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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
1 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
Qualification Unit Number And Title
Pearson BTEC HND Diploma In Performing Arts
UNIT 60: SITE SPECIFIC PERFORMANCE
UNIT 41: MOVEMENT FOR THE ACTOR
UNIT 50: POPULAR ENTERTAINMENT
UNIT 5: ALTERNATIVE APPROACHES TO ACTING
UNIT 77: WRITING FOR PERFORMANCE
Actor Name Assessor Name
Erol Uzunhasan Claire Louise Portelli
Date Issued Completion Date Submitted On
02/02/2015 20/03/2015 16/03/2015
Assignment Title Variety Show
Actor Declaration
I certify that the work submitted for this assignment is my own
and research sources are fully acknowledged.
Actors Signature: EU Date: 16/03/2015
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
2 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
LO Learning Outcomes (LO)
AC Assessment Criteria For A Pass Task Evidence
LO1 Understand the contextual background to site-specific
performance practice.
1.1 Assess different historical practices of site-specific
performance.
1 Observation, Video
1.2 Analyse theoretical and practical perspectives of
site-specific performance.
1 Observation, Video
LO2 N/A 2.1 N/A N/A N/A
2.2 N/A N/A N/A
LO3 N/A 3.1 N/A N/A N/A
3.2 N/A N/A N/A
LO4 Be able to evaluate the effectiveness of site-specific
performances.
4.1 Evaluate venues and audience responses.
3 Onservation, Video, Blog
4.2 Analyse the objectives of the site-specific
performances.
3 Observation, Video
4.3 Critically assess own role within the project.
3 Observation, Video
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
3 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
In Addition To The Above PASS Criteria, This Assignment Gives
You The Opportunity To Submit Evidence In Order To Achieve The
Following MERIT and DISTINCTION Grades
Grade Descriptor Indicative Characteristic/s
Contextualisation
M1 Identify and apply strategies to find appropriate
solutions.
N/A N/A
M2 Select/design and apply appropriate methods and
techniques.
N/A N/A
M3 Present and communicate appropriate findings.
The communication is appropriate for familiar and unfamiliar
audiences and appropriate media have been used.
Communication is detailed, thorough and informative and
delivered effectively to audiences with accurate use of technical
language and clear analysis.
D1 Use critical reflection to evaluate own work and justify
valid conclusions.
Realistic improvements have been proposed against defined
characteristics for success.
Developments and changes to the work have been fully explored,
evaluated and justified.
D2 Take responsibility for managing and organising
activities.
N/A N/A
D3 Demonstrate convergent/lateral/creative thinking.
Effective thinking has taken place in unfamiliar contexts.
Creative use of locations has been fully explored,
developed.
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
4 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
LO Learning Outcomes (LO)
AC Assessment Criteria For A Pass Task Evidence
LO1 Understand the relationship between anatomy and how an actor
moves.
1.1 Explain human anatomy and its specific significance for the
actor.
6 Scrapbook
1.2 Compare and contrast different movement methodologies.
1 / 6 Scrapbook, Observation, Video, Logbook
LO2 Understand own strengths and weaknesses in movement
skills.
2.1 Assess own physical capability identifying strengths and
weaknesses.
6 Scrapbook
2.2 Evaluate own improvement and adapt training programme as
relevant.
6 Scrapbook, Logbook, Observation
LO3 Be able to devise a personal programme to develop and extend
movement skills
3.1 Devise and implement a personal movement training
Programme.
6 Logbook, Observation
3.2 Carry out regular practice including warm-up/cool-down and
relaxation routines.
6 Video, Observation
LO4 Be able to apply movement Techniques and skills to practical
work.
4.1 Select and demonstrate movement technique and skills both in
isolation and in group contexts.
4 Observation, Video
4.2 Design and use appropriate recording to monitor movement in
classes, performances and personal programmes.
6 Scrapbook
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
5 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
In Addition To The Above PASS Criteria, This Assignment Gives
You The Opportunity To Submit Evidence In Order To Achieve The
Following MERIT and DISTINCTION Grades
Grade Descriptor Indicative Characteristic/s
Contextualisation
M1 Identify and apply strategies to find appropriate
solutions.
An effective approach to study and research has been
applied.
Detailed and elaborate research from a mixture of sources has
been conducted and reflected within the work.
M2 Select/design and apply appropriate methods and
techniques.
The design of techniques has been justified. Detailed and
accurate warm-up/cool-down structures have been fully planned,
explained and justified.
M3 Present and communicate appropriate findings.
The appropriate structure and approach has been used.
Appropriate structures have been executed with full
consideration being paid to the safety and sustainability of the
chosen exercises.
D1 Use critical reflection to evaluate own work and justify
valid conclusions.
Realistic improvements have been proposed against defined
characteristics for success.
Developments and changes to the PTP have been regularly made and
all improvements have been fully justified.
D2 Take responsibility for managing and organising
activities.
Autonomy has been demonstrated. Full responsibility has been
taken for the successful progression, delivery and completion of
warm-ups/cool-downs and relaxation routines.
D3 Demonstrate convergent/lateral/creative thinking.
Self-evaluation has taken place. Detailed and accurate
self-reflection, analysis and evaluation has taken place.
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
6 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
LO Learning Outcomes (LO)
AC Assessment Criteria For A Pass Task Evidence
LO1 Understand the nature and context of popular entertainment
work.
1.1 Evaluate the meaning of popular entertainment.
2 Blog, Observation, Video
1.2 Compare and contrast at least two types of popular
entertainment.
