+ World Theatre Traditions Workshops Research Investigation: Preparation 20% HL 30% SL

+ What is it? Develop a really detailed understanding of a Theatre tradition (from the list) that is underpinned by a sound theoretical understanding of this practice – this means RESEARCH Select a CONVENTION of this practice and physically and practically explore it Prepare an A4 2 sided handout Run a 20 minute workshop for your peers introducing the tradition and then explaining and demonstrating the convention

+ Why? This task links to the Theatre in Context thread of the syllabus It’s a great chance for peer teaching and learning Helps develop your research skills It is a practice for the Research Presentation (20% HL & 35% SL: in year 12)

+ So where do I start? 1. Choose a partner 2. Choose one of the following Theatre Traditions

+ Theatre Traditions to choose from: Comedy and Tragedy, Ancient Greece * No Ancient Greek Tragedy because you know it! Comedy and Tragedy, Ancient Rome Topeng Dance, Bali Kecak, Indonesia Wayang golek puppetry, Indonesia Wayang kulit shadow puppetry, Indonesia Peking opera, China Yuan Drama, China Khayal al-zill shadow puppet, Egypt English Renaissance Theatre, England Victorian Melodrama, England Punch and Judy puppets, England Restoration Comedy, England Medieval Mystery plays, England French farce, France Karagozi shadow puppetry, Greece Kathakali, India

+ More Theatre Traditions to choose from …. Barong dance, Indonesia Commedia dell’arte, Italy Bunraku, Japan Kabuki, Japan Kyogen farce, Japan Noh Theatre, Japan Rakugo theatre, Japan Talchum mask dance, Korea Shadow Theatre, Taiwan & China Hun lakhon lek puppetry, Thailand Karagoz shadow puppetry, Turkey Pantomime, United Kingdom

+ How to Choose? Obviously there are a LOT of theatre traditions. Consider if you want to choose a western or non- western tradition. Try to make links to other aspects of the course... For example, perhaps you did the Butoh workshop at ISTA and are interested in a Japanese Theatre tradition. Maybe you have seen a pantomime in the UK and are interested in the Punch and Judy puppets. Maybe you have very little experience of any Asian styles and want to choose one you have never heard of?! One of the criteria assesses how you connect your workshop to you as a theatre student.

+ Research! Acting in Person and Style, or a basic internet search is a good place to start The librarians are your friends! Ask them to help you access journal articles Trip to the Main Library! Again, ask the librarians to help you access the online catalogues so you know what you’re looking for before you go. Is there anyone who might be an expert? Could you them some questions?

+ What to look for in Research … What is the CONTEXT of this theatre tradition? Where, when, who, why? What does it look like? Can you find a performance on youtube? What do you notice? What is the specific terminology of the theatre practice? E.g. nava rasas in Kathakali, lazzi in Commedia What is the performance space? What is the actor- audience relationship? What sort of texts do the performers/productions use? What sort of production elements do you see? Costume, What are the ACTING CONVENTIONS (this is essential information for your workshop)

+ What do you notice about the actors in performance? Gesture Face Body Movement Voice What do the experts emphasise about this theatre practice? For example GESTURE is incredibly important in Old Greek Tragedy, MOVEMENT is important in Commedia Dell’Arte

+ Moving from theory into practice It’s important that you have a sophisticated understanding of your theatre tradition before you start planning your workshop...and I can tell if you don’t!

+ So, I have lots of info! Now what? You need to focus in on a specific convention of your theatre tradition. The convention needs to be physical and practical: Gesture Face Body Movement Voice

+ Commedia Dell’Arte example … Through research you have discovered the actors in traditional Commedia used highly stylised movement, stance and gestures specific to each of the stock characters. An audience would know immediately who each character was just by the way that the actor walks and stands. Your workshop could focus on MOVEMENT of Arlecchino (one of the stock characters) Your workshop could teach the movement specific to Arlechinno through demonstrations and practical exercises. The class would physically experience creating the movement of Arlecchino In your discussion/explanation you can link this back to some of the significant aspects of a Commedia performance. It’s very visual, as it’s performed outdoors in a large town square; ; doesn’t need a shared language; ; exaggerated and almost grotesque stock characters; the same characters in different shows.

+ So, you’ve given the class … 1. A practical experience of working with ONE physical/practical conventions of this theatre practice 2. Made links to your theoretical research 3. Shown the class the REASON for this particular convention

+ Each Theatre style/practice will suggest a different type of workshop You need to include: A detailed explanation of the theatre tradition * A demonstration of the convention Practical exercises to teach the convention to your peers This can be in any order you like. You can use something like a powerpoint to support your presentation. You should create an A4 two sided handout to support your presentation.

+ Bibliography You will need to include a bibliography of ALL the resources that you have consulted developing your workshop. These could include: Books, journal articles, websites, primary recources (such as an interview), youtube clips

+ Criterion A: Understanding the Theatre Tradition To what extent does your presentation demonstrate an understanding of the theatre tradition? Have you chosen an effective (and practical) convention? Have you consulted a broad range of resources? (shown in your bibliography)

+ Criterion B: Practical Application Have you selected appropriate activities to explain/present/demonstrate your chosen convention? Have your ‘students’ been given a practical experience of gesture or face or body or movement or voice?

+ Criterion C: The Presentation Is the workshop engaging and suitable for your peers? Have you used your body and voice to communicate your ideas? Is the workshop well structured?

+ Criterion D: The Learner Have you explained WHY this practice and your chosen convention? Explain how this practice could inform your work as a theatre maker Connect your theatre tradition with other work that you have undertaken in the course

+ Assessment Each criterion is marked out of 8 and you will then receive a final individual mark out of 32. Remember: 1-2: limited / list 3-4: Adequate / outline 5-6: Good / describe 7-8: Excellent / explain * This presentation will be graded & commented on in your final end of year report

+ Timeline / Dates