Visual, Aural and Spatial Elements

DRAMA & THEATRE STUDIES

 UNIT 1: Exploration of Drama and Theatre  Exploration Notes Visual, Aural and Spatial Elements 1/ First of all establish what type of stage and auditorium best suits the play – and explain why. 2/ Then consider the importance of the visual dimension to the production (most important would be set, lighting and costume). This will take you into the director’s vision of the play and the production’s message/thematic emphasis, performance style, genre etc. Set Would it best be permanent or would you need scene changes?  If it was permanent what would be its advantages and how would it serve the whole play?  If you had scene changes how considerable would they need to be and why?  Might some scene changes merely involve adjustments to parts of a permanent set?  Might a minimalist set be best – perhaps only making use of stage properties (i.e. ‘props’)?  Why?  How might scene changes be carried out?  Would you rely on stage machinery or stagehands or the actors themselves? Think of the effect a set can have on an audience.  It could be graphically realistic to reinforce the slice-of-life nature of the play.  It could be symbolic to help the audience focus on a particular theme in the play.  It could try to produce a particular atmosphere relevant to the play.  It could play around with perspective to support an expressionistic approach to the play.  And so on. Here you could come up with a front elevation set drawing, a ground-plan, etc.  Lighting Here you need to consider ways that lighting might support or stand in for stage setting – never forgetting the director’s vision of the play and the performance style that has arisen out of the vision.  For instance, lighting is going to be a lot less atmospheric – perhaps totally unatmospheric – in a Brechtian production.  On the other hand, lighting is likely to be a strong theatrical presence in an expressionistic production. Here you could come up with impressionistic drawings or storyboarding that would clearly convey lighting at key moments of the play.  You could even come up with a lighting plan. CostumeHere you need to consider whether the director’s vision of the play is best served with costumes that are aligned with the set design (so that you have, say, realistic historically accurate costumes within a painstakingly realistic set) or not aligned with the set design (giving you, say, strange surreal costumes that will inhabit a largely realistic set).  And always give reasons for the decisions that you arrive at, of course. 3/ Then consider any additional spatial considerations. In 1 & 2 above you will already have covered type of stage, auditorium and layout of set. Don’t forget, though, that sometimes the auditorium can be used by actors and in a way even become part of the set, therefore. Also, crucially, the actors themselves are the focus of any theatre space, and the choreography of key moments (e.g. the end of Act 2 of ‘The Visit’) might be worth considering. 4/ Finally, there are the aural effects to be considered. Here ask yourself if you need any special sound effects and why.  (Remember, you must always be able to justify a decision made.)  Would these effects just be coming from the direction of the stage or might they envelope the auditorium as well?  Why? Might music be required?  If so, when, what type exactly, and why? And might the type of line delivery be relevant here?  (Could some of the verbal tricks of expressionistic delivery be a constant aural feature in the production, for instance?  Might the robust – even unmusical – quality of Brechtian singing punctuating a production be worth commenting on, if it hasn’t been mentioned elsewhere in your notes already?) *A note on assessment: For you to attain top marks for this bit of your Exploration Notes, the syllabus says that you must ‘discuss in detail’ the relative importance of visual, aural and spatial elements in the play.  You must come up with really good clear examples of the way in which these elements can communicate information (mood, themes, historical authenticity, etc) to an audience. And a final note: If you want to do a lot of drawings you could use one side of A3 per play, rather than two sides of A4.  It’s up to you.  

Preliminary points on your Exploration Notes:

DRAMA & THEATRE STUDIES

 UNIT 1: Exploration of Drama and Theatre  Exploration Notes Preliminary points on your Exploration Notes: 1/ You have to produce two sets of Exploration Notes in the first term – one set on ‘The Threepenny Opera’ and the other on ‘The Visit’. 2/ For each of the two plays you have to produce Exploration Notes under the following five headings: a/ Plot (and sub-plot), b/ Use of language, c/ Form and structure, d/ Visual, aural and spatial elements, and e/ Contextualising the play. 3/ For each play there is a maximum length of one side of A4 for each of the five topics (e.g. Plot and sub-plot) – so for each play you will write five sides of A4 (i.e. ten sides to cover both). 4/ Notes may consist of bullet point statements, tables, flow diagrams, spider diagrams, storyboards, written notes or a combination of any of these. * Plot (and sub-plot) In order to attain top marks for these notes you need to ensure the plot is clearly outlined and described concisely and in some detail.  At least one or two features of the plot should be remarked upon. Suggestion: you might find it helpful to provide your detailed but concise clear outline of the plot of ‘The Visit’ within the following framework: 1/ Exposition 2/ Dramatic incitement 3/ Complication 4/ Crisis 5/ Resolution NB For further information on this read the separate handout entitled ‘Plot’.  

