CI2 Theatre Performing Arts PDF

[Creative Industries II: Performing Arts / SHS] 1[Introduction to Performing Arts] Module 001: Introduction to Performing Arts Welcome to your first module for the subject “Creative Industries II: Performing Arts.”...

[Creative Industries II: Performing Arts / SHS] 1[Introduction to Performing Arts] Module 001: Introduction to Performing Arts Welcome to your first module for the subject “Creative Industries II: Performing Arts.” This module covers the Introduction to Performing Arts which includes its definition and identification about its various practices. It also contains the benefits which every individual is entitled when engaging with performing arts At the end of this module, you will be able to: 1. explain the meaning of performing arts; 2. identify the elements of various performing arts practices; and 3. demonstrate understanding about the benefits of performing arts to human lives. What is Performing Arts? Performing Arts is one of the several forms of art which has flourished in the early 1970s as a general term for a multitude of activities—including happenings, body art, actions, events, and guerrilla theatre. It is a time-based art form that typically features a live presentation to an audience or to onlookers. This form of art can embrace a wide diversity of styles (Encyclopædia Britannica, Inc., 2019). Furthermore, Performing Arts helps students to discover their own voice, grow in confidence, and develop empathy and ethical insight into the contradictions and paradoxes of the human condition. It helps students to grow in understanding of what it means to not only be human, but to be good, noble, honourable, kind, and compassionate (The Scots College, 2017). Various Performing Arts Practices The performing arts range from vocal and instrumental music, dance and theatre to pantomime, sung verse and beyond. They include numerous cultural expressions that reflect human creativity and that are also found, to some extent, in many other intangible cultural heritage domains. Performing arts are often performed in specific places; when these spaces are closely linked to the performance, they are considered cultural spaces by the Convention. Theatre, music, dance and other kinds of performances are present in all human cultures.  2 Skeeze (2014). Symphony Hall. Retrieved from https://pixabay.com/users/skeeze- 272447/ Shogol, N. (2017). Theater Play. Retrieved from https://pixabay.com/photos/ballet-at-sunset- sunset-theatre-2450506/ Traditional theatre performances usually combine acting, singing, dance and music, dialogue, narration or recitation but may also include puppetry or pantomime. These arts, however, are more than simply ‘performances’ for an audience; they may also play crucial roles in culture and society such as songs sung while carrying out agricultural work or music that is part of a ritual. In a more intimate setting, lullabies are often sung to help a baby sleep.  [Creative Industries II: Performing Arts / SHS] 3[Introduction to Performing Arts] Pexels (2016). Crowd on a concert ground. Retrieved from https://pixabay.com/photos/audience-band-celebration-concert1867754/ Pexels (2016). Classical Music. Retrieved from https://pixabay.com/photos/classical-music- orchestra-choir-2199085/ Music is perhaps the most universal of the performing arts and is found in every society, most often as an integral part of other performing art forms and other domains of intangible cultural heritage including rituals, festive events or oral traditions. It can be found in the most diverse contexts: sacred or profane, classical or popular, closely connected to work or entertainment. There may also be a political or economic dimension to music: it can recount a community’s history, sing the praises of a powerful person and play a key role in economic transactions. The occasions on which music is performed are just as varied: marriages, funerals, rituals and initiations, festivities, all kinds of entertainment as well as many other social functions. [Creative Industries II: Performing Arts / SHS] 4[Introduction to Performing Arts] Rom, E. (2016). Ballet Dancing. Retrieved from https://pixabay.com/users/romanen- 2521638/ Tipchai, S. (2016). A Woman in Thai Traditional Dance and Costume. Retrieved from https://pixabay.com/photos/dancer-asia-art-bangkok-pretty-1807516/ Dance, though very complex, may be described simply as ordered bodily movements, usually performed to music. Apart from its physical aspect, the rhythmic movements, steps and gestures of dance often express a sentiment or mood or illustrate a specific event or daily act, such as religious dances and those representing hunting or warfare (UNESCO, n.d.). [Creative Industries II: Performing Arts / SHS] 5[Introduction to Performing Arts] Benefits of Performing Arts Performing Arts assembles propensities for mind that are basic to sound living and surviving from distress and it is very reviving to see that it is getting more consideration than it has previously. As time passed by, its role has been carefully addressed for individuals who seek for physical and mental development. Performing arts sharpens our innovativeness and insight, encourages our empathy, and carries a higher comprehension of mankind that is why it requires performers to be critical thinkers, problem solvers, and good listeners for better experience and learning. Below are the benefits, as identified by Wabisabi Learning (2018), which contributes to the proactive development of an individual on many different levels: 1. CREATIVE SELF-EXPRESSION The expression of a person’s individuality and creative nature is found in any art form. We express ourselves in creative situations either in professional or personal relationship. Every individual exploring themselves in performing arts must have a deep and unique personality and ability. They tend to explore the richness of these abilities in different ways such as dancing and theatrical arts through the concept of performing arts. Some people who are having difficulties to express themselves find interest and develop confidence with the help of this outlet. 