ocr.org.uk/performingarts

A PROJECT APPROACH TO DELIVERY – THE BLOODY CHAMBERVersion 1

Cambridge TECHNICALS LEVEL 3

PERFORMING ARTS

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CONTENTS

Introduction 3

About the modules and activities 6

Assessment of units 8

The Project Brief 9

MODULE 1 – Pre-production planning 11

MODULE 2 – The first production meeting 14

MODULE 3 – Adapting, scaling back and making 17

MODULE 4 – Monitoring and evaluation 20

Other resources 23

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INTRODUCTIONThe purpose of this guide is to give you an overview of how you could holistically deliver a range of units from Cambridge Technicals in Performing Arts Level 3 (Theatre Production Pathway) through the delivery of a project.

Link to qualification: http://ocr.org.uk/qualifications/vocational-education-and-skills/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite/

For the purpose of this guide, the intention of this project is for learners to provide the designs and the logistical and operational support for a dramatisation of Angela Carter’s short story, The Bloody Chamber. The performance will be produced in the centre’s studio or performance space using the resources available but the initial designs and plans will be for a much larger theatre space so as to maximise the creative vision of the designers and potential of the text. The designs will then be scaled back.

When delivering any qualification it is always useful to be able to look at the full range of units selected and consider how they are or could be linked together – a holistic approach.

A holistic approach will provide you with a structured plan to teach the learners how a range of topics work together across a number of units, providing them with some understanding of how skills and knowledge link together in a working environment.

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Please note that this Project Approach MUST NOT not be used directly for assessment purposes. It is intended to support the teaching and learning of the units specified.

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Unit LO

Unit 18 Production and stage management process

LO1 Know the responsibilities of a production manager/stage manager during the production process

LO2 Be able to create and use appropriate production and performance documentation

LO3 Be able to evaluate safe working practices for a production

LO4 Be able to produce and stage manage a production

Unit 19 Stage lighting design and operation

LO1 Understand theatre lighting equipment, design methodology and their purposes

LO2 Understand the design process of planning a lighting plot to a brief

LO3 Be able to facilitate lighting operations in a live performance

LO4 Be able to review lighting design and operations in live performance

Unit 20 Stage sound design and operation

LO1 Understand theatre sound equipment, design methodology and their purposes

LO2 Understand the design process of planning a sound plot to a brief

LO3 Be able to facilitate sound operations in a live performance

LO4 Be able to review sound design and operations in live performance

Unit 21 Character design and realisation

LO1 Understand design and realisation processes and their purposes

LO2 Understand the design and realisation process to a brief

LO3 Be able to realise a design for use in performance

LO4 Be able to review design and realisation processes for live performance

Unit 22 Set design and realisation

LO1 Understand set design and realisation processes and their purposes

LO2 Understand the set design and realisation process to a brief

LO3 Be able to realise a set design for use in performance

LO4 Be able to review set design and realisation processes for live performance

THIS PROJECT APPROACH ENABLES THE DELIVERY AND FACILITATION OF LEARNING OF THE FOLLOWING UNITS:

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The intention is that the learners will be taught a range of knowledge and skills within each of the units and then carry out relevant review activities at various stages. Each of the review activities (once successfully completed by the learner) will provide all the required underpinning knowledge for their final assessment.

The practice review activities within the modules must not be used for final assessment purposes of Cambridge Technicals in Performing Arts Level 3.

Model assignments for each of the mandatory centre-assessed units (Units 8, 9, 10, 13, 14, 18, 22, 23 and 25) for Cambridge Technicals in Performing Arts Level 3 units or can be found at http://ocr.org.uk/qualifications/vocational-education-and-skills/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite/

It is assumed that the learners will be given the opportunity to carry out activities that will enable them to practice the skills they have learned within each module prior to being given final assessment activities.

When considering a holistic approach to delivery and learning it is important to consider the overall objectives. In this guide the objectives are to:

• Deliver five units of Cambridge Technicals in Performing Arts Level 3.

• Structure a programme of learning and reviews which is exciting and engaging for learners.

• Provide learners with an overview of how the knowledge and skills gained in one unit, support the knowledge and skills used within other units.