Use of Language

DRAMA & THEATRE STUDIES

 UNIT 1: Exploration of Drama and Theatre  Exploration Notes Use of Language Dialogue and Stage Directions In playscripts you will find that language is used in the creation of a/ dialogueb/ stage directions Of course, dialogue is the speech of characters within a play and it can help enormously to give characters lives and personalities of their own. Stage directions on the other hand are often simple and neutral (‘Enter Hamlet’ .. ‘Exit Hamlet’) or simple and symbolic/atmospheric (‘Thunder rolls repeatedly’); or they can perhaps describe, say, the furniture, wallpaper etc in a room.  But perhaps the most interesting thing that is usually overlooked about stage directions is that they come direct from the playwright himself; and if the playwright wants to then he can become a special presence in the playscript, almost like an additional character.  The authorial voice of Tennessee Williams is importantly present in his play ‘Cat On A Hot Tin Roof’, for instance, when he says in a stage direction ‘Some mystery should be left in the revelation of a character in a play, just as a great deal of mystery is always left in the revelation of character in life, even in one’s own character to himself …  (One should) steer .. away from ‘pat’ conclusions, facile definitions which make a play just a play, not a snare for the truth of human experience’. This point which he elaborates carefully is designed to discourage directors from misinterpreting this and other plays of his.  A famous scene where we are led to believe that Stanley Kowalski has sex with Blanche DuBois must not be presented simply as rape, however strong the evidence, because there is always the possibility of another side to a story or further important information still to uncover.  Indeed it is not possible to say with absolute certainty about very many things in life that ‘is the whole picture, that is the truth’.  Truth is in fact very elusive.  Two people may understand an event very differently: different people perceive things differently.  What Blanche might regard as being rape, Stanley might not. The effect of the authorial voice in Williams’ canon is to nudge directors of the Blanche-Kowalski scene into taking this idea onboard, and presenting the event with subtle ambiguity – avoiding the easy interpretation of rape which would miss Williams’ point entirely. In this way, the authorial voice can sometimes be a profound influence on a director’s interpretation and direction of a play, and so also on the reaction of the audience itself. 
Diction Diction is the word to describe the type of language used in a play.  Diction might be formal, serious, colloquial, slang etc … The diction used in a play will: a/ lend colour, atmosphere and tone to the play as a whole b/ relate to specific characterisation (the manner of expression will increase our understanding of that character, as much as what he or she actually says).   A/ Diction and Mood 1/ Is the diction formal and philosophic?  This would help to create the sense of seriousness most suited to tragedy (among other forms).  2/ Is the diction more informal (colloquial) than formal?  If so, the pace of delivery might be affected, speech being light and not to be dwelt upon gravely.   Some related things to be able to recognise and comment on  ·         The complexity or simplicity of the language* The use of heightened poetic language* The use of language in song* The use of natural and/or unnatural speech patterns and rhythms* The use of pauses, lengths of sentences and the type of vocabulary used* Any use of characteristic phrases or words* The use of dialect(s)* The use of metaphor, symbolism* The use of questions* The use of sub-text   * A note on assessment: For you to attain top marks for this part of your Exploration Notes, the syllabus says that you must include ‘a number of clear examples .. of different ways the playwright uses language and to what effect’.  