1 / 2 Blog, Observation, Video, Logbook
1.3 Assess historical developments in popular entertainment.
1 Observation, Video, Logbook
LO2 Be able to create popular entertainment work.
2.1 Plan the development of popular entertainment work.
4 Observation, Video
2.2 Contribute to the making of a piece of popular
entertainment.
4 Observation, Video, Scrapbook
LO3 Be able to take on the role of a popular entertainer.
3.1 Apply appropriate skills to the rehearsal of popular
entertainment material.
4 Observation, Video
3.2 Apply appropriate skills to the performance of popular
entertainment material.
4 Observation, Video
LO4 Be able to evaluate the effectiveness of own popular
entertainment work.
4.1 Critically evaluate own role as a popular entertainer.
5 Observation, Video,
4.2 Assess, through analysis of feedback, effectiveness of own
performance.
5 Logbook
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
7 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
In Addition To The Above PASS Criteria, This Assignment Gives
You The Opportunity To Submit Evidence In Order To Achieve The
Following MERIT and DISTINCTION Grades
Grade Descriptor Indicative Characteristic/s
Contextualisation
M1 Identify and apply strategies to find appropriate
solutions.
Effective judgements have been made. Thorough analytical
exploration has taken place and effective judgements and
conclusions have been met through detailed assessment.
M2 Select/design and apply appropriate methods and
techniques.
Relevant theories and techniques have been applied.
A range of techniques, styles, practices, have been applied to
workshops and have contributed to the generation and evolution of
material.
M3 Present and communicate appropriate findings.
The communication is appropriate for familiar and unfamiliar
audiences and appropriate media have been used.
Communication is clear and well considered and the effective
delivery has ensured that new information has been understood by
audiences.
D1 Use critical reflection to evaluate own work and justify
valid conclusions.
Self-criticism of approach has taken place. Detailed, analytical
self-reflection has taken place and honest self-criticism has been
thorough and fully justified.
D2 Take responsibility for managing and organising
activities.
The importance of interdependence has been recognised and
achieved.
The preparation and production of material has taken place
independently.
D3 Demonstrate convergent/lateral/creative thinking.
Receptiveness to new ideas is evident. The positive approach to
work, direction and the generation of new material has been
consistently receptive, pro-active and professional.
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
8 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
LO Learning Outcomes (LO)
AC Assessment Criteria For A Pass Task Evidence
LO1 Understand the context of the rise of naturalism and the
alternatives to it.
1.1 Explain the development of different acting techniques.
1 / 2 Observation, Video, Logbook, Blog
1.2 Explain differences between naturalistic acting and other
Techniques.
1 Observation, Video, Logbook
LO2 Understand the approaches, methods and forms of acting
alternatives.
2.1 Justify the practice inherent in acting alternatives.
1 Observation, Video, Logbook
2.2 Compare and contrast the techniques of practitioners.
1 Observation, Video, Logbook
2.3 Examine the way practitioners are influenced by historical,
social and non-western contexts.
1 Observation, Video, Logbook
LO3 Be able to take part in a performance that involves a
specified acting alternative.
3.1 Use rehearsals and workshops to develop skills appropriate
to defined practice.
4 Observation, Video
3.2 Creatively experiment with styles of acting during
rehearsals and workshops.
4 Observation, Video
3.3 Apply learned techniques and skills to realise
performance.
4 Observation, Video
LO4 Be able to evaluate and document process and
performance.
4.1 Use techniques of analysis and evaluation during
development, rehearsal and performance.
4 Logbook, Blog
4.2 Use appropriate methods of documenting developmental and
performance processes.
4 Logbook, Blog
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
9 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
In Addition To The Above PASS Criteria, This Assignment Gives
You The Opportunity To Submit Evidence In Order To Achieve The
Following MERIT and DISTINCTION Grades
Grade Descriptor Indicative Characteristic/s
Contextualisation
M1 Identify and apply strategies to find appropriate
solutions.
An effective approach to study and research has been
applied.
Detailed and elaborate research from a mixture of sources has
been conducted and reflected within the work.
M2 Select/design and apply appropriate methods and
techniques.
The selection of sources has been justified. The reliability,
accessibility and understanding of research sources has been fully
considered and justified.
M3 Present and communicate appropriate findings.
A range of methods of presentation have been used and technical
language has been accurately used.
Appropriate methods have applied to the presentation of material
and technical terminology has been accurately understood and
used.
D1 Use critical reflection to evaluate own work and justify
valid conclusions.
Realistic improvements have been proposed against defined
characteristics for success.
New ideas, material and changes to the existing work have been
made and successful improvements have been proposed and actioned
through collaboration.
D2 Take responsibility for managing and organising
activities.
The unforeseen has been accommodated.
A detailed contingency plan has been fully developed and planned
prior to presentations to ensure that the unforeseen has been
accommodated.
D3 Demonstrate convergent/lateral/creative thinking.
Receptiveness to new ideas is evident. The understanding of
knowledge and development of analytical conclusions has been met
through collaboration and compromise.
-
MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
10 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
LO Learning Outcomes (LO)
AC Assessment Criteria For A Pass Task Evidence
LO1 N/A 1.1 N/A N/A N/A
1.2 N/A N/A N/A
1.3 N/A N/A N/A
LO2 N/A 2.1 N/A N/A N/A
2.2 N/A N/A N/A
2.3 N/A N/A N/A
LO3 Be able to create a dramatic text for performance in a
selected medium.