• Provide the learners with an opportunity to consider how they would use their social and communication skills holistically within the working environment.

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ABOUT THE MODULES AND ACTIVITIESThe guide is divided into four modules which may be sub-divided or combined according to the teaching time available.

The tables below show where each of the modules in this project provides delivery approaches and learning opportunities to ensure a thorough review of skills and understanding, prior to final assessment and evidencing by the learner.

Please note that should assessment be presented in a similar holistic way, learners must be able to present clearly mapped evidence for each of the centre-assessed units (Unit 18, 19, 20, 21 and 22).

BY UNIT/LEARNING OUTCOME (LO)

Unit No LO1 LO2 LO3 LO4

Unit 18 Module 1 Activity 1, 2Module 3 Activity 4

Module 1 Activity 3, 5, 6Module 1 Activity 4Module 3, Activity 4, 5, 6

Module 4 Activity 5, 6

Unit 19Module 2 Activity 2, 3Module 3 Activity 5, 6Module 4 Activity 2, 4

Module 2 Activity 1, 4, 5, 6Module 3 Activity 1, 2

Module 3 Activity 3, 4, 5Module 3 Activity 6Module 4 Activity 1, 2, 3, 4

Unit 20Module 2 Activity 2, 3Module 3 Activity 5, 6Module 4 Activity 2, 4

Module 2 Activity 1, 4, 5, 6Module 3 Activity 1, 2

Module 3 Activity 3, 4, 5Module 3 Activity 6Module 4 Activity 1, 2, 3, 4

Unit 21Module 2 Activity 2, 3Module 3 Activity 5, 6Module 4 Activity 2, 4

Module 2 Activity 1, 4, 5, 6Module 3 Activity 1, 2

Module 3 Activity 3, 4, 5Module 3 Activity 6Module 4 Activity 1, 2, 3, 4

Unit 22Module 2 Activity 2, 3Module 3 Activity 5, 6Module 4 Activity 2, 4

Module 2 Activity 1, 4, 5, 6Module 3 Activity 1, 2

Module 3 Activity 3, 4, 5Module 3 Activity 6Module 4 Activity 1, 2, 3, 4

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BY MODULE

Unit LO

Module 1Unit 18

LO1 Activity 1, 2LO2 Activity 3LO3 Activity 4

Module 2Unit 19

LO1 Activity 2, 3LO2 Activity 1, 4, 5, 6

Unit 20LO1 Activity 2, 3LO2 Activity 1, 4, 5, 6

Unit 21LO1 Activity 2, 3LO2 Activity 1, 4, 5, 6

Unit 22LO1 Activity 2, 3

LO2 Activity 1, 4, 5, 6

Module 3 Unit 18 LO4 Activity 4, 5, 6

Unit 19

LO1 Activity 5, 6LO2 Activity 1, 2LO3 Activity 3, 4, 5LO4 Activity 6

Unit 20

LO1 Activity 5, 6LO2 Activity 1, 2LO3 Activity 3, 4, 5LO4 Activity 6

Unit 21

LO1 Activity 5, 6LO2 Activity 1, 2LO3 Activity 3, 4, 5LO4 Activity 6

Unit 22

LO1 Activity 5, 6LO2 Activity 1, 2LO3 Activity 3, 4, 5LO4 Activity 6

Unit LO

Module 4 Unit 18 LO4 Activity 5, 6

Unit 19 LO4 Activity 1 to 4

Unit 20 LO4 Activity 1 to 4

Unit 21 LO4 Activity 1 to 4

Unit 22 LO4 Activity 1 to 4

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ASSESSMENT OF UNITSThis project provides opportunities to produce additional and separate evidence to meet the assessment requirements of Units 18, 19, 20, 21 and 22.

This is summarised in the table below which indicates how each Module and Activity provides an opportunity for additional and separate evidence for each unit. Completion of the modules does not guarantee all criteria have been met; this is entirely dependent on the quality of the evidence produced.

This Project Approach should be read in conjunction with the published grading criteria in the unit documents. This Project Approach should be read in conjunction with the published grading criteria in the Unit documents.