2. CONFIDENCE The fear of failure and judgement can be the primary reason why people hesitate to perform in front of an audience. It can be terrifying for some but the truth is, it can really be considered as a confidence builder. Confidence is the result of our knowing that those opinions of us don't need to become our reality. After all, once we've created an expressive project we must still perform it or present it no matter what. Part of building confidence in performing arts is being able to let go of such expectations. This takes the courage to accept whatever reactions come from sharing this part of ourselves without sacrificing our integrity. This is a mindset we can apply to many areas of our lives. 3. COLLABORATION Performing arts is profoundly collaborative by its very existence. Through sharing common interests and goals, people in this field usually end up building relations. In a collaborative work or project, this aspect contributes a lot to developing one’s confidence and ability. With such experiences, we grow constructively and proactively to handle obstacles and conflicts. In the performing arts field, whether academically or professionally, creating something usually requires us to rely on others for help. We can rarely do it all on our own, and it's not just a case of “many hands making light work.” It also has to do with improving our performance with other people’s skills and experiences to gain positive involvement and shared progress. Every person may have something they can bring to the table in a group of like-minded individuals that no one else can. Henry Ford, for example, claimed that he surrounded himself with people he knew were more intelligent and capable than he was. This kind of desire to share allowed him to create something that ultimately changed the environment. [Creative Industries II: Performing Arts / SHS] 6[Introduction to Performing Arts] 4. FOCUS Regularly we work in reverse from what is expected to accomplish our ideal outcomes. On the other hand, we also focus on a particular procedure as we envision our ultimate objective. The entirety of this takes focus and concentration. Just like any other practices, performing arts is also an activity which is worth doing which takes focus for it to have a successful outcome. 5. PROBLEM-SOLVING Sculptor Magdalena Abakanowicz said about art: “Art does not solve problems, but makes us aware of their existence.” How does arts relate to the problem-solving skills that we want from our students? Simply put, we know by definition the method of problem- solving through knowing the creative process. Just like how the saying goes, “In a group of like-minded individuals, each person may have something they can bring to the table that no one else can.” Out of this notion comes the birth of what they call Essential Fluencies which are solid foundation for effective modern learning. They cover all the bases of the skills students need for success beyond school. Below are some types of fluencies which are now being used in classrooms across the world: Solution Fluency is the flagship process of problem solving. It's a foolproof system that will solve any problem no matter how big or small. All the other fluencies are expressed in the Solution Fluency stages, which gives them their own contribution in problem-solving methods. Creativity Fluency emphasizes the fact that creativity can be taught, acquired, and mastered. Learning how to be creative makes people understand that every individual is a unique type of problem solver dealing with both abstract and artistic concepts as well as technical and linear concepts. 6. LEVERAGING FEEDBACK Performing arts is one of the greatest ways to learn about making appropriate feedbacks as these activities are so intensely private and special to each individual. Students must learn how to use feedback to their advantage, whether it be positive or negative. Students will be constantly evaluated and graded during their school years, and part of any careful evaluation will provide constructive and actionable feedback from which students can grow. More so, feedback is always involved in the performing arts work. Students can learn that feedback can be empowering when given and received the right way through artistic practices. If a feedback is largely negative, they need to learn to turn it into something that will benefit them instead of breaking them down. Course Module [Creative Industries II: Performing Arts / SHS] 1 [Explorations in Theater Part 1] Module 002: Explorations in Theater Part 1 At the end of this module, you will be able to: 1. define what theater is; 2. identify the different types