3.1 Decide on the genre, format and content of the dramatic
text.
3 Blog, Observation
3.2 Draw up an outline/draft of the dramatic text for initial
review.
3 Logbook
3.3 Write a final dramatic text for the selected medium.
3 Logbook
LO4 Be able to evaluate the effectiveness of the created
dramatic text in performance.
4.1 Organise a performance of the work (or extracts) in selected
medium.
3 Blog
4.2 Organise appropriate methods of critical feedback.
3 Video, Observation, Blog
4.3 Evaluate the effectiveness of script in performance through
critical feedback.
3 Observation, Video
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
11 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
In Addition To The Above PASS Criteria, This Assignment Gives
You The Opportunity To Submit Evidence In Order To Achieve The
Following MERIT and DISTINCTION Grades
Grade Descriptor Indicative Characteristic/s
Contextualisation
M1 Identify and apply strategies to find appropriate
solutions.
N/A N/A
M2 Select/design and apply appropriate methods and
techniques.
N/A N/A
M3 Present and communicate appropriate findings.
The communication is appropriate for familiar and unfamiliar
audiences and appropriate media have been used.
The content and delivery of material is appropriate for the
target audience and the context of the piece.
D1 Use critical reflection to evaluate own work and justify
valid conclusions.
N/A N/A
D2 Take responsibility for managing and organising
activities.
Autonomy has been demonstrated. The development of material has
been conducted independently and without the aid of a director.
D3 Demonstrate convergent/lateral/creative thinking.
Ideas have been generated and decisions taken. Collaborative
ideas have been explored, developed and finalised.
-
MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
12 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
Assignment Brief
Unit Number And Title Unit 60: Site-Specific Performance Unit
41: Movement For The Actor Unit 50: Popular Entertainment Unit 5:
Alternative Approaches To Acting Unit 77: Writing For
Performance
Qualification Pearson BTEC HND Diploma In Performing Arts
Start Date 2nd February 2015
Performance Date 5th 6th March 2015
Logbook/Scrapbook Deadline 16th March 2015
Tutorial Dates 19th - 20th March 2015
Assessor Claire Louise Portelli
Purpose Of This Assignment
UNIT 60: SITE SPECIFIC PERFORMANCE The aim of this project is to
enable actors to gain an understanding of the nature of
site-specific performance from a theoretical perspective and as a
performance practice.
UNIT 41: MOVEMENT FOR THE ACTOR The aim of this project is to
enable actors to use the body safely and expressively in
performance by developing an understanding of the part movement,
physical fitness and knowledge can play.
UNIT 50: POPULAR ENTERTAINMENT The aim of this project is to
enable actors to explore the world of popular entertainment and to
develop and perform work that is appropriate for this branch of the
performing arts.
UNIT 5: ALTERNATIVE APPROACHES TO ACTING The aim of this project
is to enable actors to explore alternative approaches to acting
(i.e. approaches other than those based on the principles of
naturalism).
UNIT 77: WRITING FOR PERFORMANCE The aim of this project is to
acquire the necessary knowledge and skills to create a dramatic
text in a selected medium and to evaluate its effectiveness in
performance.
Assignment Title Variety Show
Scenario You must contribute to the devising, writing and
performing of a range of alternative entertainment material and
film selected scenes in appropriate locations.
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
13 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
TASK 1: Unit 5: Alternative Approaches To Acting (LO1: 1.1, 1.2)
(LO2: 2.1, 2.2, 2.3) (M1) (M2) (M3) (D2) You are required to
understand the context of the rise of naturalism and the
alternatives to it and understand the approaches, methods and forms
of acting alternatives. You will be assessed on the evidence you
provide for the following tasks.
Unit 41: Movement For The Actor (LO1: 1.2) (M1) You are required
to understand the relationship between anatomy and how an actor
moves. You will be assessed on the evidence you provide for the
following tasks.
Unit 50: Popular Entertainment (LO1: 1.2, 1.3) (M3) You are
required to understand the nature and context of popular
entertainment work. You will be assessed on the evidence you
provide for the following tasks.
Unit 60: Site-Specific Performance (LO1: 1.1, 1.2) (M3) (D3) You
are required to understand the contextual background to
site-specific performance practice. You will be assessed on the
evidence you provide for the following tasks.
Prepare and perform a formal presentation comparing and
contrasting two types of popular entertainment that explore
different movement methodologies. Your presentation must be a
minimum of 30 minutes long and include the following:
1. How the art forms originated and their significant historical
developments. (1.2, 1.3) (1.1)
2. The recognised characteristics of the styles. (1.2) 3. Where
they are/were usually performed and how the location has/had an
impact on the style, performers and audience. (1.1, 1.2) 4. An
explanation of the differences and contrasts between the two art
forms
and naturalistic acting. (1.2) (1.2) 5. The comparisons in the
techniques of significant practitioners that have
helped to shape the forms. (2.2) 6. The influences that have
helped practitioners to shape the form, i.e.
historical, social, non-western. (2.3) 7. Rehearsed performances
of appropriate material in the style of the two art
forms in relevant and appropriate locations. (1.1) (1.2) 8.
Engage in a debrief and Q&A session after the performance to
justify your
rehearsal methods and appropriate practices for the form.
(2.1)
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
14 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
To achieve M3, communication is detailed, thorough and
informative and delivered effectively to audiences with accurate
use of technical language and clear analysis.