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METHODS OF ASSESSMENTUnit No Unit title How are they assessed?

Unit 18 Production and stage management process Internal = Centre assessed and moderated by OCR

Unit 19 Stage lighting design and operation Internal = Centre assessed and moderated by OCR

Unit 20 Stage sound design and operation Internal = Centre assessed and moderated by OCR

Unit 21 Character design and realisation Internal = Centre assessed and moderated by OCR

Unit 22 Set design and realisation Internal = Centre assessed and moderated by OCR

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THE PROJECT BRIEF: THE BLOODY CHAMBERThe learner version of the Project Brief is available from http://ocr.org.uk/qualifications/vocational-education-and-skills/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite/

The Bloody Chamber by Angela Carter is a short story re-telling the legend of Bluebeard Castle, a French ‘fairy-tale’ in which the main character marries and then kills a succession of wives – he warns them not to enter a particular room in his castle and when they do, out of curiosity, death is their ‘reward’. The last wife survives after being rescued by her mother, she then subsequently marries the blind piano-tuner.

You will be working as the design and production team for the production, working to realise the full potential of the text and the director’s brief for it. You will have your own specific roles within this team covering:

• Set design and construction.• Lighting design and operation.• Sound design and operation.• Character design, including hair, make-up and costume.• Stage Management.

However collectively you will all have responsibility for the production as a whole, this will involve:

• Attending and contributing to production meetings.• Organising and keeping to schedules and timelines.• Create and use appropriate production documentation.• Evaluate and use safe working practices.

As the content and title suggests this is a dark and gothic tale that provides for a wide range of creative and artistic skills and techniques to be developed and realised; there is scope to use imagination in the dynamic interpretation of the text and the director’s brief. It is not the responsibility of you as designers to be constrained by resources – the producer and director will set a budget and decide on a venue later on in the process.

Initially when acting as the design team you should be unrestrained in your pursuit of a ‘vision’ for the performance. Later on in the process of production you will be given more information on the realisation of the designs and operations of lighting and sound. At this stage you will be asked to adapt some of the ideas to meet the specific needs of the venue and of the budget.

Your work will be organised into modules, each module will have defined tasks and evidence. Some of these tasks will be related to production meetings; there will be three of these including the final technical rehearsal. Other tasks will relate to operations during the performances and a final review meeting.

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THE PROJECT BRIEF: THE BLOODY CHAMBER

This work can be undertaken as an individual or within a team. If working within a team learners are expected to contribute to each of the areas (and be able to evidence this contribution) in order to gain the experience and knowledge required to successfully complete the Cambridge Technicals in Performing Arts Level 3 (Theatre Production Pathway) units.

Your work therefore can be summarised as follows:

• General report on roles, responsibilities, documentation and risk assessments.• Read and interpret the text, present initial design ideas.• Adapt and re-work ideas for given space and resources.• Produce final documents and operational plans.• Review evidence and work.

Director’s initial statement:

I want a dark and rich vision in light and sound and costume. I want space for performers to move freely and with speed but I also want the enclosed and claustrophobic nature of the castle to be evoked. The wives must feel choked by the suffocating oppression but this can be emotional as well as physical. Walls and floors could move around the actors! Sounds could be big and operatic but then whispering and almost oozing from the brickwork. There should be hints of gothic expressionism but also elements that seem familiar to a contemporary audience. Let your imagination go wild – but be loyal to the demands of the text!

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PRE-PRODUCTION PLANNINGLink to qualification http://www.ocr.org.uk/qualifications/vocational-education-and-skills/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite/

The delivery of module 1 begins with Unit 18 Production and stage management process, covering all the Learning Outcomes (LOs).

Learning Outcome LO number Unit number

Know the responsibilities of a production manager/stage manager during the production process

LO1

Unit 18

Be able to create and use appropriate production and performance documentation

LO2

Be able to evaluate safe working practices for a production

LO3

Be able to produce and stage manage a production

LO4

During the delivery of the units, the learners should carry out a range of activities to demonstrate and check their knowledge and understanding. They should also undertake review activities as they work through the programme of learning.