of theater; 3. discuss the different elements of artistic expression as applied in the theater; and 4. demonstrate an understanding of theater as a synthesis of the art. Theater Theater is a building specifically designed for the purpose of presenting dramatic performances before an audience. Theater includes formal presentation of scripted play involving acting, directing, designing, managing and other technical aspects (Collier, 1995). It is concerned with live performances in which the action is precisely planned to create a coherent and significant sense of drama. Though the word theatre is derived from the Greek theaomai, “to see,” the performance itself may appeal either to the ear or to the eye, as is suggested by the interchangeability of the terms spectator (which derives from words meaning “to view”) and audience (which derives from words meaning “to hear”) (Encyclopædia Britannica, Inc., 2019). The Basic Elements of Theater: 1. Script/Text, Scenario, Plan – Script is a written version of a play or other dramatic composition. It is used in preparing a theatrical performance. I t can be simplistic, as in the16th century, with the scenarios used by the acting troupes of the Comedia Dell’ Arte, or it can be more elaborated, such as the works of William Shakespeare. The script, scenario, or plan is used as a blueprint to build a production form. 2. The Process – This is the element that refers to the work in progress stage. It is where the work of the playwright is realized by the director, actors, designers, technicians, dancers, musicians, and any other collaborators that come together on the script, scenario, or plan. 3. The Product – This is the finished work. This is what the viewers witness as they sit in the theater and watch the work. 4. The Audience – The audience are indispensable in the theater. The physical presence of the audience is very essential as it can change a performance, inspire actors, and create expectations. The presence of live actors on the stage in front of live audience differentiates it from modern day films and televisions. 5. The Playwright – The playwright writes and produces plays for the theater. He writes the literary composition specifically for the stage in play format (Terrin AdairLynch, 2012).  [Creative Industries II: Performing Arts / SHS] Types of Theater Theatres have evolved with different internal layouts according to the types of productions presented there. The most common types of stage arrangements are listed below. Proscenium Theater Proscenium stages have an architectural frame, known as the proscenium arch, although not always arched in shape. Their stages are deep and sometimes raked, meaning the stage is gently sloped rising away from the audience. Sometimes the front of the stage extends past the proscenium into the auditorium. This is known as an apron or forestage. Theatres containing proscenium stages are known as proscenium arch theatres and often include an orchestra pit for live music and a fly tower for the movement of scenery and lighting Theatres Trust (2019). Image showing the proscenium arch at Sheffield Lyceum. Retrieved from http://www.theatrestrust.org.uk/discover-theatres/theatre-faqs/170-what-are-the-types-of- theatrestages-and-auditoria Gamil, D. R. (2015). Proscenium Stage. Retrieved from https://www.slideshare.net/DianaRossGamil/theater-stage-types Thrust Theater As the name suggests, these project or ‘thrust’ into the auditorium with the audience sitting on three sides. The thrust stage area itself is not always square but may be semi-circular or half a polygon with any number of sides. Such stages are often used to increase intimacy between actors and the audience. Theatres Trust (2019). Image showing the Thrust Stage at the Gulbenkian, University of Kent. Retrieved from http://www.theatrestrust.org.uk/discover- theatres/theatrefaqs/170-what-are-the-types-of-theatre-stages-and-auditoria Snyder, B. J. (2011). Thrust Stage. Retrieved from https://www.slideshare.net/brandonjsnyder/types-of-stages- 9475001 Theater in-the-round These have a central performance area enclosed by the audience on all sides. The arrangement is rarely ‘round’: more usually the seating is in a square or polygonal formation. The actors enter through aisles or vomitories between the seating. Scenery is minimal and carefully positioned to ensure it does not obstruct the audience’s view.  [Creative Industries II: Performing Arts / SHS] 1[Explorations in Theater Part 2] Module 003: Explorations in Theater Part 2 At the end of this module, you will be able to: 1. define what drama is all about; 2. demonstrate an understanding about its purpose; 3. identify and explain its important elements; and 4. classify its different types as applied in various theater performance. What is Drama? It is believed to have its origin in the art of dance, is found in some form in almost every society, primitive and civilized, and has served a variety of functions in the community. At its best, it is a reflection of many phases of life. The abridged Oxford Dictionary defines drama as a composition in prose or verse, adapted to be acted and is represented with accompanying gesture, costume, and scenery, as in real life (Sanchez C. A., et al, 2016). Moreover, it is a performing art that tells story and is performed on stage. It means to act or to do from the Greek Word ‘dran’. It is a composition in prose for enactment, intended, to portray life or character or to tell a story by action and dialogue. (Collier, 1995). Purpose of Drama Drama captures the essence of a culture or a group within that culture. It reveals the attitudes and opinions of their time. 1. Improvisation is the ability to do something spontaneously to new and unexpected situations. Drama gives us the opportunity to hone our improvisation skills. Life is improvisation. We respond in new ways when spontaneous and unexpected things occur to us. 2. Play Making is the process of experimenting with new roles. Through plays, you can re- examine old roles and challenge society’s values and interpretations. In drama, you will be expected to create plays. 