To achieve D3, creative and relevant use of locations has been
fully explored and developed.
To achieve M1, detailed and elaborate research from a mixture of
sources has been conducted and reflected within the work.
To achieve M1, detailed and elaborate research from a mixture of
sources will have been conducted and reflected within the work.
To achieve M2, the reliability, accessibility and understanding
of research sources will have been fully considered and
justified.
To achieve M3, appropriate methods will have been applied to the
presentation of material and technical terminology will have been
accurately understood and used.
To achieve D2, a detailed contingency plan will have been fully
developed and planned prior to presentations to ensure that the
unforeseen has been accommodated.
To achieve M3, communication will have been clear and well
considered and the effective delivery will have ensured that new
information was been understood by audiences.
-
MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
15 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
TASK 2: Unit 5: Alternative Approaches To Acting (LO1: 1.1) (D3)
You are required to understand the context of the rise of
naturalism and the alternatives to it. You will be assessed on the
evidence you provide for the following tasks.
Unit 50: Popular Entertainment (LO1: 1.1, 1.2) (M1) You are
required to understand the nature and context of popular
entertainment work. You will be assessed on the evidence you
provide for the following tasks.
Engage in a variety of company discussions to analyse and
explain the following: 1. The development of different acting
techniques. (1.1) 2. The meaning of popular entertainment. (1.1) 3.
The comparisons and similarities between different forms of
popular
entertainment. (1.2)
To achieve M1, thorough analytical exploration will have taken
place and effective judgements and conclusions will have been met
through detailed assessment.
To achieve D3, the understanding of knowledge and development of
analytical conclusions will have been met through collaboration and
compromise.
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
16 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
TASK 3: Unit 77: Writing For Performance (LO3: 3.1, 3.2, 3.3)
(LO4: 4.1, 4.2, 4.3) (M3) (D2) (D3) You are required to be able to
create a dramatic text for performance in a selected medium and
evaluate the effectiveness of the created dramatic text in
performance. You will be assessed on the evidence you provide for
the following tasks.
Unit 60: Site-Specific Performance (LO4: 4.1, 4.2, 4.3) (D1) You
are required to be able to evaluate the effectiveness of
site-specific performances. You will be assessed on the evidence
you provide for the following tasks.
Using a chosen location as a stimulus brainstorm the following
points to assess the potential of appropriate site-specific
scenes:
1. Genre and performance style. (3.1) 2. Format, theme and
structure. (3.1) 3. Specific scenarios and dramatic content.
(3.1)
Write a first draft of the scene using the results of the
brainstorm as a stimulus. (3.2)
Plan and present the rehearsed scene to a live audience and
engage in a Q&A session to obtain critical feedback. (4.2)
Finalise the script based on audiences feedback and rehearse the
piece of location. (3.3)
Plan and organise an on-site performance of the finalised
product and the chaperoning of the audience to and from the
location. (4.1)
Engage in a debrief to critically assess and analyse the process
and obtain critical feedback from your audience. You must discuss
and evaluate the following:
1. The effectiveness of the script. (4.3) 2. The audiences
responses. (4.1) 3. The effectiveness of the venue/location. (4.1)
4. The objectives of the site-specific performance. (4.2) 5. Your
role within the site-specific project. (4.3)
To achieve D1, developments and changes to the work have been
fully explored, evaluated and justified.
To achieve M3, the content and delivery of material has been
appropriate for the target audience and the context of the
piece.
To achieve D2, the development of material will have been
conducted independently and without the aid of a director.
To achieve D3, collaborative ideas will have been explored,
developed and finalised.
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
17 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
TASK 4:
Unit 5: Alternative Approaches To Acting (LO3: 3.1, 3.2, 3.3)
(LO4: 4.1, 4.2) (D1) You are required to be able to take part in a
performance that involves a specified acting alternative and
evaluate and document process and performance. You will be assessed
on the evidence you provide for the following tasks.
Unit 50: Popular Entertainment (LO2: 2.1, 2.2) (LO3: 3.1, 3.2)
(M2) (D2) (D3) You are required to be able to create popular
entertainment work and take on the role of a popular entertainer.
You will be assessed on the evidence you provide for the following
tasks.
Unit 41: Movement For The Actor (LO4: 4.1) You are required to
be able to apply movement techniques and skills to practical work.
You will be assessed on the evidence you provide for the following
tasks.
Contribute to rehearsals and workshops to develop appropriate
skills and creatively experiment with styles. (3.1, 3.2)
Contribute to the devising, development and making of the piece
by selecting, demonstrating and applying appropriate skills and
techniques to rehearsals and the overall performance. (2.1, 2.2,
3.1, 3.2) (3.3) (4.1)
Keep a weekly written log to document, analyse and evaluate the
development and effectiveness of your own role within the process,
your performance, the process itself and the overall production.
(4.1, 4.2)
To achieve M2, a range of techniques, styles, practices, will
have been applied to workshops and will have contributed to the
generation and evolution of material.
To achieve D2, the preparation and production of material will
have taken place independently.
To achieve D3, the approach to work, direction and the
generation of new material will have been consistently receptive,
pro-active and professional.
To achieve D1, new ideas, material and changes to the existing
work will have been made and successful improvements will have been
proposed and actioned through collaboration.
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MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING
ARTS (QCF)
2014 2015
18 | P a g e MISKIN THEATRE BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA
IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
TASK 5:
Unit 50: Popular Entertainment (LO4: 4.1, 4.2) (D1) You are
required to be able to evaluate the effectiveness of own popular
entertainment work. You will be assessed on the evidence you
provide for the following tasks.