Scenario

Before embarking on a major production learners will need to understand the skills, tasks, roles and responsibilities inherent in the planning, development and delivery process of that production. The following activities will put all specific work into a wider context and give learners the knowledge and understanding to fluently carry out their production and/or design roles. Their preparation and research at the beginning of the project will include:

• The role of the producer.• Contracts.• Pre-production documentation.• Risk assessment planning.

All these activities will feed into their more specific design and operational duties and should form the basis of a developing portfolio of evidence.

MODULE 1

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PRACTICE REVIEW ACTIVITIES FOR MODULE 1ACTIVITY 1Learners could research the role of the production manager. This role could also be referred to as the Producer.

A good starting point for this could be an article like that found at http://www.theguardian.com/stage/theatreblog/2008/apr/04/whatstheproducersrole

A simple initial task would be to ask learners to list the responsibilities of a producer or a production company as very often, like agents, individual theatre producers will be working collectively for a larger company. Alternatively a theatre itself could be a production company and learners could include this as a definition.

ACTIVITY 2Leading on from activity 1 learners could research and then describe the responsibilities and roles of Stage Managers (SM), Deputy Stage Managers (DSM) and Assistant Stage Managers (ASM) as well as Front of House manager (FOH) and General Manager (GM). Learners could also include the essential skills that each role entails; for instance a FOH manager may need to be able to deal with customers with a polite and diplomatic manner.

The activity could be done as a spreadsheet and could help learners later on in the production process to decide on skills, roles and responsibilities that could be shared or that will need to be covered by learners specialising in production and stage management.

A resource for helping with the spreadsheet can be found at http://www.theatrestrust.org.uk/resources/exploring-theatres/who-works-in-a-theatre

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ACTIVITY 3Tutors could lead a discussion on the documents and forms that are used by technical and creative staff working on a production at all its stages from initial briefs and ideas through to final reports.

From very early on in the production process learners should understand the need for appropriate documentation in their specific technical area, for instance lighting/sound cue sheets or rehearsal schedules and ‘call-times’. Later on they will need to create very specific documents and plans for their own specialism but at this stage they could create a range of general paperwork.

As a group they could discuss the necessary information they will need to collate and keep in the initial stages of a production; this will include names and contact numbers of technical and creative staff, venue contact details and initial timelines and schedules.

There is a full list of documents in the unit content. The pages below also give templates for the documents used by technical roles within a production

http://headsetchatter.com/templates.php

http://www.bing.com/images/

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ACTIVITY 4Learners need to become familiar with risk assessments, in fact these should become second nature to them in every task and responsibility that they carry out.

As a simple start to this habit they could risk assess their journey to the college/school.

There is an established formula for doing risk assessments, this can be summarised in a chart with the following information:

• Hazards – how can you get hurt doing this task? What are the hazards on the way to school – whether as a pedestrian, cyclist or motorist?

• Risk – what would your injuries be? What would that be like for you? Could they be hit by a car, trip, be mugged? What could be the consequences and how severe could these be?

• Barriers (or controls). What can you do to help prevent that from happening? On the particular journey – could they wear a helmet, be more attentive, not use a phone in certain areas? They should be specific!

The formulas and examples of questions to ask can be found at http://www.hse.gov.uk/risk/identify-the-hazards.htm

Learners could also design their own form as part of the documents activity.

The approach should then be applied to their specific roles and responsibilities.

ACTIVITY 5Learners could draft a provisional delivery schedule for a production. This could be in the form of a Gantt plan. Examples of these can be found at http://www.gantt.com/

At this stage they just need to speculate on timelines for various parts of the project and use a form that suits them and reflects the rough outline that they need at this stage.

An example of a provisional schedule could look like:

Task Who? When? How?

Outline the brief Director and all participants

Production meeting (PM) 1

Attending (compulsory!)

Initial research All Immediate post PM1 (10 days max)

Read book, follow up research

Present ideas Design team PM2 Bring notes, sketches ideas

This is a very simple start but should then should become more defined by dates and timelines and could then move onto detailed Gantt plan.

