Unit+IV+ Production

At the end of this lesson students will be able to: || Lesson || Resources || Homework || Production || Director & his/her role* || * Analyze the main ideology of a theatrical piece. Watch a documentary about the different approaches to Midsummer night’s dream. What are the points of reference the director takes on account when staging a play? Brainstoriming. THEORY The point of view of the director: his interpretation. How a director uses SPACE/RELATIONSHIP. CONSOLIDATION Read a scene. Answer the questions, what, where and who. Discuss Main ideology and point of view. Make a directors proposal. Organize SPACE /RELATIONSHIP PLENARY Make a sculpture with your own body of your exploration. TAKE Pictures and post them. || 1)*A scene of Midsummer night’s dream. An extract of the documentary “Staging Magic”
 * week || Unit IV || Lessons Name || Learning Objectives
 * # 1. || Theater
 * Choose a point of view about it.
 * Create a proposal to convey this point of view. || STARTER

2) Model examples of Director’s proposal

3)Take pictures || 3 Develop your proposal (write down the director’s point of view)What metaphors would you use. || Look at different set proposals. Which work best? With pictures from previous class. Create a set, How would you complete this image. Use color and the whole page to create atmosphere and space. THEORY The environment gives information about the point of view. The more specific is your space the more elements you give to support character and action. CONSOLIDATION Create a set for this scene. Groups interact with each other’s set. Explore the scenes. PLENARY Eyes closed, in your space, take a moment to visualize revisiting the different sets you explored today. || 1) Pictures of different productions to open a play.
 * ^  ||^   || Set design* || * Understands levels and depths of space.
 * Create atmospheres through colors
 * Explore different ways of organizing the audience/stage relationship || STARTER

2) Colors, crayons, pencils.

3) Props, music, lighting ||  || Play tag with different body restrictions. THEORY The more specific is your relationship the more detail there is in your performance. “God is in details” Having a specific relationship with your costumes amplifies the character work and makes it more interesting. CONSOLIDATION Choose a costume for your character (create body restrictions that relate to their inner state) PLENARY Take a look at your own clothes. Make a Short description of the character within yourself you are portraying today. || Hats Costumes and clothes(Big heavy shoes. Clothes. Skirts. Overall. No hands sweaters. Mermaid trousers. Push dress and high heels.) ||  || Final project ||^   || * Recognize the key elements of a production. A machine that builds something. Remind them it’s about working together, and each person focusing in their own task. THEORY Developing an ensemble piece for final presentation. CONSOLIDATION Write the proposal for your team. Divide roles (director, set designer, costume designer) PLENARY Wish list: How do you wan your piece to be? What would you like to learn/experience in it? What do you want the audience to learn/experience? || 1) Video of a Director explaining his role (Harold Pinter) ||   || How many stages are there? Are they similar? How many changes happen during a process? Relationship between process and end? What is an end product. THEORY It’s important to have clarity about the process stages, and fulfil them, and enjoy them. For this a plan and a guideline must be set. CONSOLIDATION Make a list of elements needed (costume, space, sound) PLENARY Written reflection on what is the most meaningful process you’ve experienced and it’s stages. || 1) Videos of natural processes (growing of a flower, growing of an amphibious)
 * # 2. ||^  || Costume design* Costume as identity or armour || * Explore how the body reacts to different costumes.
 * Create a character through body restrictions. || STARTER
 * ^  || Developing a performance piece, as a Group.
 * Organize these elements, and set deadlines. || STARTER
 * # 3. ||^  || Production PROCESS || * Be able to set the objective and deadlines of a production
 * Coordinate different necessities. || STARTER

2) CARTULINA ||  || Watch two different extracts of the same scene. Look for the moment where focus is lost. Why? THEORY The elements that support focus is having clarity at al moments (Who you are, where you are what you’re doing) CONSOLIDATION Do a run through find the weak spots. Change elements to keep understanding the whole. PLENARY Slowest race... who loses focus first? (be clear to relate it to objective) || 1) Videos of a scene performed by amateurs and professionals. ||  || Review arm-up exercises. THEORY Last run mos focus on: changes/transitions; working out using props and costumes; coordinate entrances and extis and special effects. CONSOLIDATION Do a run of the plays. Do a Feedback sessions with written observations. Do a second run through. PLENARY Do a drawing of what you like the most about your piece. Share ir with someone of a different group. || 1) Elements of the play brought and developed by students. ||  ||
 * ^  || Clarity and focus ||^   || * Observe the moments in a scene where the focus is lost.
 * Work on those moments.
 * Set a line of thought/action/character to support focus. || STARTER
 * # 4. ||^  || Review of the work explored. || * Organize a warm-up session individually.(Understand what you need to be prepared)
 * Organize a dress rehearsal.
 * Assess and feedback each others work. || STARTER
 * ^  || Assessment ||^   || * The students should have a small theatrical piece to present in front of a large audience. || Present the piece as part of the End of Semester School production.

ASSESMENT CRITERIA Commitment and punctuality Elements ready (costumes, props, sound effects.) Evidence of theatrical techniques, such as mime, metaphores, mask, objects and timeline narrating. Evidence of how to build a character. ||  ||   ||