Actively contribute to the process debrief, critically analysing
the success of the project, your own role as a popular entertainer
and the effectiveness of your own performance. (4.1, 4.2)
Write an overall evaluation of the process assessing individual
performances, audiences feedback and the overall production.
(4.2)
To achieve D1, detailed, analytical self-reflection will have
taken place and honest self-criticism will have been thorough and
fully justified.
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TASK 6:
Unit 41: Movement For The Actor (LO1: 1.1, 1.2) (LO2: 2.1, 2.2)
(LO3: 3.1, 3.2) (LO4: 4.2) (M2) (M3) (D1) (D2) (D3) You are
required to understand the relationship between anatomy and how an
actor moves, understand own strengths and weaknesses in movement
skills; be able to devise a personal programme to develop and
extend movement skills and apply movement techniques and skills to
practical work. You will be assessed on the evidence you provide
for the following tasks.
Accurately complete a Personal Exercise Programme (PEP) Booklet;
identifying and explaining the human anatomy and its significance
to actors, comparing and contrasting different movement
methodologies, assessing your own physical capabilities,
identifying your strengths and weaknesses and monitoring and
evaluating your own improvements and use of movement skills both in
rehearsals and performance. (1.1, 1.2, 2.1, 2.2, 4.2)
Lead weekly warm-ups/cool-downs and relaxation routines.
(3.2)
Devise and implement a personal training programme that is
easily adaptable to the nature of the rehearsals. (2.2, 3.1)
To achieve M2, detailed and accurate warm-up/cool-down
structures will have been fully planned, explained and
justified.
To achieve M3, appropriate structures will have been executed
with full consideration being paid to the safety and sustainability
of the chosen exercises.
To achieve D1, developments and changes to the PTP will have
been regularly made and all improvements will have been fully
justified.
To achieve D2, full responsibility will have been taken for the
successful progression, delivery and completion of
warm-ups/cool-downs and relaxation routines.
To achieve D3, detailed and accurate self-reflection, analysis
and evaluation will have taken place.
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The Outcome And Result Of Performance In Practical
Summary Of Evidence Required By Actor
Evidence Presented
Task 1 Director Observation. Video Footage. Actors Logbook.
Scrapbook.
Director Observation. Video Footage. Actors Logbook.
Scrapbook.
Task 2 Director Observation. Company Blog Site. Video
Footage.
Director Observation. Company Blog Site. Video Footage.
Task 3 Director Observation. Company Blog Site. Video Footage.
Actors Logbook.
Director Observation. Company Blog Site. Video Footage. Actors
Logbook.
Task 4 Director Observation. Video Footage. Actors Logbook.
Scrapbook. Company Blog Site.
Director Observation. Video Footage. Actors Logbook. Scrapbook.
Company Blog Site.
Task 5 Director Observation. Video Footage. Actors Logbook.
Director Observation. Video Footage. Actors Logbook.
Task 6 Director Observation. Video Footage. Actors Logbook.
Scrapbook.
Director Observation. Video Footage. Actors Logbook.
Scrapbook.
Sources Of Information
UNIT 60: SITE SPECIFIC PERFORMANCE Theory: historical background
eg Greek and Roman amphitheatres, medieval mystery cycles, street
theatre, Commedia dellarte, installation art, performance art,
carnival, mummers plays; practitioners eg Barba, Schechner, Brook,
Gordon Craig (the architectural scene), Appia, Kantor; terminology
eg site specific, landscape, environmental, ritual, celebration,
ceremony Practice: examples of different companies work eg Welfare
State International, Natural Theatre Company, Bread and Puppet
Theater, Emergency Exit Arts, Zap Arts, Stans Cafe, Grid Iron, Red
Earth and Dreamthinkspeak; the relationship between architecture
and performance; the nature of the audience eg paying/non-paying;
elitist or communal; sitting/standing/moving; participatory or
non-participatory; the relationship with the environment eg what to
add, alter, incorporate or obscure and why; legislative
considerations eg licensing requirements, contractual arrangements,
health and safety, insurance Evaluation: meeting original
objectives or artistic intentions; audience and peer observation
and feedback; articulating the conceptual framework of the piece;
identifying a context for the work eg recognising influences or
associations to the work of others, discussing the social, artistic
and cultural significance of the work
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UNIT 41: MOVEMENT FOR THE ACTOR The Human Form: structure; the
spine; musculature; joints; cardio-vascular system; respiratory and
nervous systems; tendons and ligaments; biomechanics Movement
Methodologies: Laban; Alexander; Feldenkrais; Pilates Strengths And
Weaknesses: use of spine; posture; control; flexibility; balance;
fluency; travelling; dynamics; transformation of own natural
movement qualities; improved strength stamina Analysis: reflection
and evaluation: observation; reporting; critiques Exercise
Programme: relaxation; respiration; warm-ups and cool-downs;
observation and imitation; vocabulary of movement eg based upon
Laban motion factors; states of tension; fitness; strength; stamina
and flexibility exercises; use of movement log to record programme
and reveal understanding Physical Skills: co-ordination; alignment;
balance; control; focus; fluency; strength and stamina; dynamics;
using rhythm and space; Laban motion factors eg weight, space,
time, flow Physical Technique: tumbling; period movement; mime;
stage fighting; fencing; animal movement; movement changes through
age; moving with speech/music; creating motif/tableau;
physicalising text; working with others eg trust, balance, support,
lifts and catches Monitoring: logs; DVD recordings of workshops and