3. Drama as a Cooperative Process is the process in which you are asked to participate in group work. This helps you explore relationships on and off stage. It helps your communication skills and helps you make friends on campus (AMA Online Module, n.d.). Elements of Drama There are six elements of drama which are considered vital in performing arts. They are outlined as follows: 1. Theme/Thought/Idea The theme contains the meaning or the main idea of the play. This is mostly the abstract issues and feelings that grow out of the dramatic action of the characters. Sometimes, this is straightforwardly stated in the title or it may be inserted into the dialogue of a character. The theme may also be less obvious and would only emerge after some study or thought (AMA [Creative Industries II: Performing Arts / SHS] 2[Explorations in Theater Part 2] Online Module, n.d.). It is the soul of the story and it mostly involves conflict between individuals, man and society, man and a superior force, and man and himself. 2. Action/Plot The plot or action is the framework, the plan, or the main story line. Drama requires a plot that is faster in progression and without too much interruption in order to sustain the interest of the audience who usually are eager to get the show going. It is the arrangement of action and movement in the play. a. Initial complication/Exposition – It is also known as the introductory part where the narrator introduces the story including the characters. It is the beginning of the play which sets the time and place of the action; it familiarizes the audience with the characters and the situations they are in and initiates the development of the conflict. b. Rising Action – It is the part where the issues, twists, and other important matters in the story are slowly revealed. c. Climax/Complication – It is the highest peak or the most intense part of the story and also known as the middle part of the play which develops the conflict that was started in the exposition. This is the parts of the play where the audience gets to know the characters more deeply. d. Falling Action – This is where matters being discussed delicately from the climax are slowly resolved. e. Resolution – It is the part where the story ends with the problems being properly resolved and the characters are placed in well situations (Sanchez C. A., et al, 2016). 3. Characters Characters are the people involved in a story, they may seem real to us depending on how the playwright put words on paper to make the characters come to life (Dickinson, 1966). Each character should have his own distinct personality, age, appearance, beliefs, socio- economic background, and language (AMA Online Module, n.d.). Character Presentation: a. Direct Presentation – author tells us straight out, by exposition or analysis, or through another character. b. Indirect Presentation –author shows us the character in action; the reader infers what a character is like from what she/he thinks, or says, or does. These are also called dramatized characters and they are generally consistent (in behavior), motivated (convincing), and plausible (lifelike). Character Types: a. Flat Character – is known by one or two traits. b. Round Character – is a complex and multi-sided character. c. Stock Character – is a stereotyped character (a mad scientist, the absentminded professor, the cruel mother-in-law). d. Static Character – is a character who remains the same from the beginning of the plot up to the end. [Creative Industries II: Performing Arts / SHS] 3[Explorations in Theater Part 2] e. Dynamic Character – is a developing character who undergoes permanent change. This change must be: i. within the possibilities of the character; ii. ii. sufficiently motivated; and iii. iii. allowed sufficient time for change (Balita, n.d.). 4. Language/Dialogue It is the only way of telling the story in drama (Sanchez C. A., et al, 2016). Language or dialogue delivered by the characters move the action or plot along. Each playwright can create their own specific style in relationship to language choices that they use in establishing character and dialogue (AMA Online Module, n.d.). 5. Music/Rhythm Music is not a part of every play, but music can be included to mean all sounds in production. This refers to the sound of the dialogue, musicality, pace, etc. Music and rhythm help in establishing the mood of the play and builds the impelling force that may lead to a climax. It can expand to all sound effects, the actor’s voice, songs, and instrumental music played as underscore in a play. There is a need for the composers and lyricists to work hand and hand with the playwright to strengthen the themes and ideas of the play. This element enables the characters to relate with the audience through lyrics and music (AMA Online Module, n.d.). 