raised blocks (in an end on situation)

still want any help?

Reply 7

OP

Thank you

I'm doing 4.48 pyschosis - its by Sarah Kane?
Its split up in to conveyance of actors in performance, interpretation of performance and social and cultural background of the play

Reply 8

ScreamYourHeartOut

Thank you

I'm doing 4.48 pyschosis - its by Sarah Kane?
Its split up in to conveyance of actors in performance, interpretation of performance and social and cultural background of the play

oh sarah kane's brilliant :smile:

right, well for conveyance of actors, make sure you make a direct quote eg "for the line "i hate you!" i would raise my volume, my pitch would be shrill and vocally i would say it with a fast pace. for movement i would bring proxemics closer and create a sense of increasing tension and drama to the underlying subtext of the line."

:smile:

is that in any way helpful?

Reply 9

OP

Yes thank you :smile:

I just feel like Im going to fail this exam :frown:

Reply 10

piiineapple

ScreamYourHeartOut

Thank you

I'm doing 4.48 pyschosis - its by Sarah Kane?

ahh i have this exam tomorrow too. I'm doing Chekhov's "Three Sisters" though... i bet your practitioner is a bit cool if you're doing 4.48 psychosis! We've got Stanislavski :frown:

Reply 11

piiineapple

ahh i have this exam tomorrow too. I'm doing Chekhov's "Three Sisters" though... i bet your practitioner is a bit cool if you're doing 4.48 psychosis! We've got Stanislavski :frown:

ahhh if you need any help on stan the man....i'm your gal :wink:

oh how i danced when that exam was over...

Reply 12

OP

What do you have to write on practitioners in the exam? We went over it, but our teacher didnt do much on it....fool

Reply 13

ScreamYourHeartOut

Yes thank you :smile:

I just feel like Im going to fail this exam :frown:

you wont fail. it's actually quite easy to get marks on these kind of exams:

make a point about the character/topic etc

put in a quote with suggestions for interpretation for acting/production etc

say what the desired effect on the audience is, maybe mention possible
social/political importance it may have.

bingo :smile:

Reply 14

ScreamYourHeartOut

What do you have to write on practitioners in the exam? We went over it, but our teacher didnt do much on it....fool

who's your practitioner?

Reply 15

OP

Stanisklaski - i think thats how you spell his name?

Reply 16

ScreamYourHeartOut

Stanisklaski - i think thats how you spell his name?

ahhh yes stanislavski.. i could tell you a thing or two about that dude.....uber naturalistic for one thing. loved his rehearsals for another.

Reply 17

piiineapple

francescarella

ahhh if you need any help on stan the man....i'm your gal :wink:

oh how i danced when that exam was over...

arrrrr any help would be increeeeeeeeeeeeedibly appreciated!!! I haven't started my revision yet (i got a plan to cram :P) so literally anything :biggrin:

xx

Reply 18

piiineapple

arrrrr any help would be increeeeeeeeeeeeedibly appreciated!!! I haven't started my revision yet (i got a plan to cram :P) so literally anything :biggrin:

xx

lol well erm where to start
crash course in stan commences:

he reacted to the theatre of the time by saying it was too melodramatic and not naturalistically representational of the way characters were played by actors.
as a director/actor himslef, he was very aware of the rehearsal process and so as a result created various techniques that accumulated to become what is now seen as naturalistic theatre.
these techniques involve:

emotion memory-retrievin past experiences using a trigger such as a perfume to recreate the emotion of the memory and use that for the character's situation eg. a certain smell reminds you of a time when you were sad, and so you can trigger the acting technique to become sad for a given scene by smelling this.

magic if- what would you do IF you were a character. eg how would you act if you were macbeth having to kill your king? this is how you would retrieve certain acting emotions for the scene

given circumstances- the specifics of a character that you cannot change but can use to assess how they would react to a situation eg a charactar has had a bad experience with their mother and so might act hostile around women

is all this ok? do you want any more stanislavski techniques?

Reply 19

piiineapple