classes Analysis: reflection and evaluation: of self and others eg
observation, reporting, critiques
UNIT 50: POPULAR ENTERTAINMENT Historical, Social, Cultural:
historical overview of popular entertainment eg court jesters,
clowns in Shakespeare, Commedia dellarte, influence of broadcast
media on popular entertainment, folk dance and song; social
significance eg use of satire, political subversion and commentary;
considering what popular entertainment means eg what makes
something popular?, high class entertainment vs low class
entertainment, subsidised vs commercial entertainment; cultural
contrasts eg western compared to eastern traditions; good and bad
taste; perceived exploitation eg strip clubs, lap dancing Forms And
Types: consideration of the many forms that popular entertainment
can take eg cabaret, vaudeville, music hall, burlesque, variety
shows, comedy clubs, light entertainment television and radio
shows, pub gigs, street theatre, folk clubs, festivals, fringe,
busking; consideration of the types of popular entertainment acts
eg stand up comedians,
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ventriloquist, impersonators, circus acts, folk singers, solo
acts, double acts, group acts, childrens entertainers, mime
artists, puppeteers, drag acts, erotic dancers, disc jockeys
Creating And Making: exploring ideas and developing appropriate
material eg script writing, song writing, choreographing, working
out routines, devising, improvising, designing and making
props/costumes/set, filming and recording material Planning And
Practice: analysing task requirements; creating a schedule which
identifies timescales, milestones, deadlines, meetings with
collaborators, rehearsal times Rehearsing: physical and mental
preparation; learning material; making adjustments to performance
through the rehearsal process; rehearsing the material eg learning
lines; working with props eg costume; technical equipment eg
microphones; learning steps; moves; songs; polishing and refining
performance skills Performing: accuracy of performance skills eg
hitting the mark, timing, positioning, pace, projection, spatial
placement; using physical and vocal skills as appropriate eg vocal
and physical control, effective use of physical and vocal range,
use of space, manipulation and control of props and equipment,
stage presence; making adjustments to performance as required
Communication: getting the performance across to the audience;
constant awareness of audience reaction; communicating, listening
and responding to other performers; reacting to the audience and
making any required adjustments or responses as appropriate;
maintaining focus and concentration Evaluation: meeting original
objectives or artistic intentions; audience and peer observation
and feedback; testing and modifying material in response to
feedback eg through critical friends, discussion groups, focus
groups, questionnaires, professional mentor, venue manager, booking
agent, press/broadcast critics
UNIT 5: ALTERNATIVE APPROACHES TO ACTING Historical: how
naturalistic acting techniques evolved eg Stanislavski, Meyerhold
and their studios; symbolism; expressionism and political theatres;
the emergence of epic; eastern traditions Contemporary Context:
practitioners and companies exploring non-naturalistic techniques
eg Trestle, Told by an Idiot, Complicite, Forced Entertainment,
Punchdrunk, Improbable Theatre, The Wrestling School, in-yer-face
theatre Styles And Genres: non-naturalistic acting eg
choreographic, mimetic, comedic, political, circus, Kabuki, Noh,
performance art, epic, restoration, melodrama, dance theatre
Practitioners: eg Brecht, Artaud, Piscator, Fo, Boal and
spect-actors, Pina Bausch, Habib Tanvir, Julie Taymor, Robert
Lepage, Anne Bogart, Yukio Ninagawa
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Embodiment Of Acting Style: commitment to choice; understanding
in practice of style and genre; physical articulation and
understanding of attributes eg gestic acting techniques, playing of
guillare, Kabuki characteristics Physical Expression: eg posture,
gesture, dynamics, rhythm and energy, flexibility, use of space,
range and variety, weight Vocal Expression: eg range and use of
voice; tone, control, inflection, articulation and clarity,
projection, flexibility, register, idiosyncrasy, dialect and
accent, use of song Evaluation: eg analysis of self and ensemble in
process and performance, audience response, awareness of feedback,
strategies for growth, identification of skills and techniques for
development, personal expertise and skills, reflection, learning
needs, implementation Documentation: appropriate forms of logging
process and performance eg DVD recordings of rehearsals and
performance, performers log, annotated scripts
UNIT 77: WRITING FOR PERFORMANCE Text-Form: eg play texts,
radio, film and TV scripts, storyboards, scenarios Genres: eg
comedy, serious drama, documentary style, satire Production
Process: eg single director, collective production, improvisation,
role play Draft Scripting: drafting; editing; consulting; revising
Final Script: use of formal conventions; presentation of final
draft Performance Format: eg live performance, rehearsed reading,
film/video, audio recording Evaluation Process: interviews eg cast,
director; audience feedback eg through questionnaires, interviews,
discussion groups; self-evaluation
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Achievement Summary
Qualification Pearson BTEC Higher National Diploma In Performing
Arts
Assessor Name
Claire Louise Portelli
Unit Number And Title
Unit 60: Site Specific Performance
Actor Name Erol Uzunhasan
Higher Grade Achievements (Where Applicable)
Grade Descriptor (Merit)
Achieved? (Tick)
Grade Descriptor (Distinction)
Achieved? (Tick)
M1: Identify and apply strategies to find appropriate
solutions.
N/A D1: Use critical reflection to evaluate own work and justify
valid conclusions.