ACTIVITY 6In discussion groups learners could brainstorm what they think should be in a contract in the performing arts. To do this they will need to look at examples of these, a good place to start this research is at www.uktheatre.org where there are contracts that cover the specific areas within the industry.

Before that however they could list things that all contracts should have to protect both the employee and the employer.

Examples of these things are:

• Working hours expected.

• Break times.

• Specific roles and responsibilities.

• Benefits – pensions/holiday pay/expenses/any allowances for tools and clothing (sometimes called Personal Protective Equipment [PPE]).

• Periods of notice (on both sides).

• Disciplinary procedures.

Learners may be able to think of other things specific to their projects or from what they know about part-time working and employment that they do outside of education.

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THE FIRST PRODUCTION MEETINGLink to qualification http://www.ocr.org.uk/qualifications/vocational-education-and-skills/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite/

Module 2 continues with the following units and LOs.

Learning Outcome LO number Unit number

Understand theatre lighting equipment, design methodology and their purposes

LO1Unit 19

Understand the design process of planning a lighting plot to a brief

LO2

Understand theatre sound equipment, design methodology and their purposes

LO1Unit 20

Understand the design process of planning a sound plot to a brief

LO2

Understand design and realisation processes and their purposes

LO1Unit 21

Understand the design and realisation process to a brief

LO2

Understand set design and realisation processes and their purposes

LO1Unit 22

Understand the set design and realisation process to a brief

LO2

During the delivery of the units, the learners should carry out a range of activities to demonstrate and check their knowledge and understanding. They should also undertake review activities as they work through the programme of learning.

MODULE 2

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Scenario

The activities for this module will cover the first production meeting and the preparation for this.

Prior to the meeting learners should have been given the short story and the short directors statement from the project brief. They will then produce design plans for the production. It should be emphasised to learners at this stage that there are no limits to budgets and logistics, the director will want to see the possibilities for the production – limitations can be brought in later, but learners should assume that they have maximum resources.

The modules and activities should now be contextualised by their own design and operations skill and perspective. Combinations of these could be permitted, for instance light and sound.

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ACTIVITY 1Learners should read The Bloody Chamber by Angela Carter. They will need to annotate the text and make some initial decisions about the nature of the text. This should include:

• Genre.• Style of writing/overall mood.• Characters.• Settings.• Problems.• Possibilities.• Key scenes and events.

In this way they will understand the material that they are dealing with before going on to create designs.

PRACTICE REVIEW ACTIVITIES FOR MODULE 2

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ACTIVITY 2Looking at similar types of productions will help them to understand the range of possibilities and will also help with establishing an overall vision for their production. They are examples of realised designs and sets.

https://www.google.co.uk/search?q=theatre+design&biw=1366&bih=673&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwim-dXw2oTNAhWhL8AKHaKFAEMQ7AkITw#tbm=isch&q=+gothic+theatre+design

http://www.gridiron.org.uk/production_type/the-bloody-chamber/

Learners could choose one of the designs on the site and ‘deconstruct’ it. For example, giving examples of the mood, intention and overall effect the set design would have on an audience.

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ACTIVITY 3To open up other possibilities learners could research theatre and venue spaces and choose one of these to explore their ideas for the production. They could explore the possibilities for instance of using:

• A theatre with a fly tower.• A large traditional ‘Opera House’ style theatre.• An intimate studio or confined space.• A non-traditional space such as a night-club.• A gothic mansion.

A general design site can be found at https://www.google.co.uk/search?q=theatre+design&biw=1366&bih=673&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwim-dXw2oTNAhWhL8AKHaKFAEMQ7AkITw

ACTIVITY 4Learners could create mood boards/soundscapes that explore the colours, styles and designs that they are inspired by. This should be accompanied by explanatory notes that they will need to refer to when explaining their vision for the production at the first production meeting. The mood boards/soundscapes should reflect the specialist design area, but should all be exploratory and creative rather than solve specific problems.

ACTIVITY 5Learners could choose key moments from the text and illustrate how these might be realised within their design vision.

These key moments will vary depending on the design area and so the definition of what a ‘key’ moment might be will be determined by its potential for light, sound, costume or the mechanics of the set as well as the narrative – but very often all these will correlate.