6. Spectacle The spectacle in the theater involves all the visual elements of the play – all of the aspects of scenery, costumes, and special effects in a production. These include the qualities determined by the playwright that create the world and atmosphere of the play for the audience’s eye (AMA Online Module, n.d.). Types of Drama 1. Comedy – are lighter in tone than ordinary works, and provide a happy conclusion. The intention of dramatist in comedies is to make their audience laugh. Hence, they use quaint circumstances, unusual characters, and witty remarks (Balita, n.d.). This genre should have the view of a “comic spirit” and is physical and energetic. It is tied up in rebirth and renewal. This is the reason most comedy end in weddings, which suggest a union of a couple and the expected birth of children. Comedy create light feelings. The playwright uses comic devices such as exaggeration, incongruity, surprise, repetition, wisecracks, and sarcasm. (AMA Online Module, n.d.) 2. Tragedy – Tragic dramas use darker themes, such as disaster, pain, and death. Protagonist often have a tragic flaw – a characteristics that lead them to their downfall. Aristotle’s definition of tragedy: A tragedy is the imitation in dramatic form of an action that is serious and complete, with incidents arousing pity and fear wherewith it affects a catharsis of such emotions. The language used is pleasurable and throughout appropriate to the situation in which it is used. The chief characters are noble personage (“better than ourselves,” says Aristotle) and the actions they perform are noble actions. [Creative Industries II: Performing Arts / SHS] 4[Explorations in Theater Part 2] Central features of the Aristotelian archetype: 1. The tragic hero is a character of noble stature and has greatness. If the hero’s fall is to arouse in us the emotions of pity and fear, it must be a fall from a great height. 2. Though the tragic hero is pre-eminently great, he/she is not perfect. Tragic flaw, hubris (excessive pride or passion), and hamartia (some error) lead to the hero’s downfall. 3. The heroes downfall, therefore, is partially her/his own fault, the result of one’s own free choice, not the result of pure accident or villainy, or some overriding malignant fate. 4. Nevertheless, the hero’s misfortune is not wholly deserved. The punishment exceeds the crime. The hero remains admirable. 5. Yet the tragic fall is not pure lost – though it may result in the hero’s death, before it, there is some increase in awareness, some gain in self-knowledge or, as Aristotle puts it, some “discovery.” 6. Though it arouses solemn emotion – pity and fear, says Aristotle, but compassion and awe might be better terms – tragedy, when well performed, does not leave its audience in a state of depression. It produces a catharsis or an emotional release at the end, one shared as a common experience by the audience (Balita, n.d.). Tragedy is a serious, complete, and of a certain magnitude action and deals with intense problem. It involves the audience in the action and creates tension and expectation (AMA Online Module, n.d.). 3. Farce – Generally, a farce is a nonsensical genre of drama, which often overacts or engages slapstick humor. 4. Melodrama – Melodrama is an exaggerated drama, which is sensational and appeals directly to the senses of the audience. Just like the farce, the characters are of a single dimension and simple, or maybe stereotyped. (Balita, n.d.). Melodrama is a drama of disaster and differs from tragedy significantly. The protagonist is usually a victim of circumstance. He is acted upon by the antagonist or anti-hero and suffers without having to accept responsibility and inevitability of fate. Melodrama has a sense of strict moral judgement. All issues presented in the plays are resolved in a well- defined way. The good characters are rewarded and the bad characters are punished in a means that fits the crime (AMA Online Module, n.d.). 5. Musical Drama – In musical dramas, dramatists not only tell their stories through acting and dialogue, but through dance as well as music. Often the story may be comedic, though it may also involve serious subjects (Balita, n.d.). 6. Tragic Comedy – Tragicomedy is the most lifelike of all of the types of drama. It focuses on character relationships and shows society in a state of continuous change. There is a mix of comedy and tragedy side by side in these types of plays. (AMA Online Module, n.d.). Module 004: Principles of Composition as applied in the Theater At the end of this module, you will be able to: 1. identify the different principles of composition as applied in the theater; 2. demonstrate understanding about the important viewpoints in theater performances; and 3. familiarize the process of mapping and devising stage-works. Composition in Theater Composition is a means of training but also a means of conducting research—of exploiting otherwise hidden possibilities within a text or within a theme. Composition as a studio practice is the equivalent of sketching. When we sketch we are recording our ideas for later development, we are testing our ideas, or purely pointing at expressive possibilities. Composition in the theatre has much in common with composition in painting or in