M2: Select/design and apply appropriate methods and
techniques.
N/A D2: Take responsibility for managing and organising
activities.
N/A
M3: Present and communicate appropriate findings.
D3: Demonstrate convergent/lateral/creative thinking.
Criteria Reference
To Achieve The Criteria The Evidence Must Show That The Actor Is
Able To:
Achieved? (Tick)
LO1
1.1 Assess different historical practices of site-specific
performance. 1.2 Analyse theoretical and practical perspectives of
site-specific
performance.
LO2
2.1 N/A N/A
2.2 N/A N/A
LO3
3.1 N/A N/A
3.2 N/A N/A
LO4
4.1 Evaluate venues and audience responses. 4.2 Analyse the
objectives of the site-specific performances. 4.3 Critically assess
own role within the project.
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Achievement Summary
Qualification Pearson BTEC Higher National Diploma In Performing
Arts
Assessor Name
Claire Louise Portelli
Unit Number And Title
Unit 41: Movement For The Actor
Actor Name Erol Uzunhasan
Higher Grade Achievements (Where Applicable)
Grade Descriptor (Merit)
Achieved? (Tick)
Grade Descriptor (Distinction)
Achieved? (Tick)
M1: Identify and apply strategies to find appropriate
solutions.
D1: Use critical reflection to evaluate own work and justify
valid conclusions.
M2: Select/design and apply appropriate methods and
techniques.
D2: Take responsibility for managing and organising
activities.
M3: Present and communicate appropriate findings.
D3: Demonstrate convergent/lateral/creative thinking.
Criteria Reference
To Achieve The Criteria The Evidence Must Show That The Actor Is
Able To:
Achieved? (Tick)
LO1
1.1 Explain human anatomy and its specific significance for the
actor. 1.2 Compare and contrast different movement methodologies.
LO2
2.1 Assess own physical capability identifying strengths and
weaknesses. 2.2 Evaluate own improvement and adapt training
programme as relevant. LO3
3.1 Devise and implement a personal movement training
Programme.
3.2 Carry out regular practice including warm-up/cool-down and
relaxation routines.
LO4
4.1 Select and demonstrate movement technique and skills both in
isolation and in group contexts.
4.2 Design and use appropriate recording to monitor movement in
classes, performances and personal programmes.
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(29/10/2014)
Achievement Summary
Qualification Pearson BTEC Higher National Diploma In Performing
Arts
Assessor Name
Claire Louise Portelli
Unit Number And Title
Unit 50: Popular Entertainment
Actor Name Erol Uzunhasan
Higher Grade Achievements (Where Applicable)
Grade Descriptor (Merit)
Achieved? (Tick)
Grade Descriptor (Distinction)
Achieved? (Tick)
M1: Identify and apply strategies to find appropriate
solutions.
D1: Use critical reflection to evaluate own work and justify
valid conclusions.
M2: Select/design and apply appropriate methods and
techniques.
D2: Take responsibility for managing and organising
activities.
M3: Present and communicate appropriate findings.
D3: Demonstrate convergent/lateral/creative thinking.
Criteria Reference
To Achieve The Criteria The Evidence Must Show That The Actor Is
Able To:
Achieved? (Tick)
LO1
1.1 Evaluate the meaning of popular entertainment. 1.2 Compare
and contrast at least two types of popular entertainment. 1.3
Assess historical developments in popular entertainment. LO2
2.1 Plan the development of popular entertainment work. 2.2
Contribute to the making of a piece of popular entertainment.
LO3
3.1 Apply appropriate skills to the rehearsal of popular
entertainment material.
3.2 Apply appropriate skills to the performance of popular
entertainment material.
LO4
4.1 Critically evaluate own role as a popular entertainer. 4.2
Assess, through analysis of feedback, effectiveness of own
performance.
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Achievement Summary
Qualification Pearson BTEC Higher National Diploma In Performing
Arts
Assessor Name
Claire Louise Portelli
Unit Number And Title
Unit 5: Alternative Approaches To Acting
Actor Name Erol Uzunhasan
Higher Grade Achievements (Where Applicable)
Grade Descriptor (Merit)
Achieved? (Tick)
Grade Descriptor (Distinction)
Achieved? (Tick)
M1: Identify and apply strategies to find appropriate
solutions.
D1: Use critical reflection to evaluate own work and justify
valid conclusions.
M2: Select/design and apply appropriate methods and
techniques.
D2: Take responsibility for managing and organising
activities.
M3: Present and communicate appropriate findings.
D3: Demonstrate convergent/lateral/creative thinking.
Criteria Reference
To Achieve The Criteria The Evidence Must Show That The Actor Is
Able To:
Achieved? (Tick)
LO1
1.1 Explain the development of different acting techniques. 1.2
Explain differences between naturalistic acting and other
techniques. LO2
2.1 Justify the practice inherent in acting alternatives. 2.2
Compare and contrast the techniques of practitioners. 2.3 Examine
the way practitioners are influenced by historical, social and
non-western contexts.
LO3
3.1 Use rehearsals and workshops to develop skills appropriate
to defined practice.
3.2 Creatively experiment with styles of acting during
rehearsals and workshops.
3.3 Apply learned techniques and skills to realise performance.
LO4
4.1 Use techniques of analysis and evaluation during
development, rehearsal and performance.
4.2 Use appropriate methods of documenting developmental and
performance processes.