Form and Structure

DRAMA & THEATRE STUDIES

 UNIT 1: Exploration of Drama and Theatre  Exploration Notes Form and Structure Form Syllabus definition: ‘form describes the recognisable features or characteristics of a particular genre and the method, conventions and structure that are used to communicate meaning to an audience.’ Clearly, you need first to decide which genre(s) might be helpfully applicable here, and why. Some suggestions for ‘Caucasian chalk circle’ *tragi-comedy *dramatic parable *epic theatre *expressionistic drama Some further suggestions: Could the play be classified as expressionistic tragic-comedy? (theatrically involving) Could it be classified as epic parable? (theatrically alienating) Could it be usefully both? Then provide examples of features typical of the relevant genre(s).  Structure Now consider any structural features not already covered.  Some of the following might be of some use to you: 1/ The developing shape: a/ exposition, b/ dramatic enticement, c/ complication, d/ crisis, e/ resolution.NB Do not repeat all that you wrote in such detail under Plot.  Just provide the briefest of focused outline notes.  It should take up hardly any space at all. 2/ How many acts (and scenes), and how do these help to shape the play? 3/ Main and sub-plotIs there a sub-plot?  If so what is it?  (Outline very briefly – remember you will have already described this in detail under Plot.)  What function does it serve?  (Does it reinforce ideas/themes in the main plot?  Or does it provide fresh insights into themes found in the main plot?  Or what? 4/ Prologues and flashbacksAre some of the events leading up to the start of the play conveyed through a prologue or through an interrupting flashback?  Is there a prologue that provides a summary of the play before the play actually starts?  If so, to what effect? 5/ EndingsAre all loose ends tied up?  Or do we have a more ragged slice-of-life ending?  Is the ending ironic?  Is there an epilogue?  If so, to what effect? 6/ Linear and circular structuresIs the structure linear?  If so, to what effect?  And how might you ensure it really does work for the audience?  Do scenes move smoothly one into another?  Or do they jolt?  To what effect?  Is the structure circular?  If so, why?  How might you really ensure the audience get the point being made? 7/ SongsAre songs patterned through/regularly interrupting the play?  Which is it – ‘patterning’ or ‘interrupting’?  What is the effect? 8/ The 3 Unities (Time, Place and Action)Is the play given special coherence, fluency, focus and impact through adhering to the 3 Unities? 9/ Internal linguistic structureIs there a patterning of verbal imagery in the play?  What effect might this produce?  Might the patterning of verbal imagery in the play affect the way you present the play on stage?  Might you underscore the verbal imagery physically, for instance? 10/ Any other structural devices? * A few additional bits of useful terminology to choose from: soliloquy, monologue, dialogue, narration/narrative, episodic, cinematic (voice-over, flashback, montage), aside, physicalisation, montage, song (music/lyric), heightened language, plot/sub-plot, blank verse, use of chorus, mime, alienation (verfremdungseffekt), repetition, simultaneity, tableau, parallel plotting, act/scene structure, thought-tracking. * A note on assessment: In order to attain top marks, for this you need to provide a detailed account of the play’s structure with at least two references to the ways in which the playwright uses form(s) and to what effect.  ********

UNIT 1: Exploration of Drama and Theatre

DRAMA & THEATRE STUDIES

 UNIT 1: Exploration of Drama and Theatre  Exploration Notes Contextualising the Play The social, historical, cultural context ‘The Visit’: a/ written and first performed in 1956 b/ in Europe c/ which was the focus of two World Wars and where certain important theatre practitioners/performance styles, artists, philosophies had been particularly influential – *Brecht (epic theatre) *expression *existentialism (very much a 20^th century play – experimental, avant-garde – but with its roots in something more traditional: the dramatic parable). Question: So, to what extent has the writing of ‘The Visit’ been influenced by any of this? NB1  As part of your answer on the social, cultural and historical contexts of the play you should include, where applicable, reference to: a/ the context of any new production of the play you might know about (or the context of a new production of the play that you might envisage). NB2  Research: In addition to the play itself and any essays printed within it, see what the Library, the Resource Base (E18) or the Internet might have to offer on ‘The Visit’ , Durrenmatt, Modernism in the Theatre (especially European developments – epic theatre, expressionism, etc), the dramatic parable, modern productions of the play, etc. * A note on assessment: In order for you to attain top marks for this you need to have discussed in some detail the social, cultural and historical context of the play and have considered the relative importance of each as a factor in the writing, producing and interpretation of the play. ******** 

Hello world!

 Meaning you – the drama, theatre and performing arts people out there! Use this site for some good resources on Thespian matters.

Run by Renier van Loggerenberg