music, writing, or in the cinema—the montage is instantaneous, the writing happens in real time directly on the stage. Composition is the wielding of an entire theatre, an entire theatrical language to the service of stage expression. It is the practice of drawing together, or sequencing, potentially (personally) expressive elements into a composite whole: a piece of music, a swath of color and an instant of video, a line of spoken text, a burst of laughter, a gesture, and a farewell embrace. These elements when arranged in a particular way could provide for us a composition that moves us to laugh or to cry, or to feel. As we seek to express ourselves on the stage we are confronted with the potential of the theatre to amplify our perceptions of reality, our interpretation of the necessity of fiction or of tragedy, our understanding of the text of a play. We are compelled to make use of the language of the stage as a means of satisfying our desire to express something essential about our existence. Composition in the theatre is a matter of developing a theatrical language capable of expressing something integral about our lives—whether through a play by Shakespeare, Brecht, Tennessee Williams. Or an original work (Scheib, n.d.) Origin: The Viewpoints As a method of actor training, Viewpoints encourage actors to focus less on their characters’ psychology and more on observation and movement. While the Viewpoints have long been part of dance and theatre traditions across the world, choreographer Mary Overlie was the first person to use the term Viewpoints to refer to six integral elements of onstage performance: space, shape, time, emotion, movement, and story. Today, the best-known practitioner of Viewpoints is Anne Bogart, whose New York City- based SITI Company uses the approach to devise and stage theatre. Bogart met Overlie in 1979 when both taught in New York University’s Experimental Theatre Wing. Inspired by her colleague’s innovation, Bogart began using Viewpoints theatrically in her work as an actor and director. The Viewpoints In 1987, Bogart met director Tina Landau while working at American Repertory Theatre in Cambridge, Mass. The two collaborated extensively during the next decade, expanding Overlie’s original six Viewpoints to nine Physical Viewpoints and five Vocal Viewpoints. This is the method Bogart brought to SITI when she cofounded the company with director Tadashi Suzuki in 1992. Physical Viewpoints Spatial Relationship: The distance between things (objects, bodies, etc.) onstage. Kinesthetic Response: How performers respond to movement from other people, objects, or design elements. Shape: The outline of a body in space. Gesture: A behavioral or expressive shape that has a beginning, middle, and end. Repetition: When performers recreate something, they have done or seen. Architecture: A performer’s physical environment. Tempo: How fast or slow something happens onstage. Duration: How long a movement lasts. Topography: The onstage pattern or design a movement creates. Photo from a 2018 ITF workshop by Susan Doremus. A gesture is a behavorial or expressive shape with a beginning, middle, and end. Retrieved from https://dramatics.org/wpcontent/uploads/2019/05/gesture_web.jpg Vocal Viewpoints Pitch: The highness or lowness of a sound. Dynamic: The loudness or softness of a sound. Acceleration/Deceleration: Speeding up or slowing down a sound. Silence: The absence of sound. Timbre: The texture or quality of a sound, distinct from its volume or pitch. Production, Organization, and Responsibilities CREATIVE 1. Director. The Director is the one who oversees the entire process of staging production. He is the person who directs the making of a film/drama/musical play and supervises the actors and directs the action in the production of a show. 2. Playwright/Dramatist. He is the person who writes plays 3. Costume, Set & Props Designer. Someone who creates plans to be used in making something in the production. 4. Choreographer. A person who composes the sequence of steps and moves for a performance. 5. Musical Director. A music/musical director is the director of music for a film. He is the person who do the planning of what music or songs are to be used in a specific play. PERFORMER 1. Actors. An actor (often actress for female) is a person who portrays a character in a performance. 2. Dancers. A person who participates in a performance and who dances professionally. 3. Singers. A person who has a talent for singing. 4. Movers. A person who is in charge of moving the props and other materials used in a particular play. TECHNICAL 1. Technical Director. The Technical Director has the daily responsibility for the technical operations of theatre or performing arts center, including lighting, sound, set design and construction, and coordinating necessary maintenance. 2. Stage Manager. Stage managers typically provide practical and organizational support to the director, actors, designers, stage crew and technicians throughout the production process. 3. Lights & Sounds Crew. The person whose task is to support and follow what the technical director says with regard to the proper lighting of the stage for every situation and the proper timing to play the intended music and sounds. MARKETING AND PUBLICITY 1. Marketing Officers. These are the people who are given the responsibility to advertise or sell productions or service. They are involve in marketing activities which are associated with identifying the particular wants and needs of a target market of customers, and then going about satisfying those customers better than competitors (AACT, 2019). 