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IN PERFORMING ARTS 2014 2015 BRIEF IVD: CLAIRE LOUISE PORTELLI
(29/10/2014)
Achievement Summary
Qualification Pearson BTEC Higher National Diploma In Performing
Arts
Assessor Name
Claire Louise Portelli
Unit Number And Title
Unit 77: Writing For Performance
Actor Name Erol Uzunhasan
Higher Grade Achievements (Where Applicable)
Grade Descriptor (Merit)
Achieved? (Tick)
Grade Descriptor (Distinction)
Achieved? (Tick)
M1: Identify and apply strategies to find appropriate
solutions.
N/A D1: Use critical reflection to evaluate own work and justify
valid conclusions.
N/A
M2: Select/design and apply appropriate methods and
techniques.
N/A D2: Take responsibility for managing and organising
activities.
M3: Present and communicate appropriate findings.
D3: Demonstrate convergent/lateral/creative thinking.
Criteria Reference
To Achieve The Criteria The Evidence Must Show That The Actor Is
Able To:
Achieved? (Tick)
LO1
1.1 N/A N/A
1.2 N/A N/A
1.3 N/A N/A
LO2
2.1 N/A N/A
2.2 N/A N/A
2.3 N/A N/A
LO3
3.1 Decide on the genre, format and content of the dramatic
text. 3.2 Draw up an outline/draft of the dramatic text for initial
review. 3.3 Write a final dramatic text for the selected medium.
LO4
4.1 Organise a performance of the work (or extracts) in selected
medium. 4.2 Organise appropriate methods of critical feedback. 4.3
Evaluate the effectiveness of script in performance through
critical
feedback.
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Assignment Feedback
Formative Feedback & Observations (Assessor To Actor)
Bouffon
Approaches the work with confidence and passion
Is taking time to explore and make the bouffon creative and
unusual
Open to other company members
Engaged in the animated physicality
Good use of language during improvisations
Has a sense of individualism and able to make clear character
decisions.
As the workshop is progressing he is becoming more open to
taking risks Puppetry
Puppet has an individual look and some thought for artistry
Showing a sensitivity when bringing the puppet to life
Will encourage the actor to develop a greater awareness of
tension and puppet technique
Needs to link his body to the puppet to make the puppet
major
Is working well to add detail into the devised scenes
Not afraid to explore the character voice of the puppet Laban
Efforts
Showing a driven response to the different effort actions
Is able to immerse himself with the task and fully commit to the
exploration
Is very expressive and able to push physical boundaries
Needs to work on relaxing the body in Laban effort float and
glide
Laban efforts wring/press/punch/slash are strong and appear
natural
Actor needs to work on muscle tension and relaxation
Clowning
Approaches the workshop with openness and energy
Able to feel relaxed on stage and acknowledge his audience
A joy to watch
Very confident when using his voice to improvise
His clown is highly playful, strives to reach the end goal but
sometimes gets frustrated
Isnt trying to be a clever clown, instead was happy to be there
and able to react off the other clowns
Rises to the challenge of a game but sometimes over complicates
the task
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Action Plan
Establish and define the category that your fall into as a
performer and the market you should be promoting yourself to.
Research companies, drama schools, employers, promoters, sponsors,
etc. that are relevant and appropriate to and tailor for your
style. Invite such people to your showcase and send such companies
relevant material to advertise yourself as an artist.
Summative Feedback Erol, you have made a good contribution to
the company over the process. Your playful eccentricity has been
your greatest asset to your work as a whole. You must make sure
that you always consider the unforeseen when planning work, as your
presentation had to be re-scheduled twice because a sufficient
contingency plan had not been put into place. You must make sure
that you come out of your social comfort zone and work with as many
different actors inside your company as you can, this will give
your work a different dynamic. You work hard and reap the results
from this and you have explored new skills and theatrical
techniques over the process that have clarified your wit and
comedic timing. Seek work that challenges you, a piece that is more
concentrated on the voice, naturalism and use of stillness. As an
actor you can carry weight but at times undermine your work by
opting for parody or clown. This maybe something to consider for
your next process. Clowning is a clear strength of yours and this
was proved in the clowning workshop, which you approached so
passionately and skilfully. During the Laban workshop you
accomplished the strong, weighted efforts with ease but struggled
to fluidly become float and glide. I encourage you to pro-actively
seek out relaxation techniques and spine loosening exercises. Make
sure you connect your breath to your body and look at your arms and
legs as an extension of your torso. Your dance skills and
co-ordination have dramatically improved and your sense of physical
clarity is an asset to you. Push and challenge yourself in your
next process and show your strengths with honesty and integrity. At
times you lacked essential professionalism, you must make sure you
are pro-active in your approach as you are capable of autonomy.
Feedback (Actor To Assessor)
Felt that my role in the process was successful but I failed to
be independent and needed guidance from directors. I worked well
with the actors in my scenes but struggled to be consistent in
finding new ideas. When inspired I felt I worked well to develop
the material. My presentation lacked creativity and the rehearsed
performances lacked effort and enthusiasm. Given the time scale I
felt that I didnt fully fulfil the task. On reflection I think we
should have had less time to work on the material. This may have
helped us to be more proactive.
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Tasks
Propose a selection of material for your showcase. Choose, cast
and prepare a minimum of four scenes that best showcase you skills
and performing ability. Ensure that your casting decisions are
based on actors that you feel best compliment your performance
style and the chosen character and/or performance genre.
Assessor Signature CLP Date 20/03/2015
Actor Signature EU Date 20/03/2015