They should choose an appropriate format or methodology to illustrate this key moment.

• Set designers should create a scale model of the set.• Lighting designers should create a lighting design plan.• Sound designers should sample appropriate sounds/music.• Character designers should provide sketches.

ACTIVITY 6Each learner should be given a specified timeslot to present their vision to the production meeting. This could be up to 15 minutes to ensure that they are able to explain:

• How the vision realises the style and genre of the short story.• The performance space or venue that has been envisaged.• Details of key moments and how their techniques will deliver the moment.• How the vision meets the directors initial statement.

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ADAPTING, SCALING BACK AND MAKINGLink to qualification http://www.ocr.org.uk/qualifications/vocational-education-and-skills/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite/

Module 3 covers the following units:

Learning Outcome LO number Unit number

Be able to produce and stage manage a production

LO4 Unit 18

Understand theatre lighting equipment, design methodology and their purposes

LO1

Unit 19

Understand the design process of planning a lighting plot to a brief

LO2

Be able to facilitate lighting operations in a live performance

LO3

Be able to review lighting design and operations in live performance

LO4

Understand theatre sound equipment, design methodology and their purposes

LO1

Unit 20

Understand the design process of planning a sound plot to a brief

LO2

Be able to facilitate sound operations in a live performance

LO3

Be able to review sound design and operations in live performance

LO4

Understand design and realisation processes and their purposes

LO1

Unit 21

Understand the design and realisation process to a brief

LO2

Be able to realise a design for use in performance

LO3

Be able to review design and realisation processes for live performance

LO4

Learning Outcome LO number Unit number

Understand set design and realisation processes and their purposes

LO1

Unit 22

Understand the set design and realisation process to a brief

LO2

Be able to realise a set design for use in performance

LO3

Be able to review set design and realisation processes for live performance

LO4

During the delivery of the units, the learners should carry out a range of activities to demonstrate and check their knowledge and understanding. They should also undertake review activities as they work through the programme of learning.

Scenario

At the end of the first production meeting the director and the stage manager should give full details of the production venue and budget, as well as the final play text. Individually the designers have given their optimum vision of the proposed production, they will now have to work collaboratively to produce an overall design and operational plan that is limited by the constraints of venue and budget and therefore will have to be adapted to be both coherent and manageable within these limits.

• The budget should be set by the centre, around £500 is reasonable.

• The venue is the centre theatre or studio or other space designated for the production.

MODULE 3

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ACTIVITY 1The design team could have their first meeting in the performance venue. They could lay out their mood boards and design notes on a table and set out what could be salvaged from their optimum versions.

They should start by noting the physical resources that the venue provides including:

• Space dimensions.• Lighting rig – are there a range of lamps.• Seating arrangements – are these flexible.• Exits/entrances.• Studio/traditional school hall/type of stage.

They could take an aspect of their own designs that they would be unhappy about giving up and argue for this, giving explanations of how it might be achieved in the space that they have.

ACTIVITY 2Learners could develop spreadsheets to keep track of resources and budgets. The exact entries on these will depend on their own design role but generally they will need to keep track of:

• Costs of basic materials for making props/set/costumes etc.• Timelines for acquiring and making these.• Running totals.• Notes/flagging up of issues, concerns, deficits.

ACTIVITY 3Sourcing materials for realising the designs will take some ingenuity on a limited budget and so learners will have to research these sources. Again, it will clearly depend on what materials are needed but using the directories on the internet will give learners places to start. Local knowledge of markets, charity shops and reclamation centres will also contribute to the research.

Learners should compile their own directories and lists of useful suppliers and include these as part of their portfolios of evidence.

www.thompsonlocal.com or www.yell.com are the general places to start.

PRACTICE REVIEW ACTIVITIES FOR MODULE 3

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ACTIVITY 4Prior to the final rehearsal processes there should be a final check of documentation. This could be done by having pre-technical rehearsal meeting to go over lighting and sound cue sheets, checking stage crew are in place and know when set changes are and being on stand-by for costume changes and malfunctions.