2. Ushers. They help those in attendance at entertainment and sporting events in theatres and stadiums. Duties include checking tickets, directing people to their assigned seats, distributing programs, answering questions and assisting people in finding restrooms and refreshments. DOCUMENTATION 1. Video. Video is used for filming or recording purposes. It is used to cover the entire and complete happening at a certain production. 2. Photo. It is an image created by light falling on a photosensitive surface, usually photographic film or an electronic image sensor for the purpose of documentation. Mapping the Stage Upstage: The area of the stage that is furthest from the audience. Downstage: The area of the stage that is closest to the audience. Stage Right: The right side of the stage from the actor’s point of view (facing the audience.) Stage Left: The left side of the stage from the actor’s point of view (facing the audience.) Center: Center of the stage. Full Front: Facing the audience. Full Back: Facing away from the audience. Cross: Movement from one area of the stage to another. Blocking: The set movement of all the actors onstage throughout the play. Stage Parts. Retrieved from https://i.pinimg.com/originals/e7/73/7d/e7737d37866059d4c7619315163219 7e.jpg Module 005: Story Building At the end of this module, you will be able to: 1. demonstrate understanding on the importance of knowing the process of story building; 2. create group skits that are evolved from personal stories using the different elements of arts and principles of composition; and 3. perform short skits in front of an audience noting the important qualities of a good performance. Reading the Script Script. A plan that tells you how the final performance should look and sound Playwright. The one who writes the script. Three Kind of Writing Script 1. Dialogue. Words spoken by two or more characters. Line. One character’s single speech 2. The character. Imaginary person who speaks the dialogue 3. Stage direction. Instruction or advice about unspoken things to be done. Reading the Complete Play i.Plot. What happens? More than just series of happenings. Events only turn into plot when they are part of dramatic action. ii.Characters. Who does it? The plot is done by the characters and the nature of characters is revealed by what they do. What is each character like? iii.Scenes. The plot is revealed to the audience in the sequence of the scenes. Two kinds of scene: French scene A "French scene" is a scene in which the beginning and end are marked by a change in the presence of characters onstage, rather than by the lights going up or down or the set being changed. Obligatory scene A scene (usually highly charged with emotion) which is anticipated by the audience and provided by an obliging playwright. iv.Conflict. What is the conflict? Whom is the conflict between? Dramatic action is where built upon. Conflict arise simply because some obstacle prevents the character from doing what they set out to do. v. Setting. When and where the action happen? Two different meanings of setting: Imaginary time and place in which the action occurs Specific scenery onstage in each scene.  vi. Exposition. Most play begin in with the information about the past and or the setting. Exposition usually happens in the first scene of the play, but may recur throughout the play. vii. Climax. Characters get more upset, the situation becomes more complicated or more desperate, events pile on events until a point is reached at which things can’t get worse anymore or more complicated. At the point the conflict is resolved, is the climax. viii. Theme. What is the play about? What idea or issue the play is about and the point where playwright is trying to make about this idea. Moral. tries to tell the audience how to live their lives. e.g.: “crime doesn't pay”, “love thy neighbor ix. Theme. How should the play make the audience feel? Three basic types of play: Comedy. A humorous play with a happy ending. Tragedy. The principal characters fail or die and which tends to be very serious in tone. Melodrama. Serious tone but with a happy ending. Three Steps to The Perfect Story 1. The Preparation. Understand your culture and your audience. Relevance. What you want to say and what your audience are interested in. Bas van den Beld (2017). The Power of Storytelling and How to Create a Compelling Story. Retrieved from https://www.slideshare.net/basvandenbeld/the-power-ofstorytelling-andhow-to-create-a- compelling-story Create a story that fits your audience See where you match your audience 2. The Structure. Structure in a story is like the structure in a building: it can collapse if done wrong. Situation → Obstacle → Approach → Plan  Act 1: Situation Set the Stage Introduce your hero Important to make people care about your hero Act 2: Obstacle Inciting incident Build out the conflict A series of challenge It’s a growth opportunity for the character People have to believe something is bad before they start believing solutions Act 3: Approach, Plan (and solution) Show the solution You should feel they fixed the problem The characters are in better place now 3. The story. Bring it together.