Each learner should detail:

• What their priorities and special requirements are for the technical rehearsal?• What they think the issues or concerns will be?• What the knowledge gaps are and what they will need to know prior to the first

performance?

ACTIVITY 5The technical rehearsal is a major activity in itself with its own routines and protocols. All technical crew should be present. The day is led by the Stage Management crew and the DSM is in charge as they have to ‘call the show’ so it is important that the documents and processes are overseen and verified by them.

As part of their preparation for the day learners could respond to the following questions:

• What is meant by a cue-to-cue?• Who is in overall control of a tech rehearsal?

They could also fill in the following:

A technical rehearsal is the opportunity to:

• Rehearse where sound, lighting and audio visual cues come in the script.• Set lighting and sound levels.• Rehearse scene changes and entrances and exits.

What a technical rehearsal is not:

• A chance for actors to go over lines/rehearse routines/add in additional material.• A full run of the show to add in cues.

ACTIVITY 6Each designer/operator should write a show report after the first night. This will build on the lessons learned from the technical rehearsal but will be more responsive to what actually happened on the night when performers are really ‘going for it’ in front of a live audience.

The report should be addressed to the director and be in parts:

• Part A should explain how their specific design concept worked both symbolically and functionally. This would not normally be part of the SM report but could be added anyway.

• Part B should report on the operational aspects of the first night; any issues or problems and the resolution of these.

An example of this can be found on page 66 of http://www.langhamtheatre.ca/wp-content/uploads/2012/02/stagemanagerhb.pdf and at http://www.theatrecrafts.com/pages/home/topics/stage-management/the-show-report/

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MONITORING AND EVALUATION Link to qualification http://www.ocr.org.uk/qualifications/vocational-education-and-skills/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite/

Module 4 concludes this project approach covering the following units:

Learning Outcome LO number Unit number

Be able to produce and stage manage a production

LO4 Unit 18

Understand theatre lighting equipment, design methodology and their purposes

LO1

Unit 19

Understand the design process of planning a lighting plot to a brief

LO2

Be able to facilitate lighting operations in a live performance

LO3

Be able to review lighting design and operations in live performance

LO4

Understand theatre sound equipment, design methodology and their purposes

LO1

Unit 20

Understand the design process of planning a sound plot to a brief

LO2

Be able to facilitate sound operations in a live performance

LO3

Be able to review sound design and operations in live performance

LO4

Understand design and realisation processes and their purposes

LO1

Unit 21

Understand the design and realisation process to a brief

LO2

Be able to realise a design for use in performance

LO3

Be able to review design and realisation processes for live performance

LO4

MODULE 4Learning Outcome LO number Unit number

Understand set design and realisation processes and their purposes

LO1

Unit 22

Understand the set design and realisation process to a brief

LO2

Be able to realise a set design for use in performance

LO3

Be able to review set design and realisation processes for live performance

LO4

Scenario

After any performance the creative team will individually need to evaluate their work and contribution. Building a sustained career in the performing arts industry means being clear about what you are good at and what needs developing. To do this action plans can be developed that build on the lessons learnt from the last job, in this case, this production. This evaluation should build into a portfolio that can be further developed over subsequent productions and should include evaluations as both designer/maker and operator of technical equipment.

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ACTIVITY 1As part of their evaluative process learners could adopt a SWOT approach to their work during the course of the production. This activity should be explained before the process of production starts.

S Strengths What was I good at?

W Weaknesses What was I weak at?

O Opportunities Were opportunities taken/exploited full?

T Threats Did the foreseen threats materialise? How did I deal with them?

Knowing that this was going to be an activity from the beginning will encourage them to keep notes and annotations on their work.

ACTIVITY 2As part of their evaluative processes learners could be interviewed by someone other than their tutor. Ideally this could be a professional designer or technician who will ask more demanding questions on design and operational processes.

The purpose is twofold:

• Learners could be asked questions that critically explore and justify the design and operational processes.

• Learners should be told that reference to documentation during the interview is crucial so notes and recordings must be kept.

PRACTICE REVIEW ACTIVITIES FOR MODULE 4

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ACTIVITY 3Learners could collectively compile an audience questionnaire. These could be general about how the audience received the whole performance but each design role could add their own question. The audience won’t want to do more than 5 or 6 questions and so what is wanted from the questions should be considered carefully.

Examples could be:

• Did the sound/music have an effect on your engagement with the performance?• Did you notice the lighting changes or colours?• What did you think of the set?• What impact did the costumes have on the acting?

ACTIVITY 4A final evaluative production meeting could be held that watches and analyses a recording of the production. The team should deconstruct their own contribution and design area but also give peer assessments so that the production as a whole is considered.

The main task of the activity is to draw conclusion on:

• What worked and what didn’t within the original aims?• How having more resources may have helped or possibly hindered the production?• What was unexpected and what actors added to the whole design concept?• This meeting could also look at audience reactions through the questionnaires and also

have a final comment from the director.

ACTIVITY 5All learners on the technical pathway will be doing Unit 18 and so the activities above (1-4) that relate to their specific technical design or operational area and unit choice can be drawn together for a summative report on the whole process. The main focus of the activity is an analysis of the production as a whole and should relate back to the aims set out by the director in the first production meeting, the subsequent scaling back of designs and the eventual realisation of the production.

From overall producers perspective learners could give answers to the following questions. Clearly the performance is a school or college and so some of the questions will need to be based on what learners would have understood from professional venues.

• What were the creative aims of the production?

• How did it fit in to a creative policy of the venue – was it chosen because of its commercial value or was it a purely artistic choice?

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• Was it a success financially?

• Did it attract a new audience for this venue?

• Were there any technical issues/deficiencies that now need addressing?

ACTIVITY 6Again acting as the producer, learners could give recommendations for the type of production that should be tackled next by the company.

They could take the answers to the questions above and recommend a programme for the venue – this could be the school or college but could also be done on the basis of research that they have done into local arts venues.

The following links will give further information on the role of the producer which may be useful for activities 5 and 6.

http://www.aeaclubs.org/theater/roles.html

http://www.community-theatre.com/producer.htm

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Below is a list of resources available from the OCR website which can support the delivery of this project.

http://www.ocr.org.uk/qualifications/vocational-education-and-skills/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite/

OTHER RESOURCES

Delivery Guides

Delivery Guides contains suggestions for activities for lessons. There is a Delivery Guide for each unit, structured by learning outcome so that you can see how each activity helps learners cover the unit. We’ve also included links to other resources you might find useful.

Resources Links

There are a number of Resources Links for some of the units. Resources Links provide a range of other resources you might find useful – videos, data sets and other online content.

Skills Guides

We have produced a range of skills guides covering a variety of topics, including research,communication skills, managing projects, problem solving.

Lesson Elements

There are a number of Lesson Elements for some of the units. Each Lesson Element contains fully worked-up activities with tutor instructions and answers along with learner task sheets.

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This resource may be freely copied and distributed, as long as the OCR logo and this small print remain intact and OCR is acknowledged as the originator of this work.

OCR acknowledges the use of the following content:Square down and Square up: alexwhite/Shutterstock.com; Page 3 Passge to mysterious castle, Melkor3D/Shutterstock.com; Page 5 Theatre lights, Maxim Tarasyugin/Shutterstock.com; Page 8 Empty theatre seats, ulegundo/Shutterstock.com; Page 9 Misty Castle, Rocksweeper/Shutterstock.com; Page 10 Dark medieval corridor, Unholy Vault Designs/Shutterstock.com; Page 11 Man writing, Have a nice day Photo/Shutterstock.com; Page 12 Stage lights, magicbean/Shutterstock.com; Page 14 Group of actors reading script, John Spence/Shutterstock.com; Page 15 Stage scene watercolour, Farianna/Shutterstock.com; Page 16 Theatre and scenery, NDT/Shutterstock.com; Page 18 Theatre props, Stephen Orsillo/Shutterstock.com; Page 19 Young women reading scripts, bikeriderlondon/Shutterstock.com; Page 21 Old gothic staircase, Paolo Gallo/Shutterstock.com; Page 22 Smoky stage lights, A_Lesik/Shutterstock.com; Page 23 Audience watching play, aerogondo2/Shutterstock.com

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