REVISION ORGANISER
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How am I assessed?
Written exam: 1 hour 30 minutes
80 marks
40% of Technical Award
Questions:
A combination of multiple choice questions, short answers, extended responses, design/devising questions.
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What will I need to know? You will draw on knowledge and understanding from units 1 and 2:
Roles and responsibilities within the performing arts industry
The role of performing arts in society
Approaches to rehearsal
Working as a deviser/performer/director/practitioner/facilitator
Marketing and public relations
Health and safety
Design and technical elements
Reviewing performances.
Performing Arts Industry
Work in the Performing Arts and research aspects
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Roles & Responsibilities
within the Performing Arts
Industry
Job Roles and Responsibilities with the Industry
Specific duties & responsibilities
Recruiting Processes
Contracts
Employment Potential
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Roles & Responsibilitieswithin the Performing Arts Industry
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JOB ROLE RESPONSIBILITY
Performer Attend rehearsals; work with the rest of the team to create the final performance. Be in the
performance venue in time for the “half”.
Director Supervise all aspects of the development and rehearsal of a show – choice of play, casting, rehearsals,
design of the production.
Choreographer Create and teach dance and movement sequences.
Film Maker See director’s role but also editing the footage for productions.
Stage Manager During rehearsal; attend all sessions and record decisions made in rehearsal; organise rehearsals; make
and acquire props for performance and rehearsal
Front of House Responsible for audience needs from helping to find their seas before the production / performance to
selling ice creams.
Public Relations / Marketing Making the public aware of the performance via posters in order to sell tickets
Technician Maintenance of specific area – lighting, sound, stage; design for each show. They can be responsible for
building maintenance as well.
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Roles & ResponsibilitiesSpecific duties & responsibilities
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Roles & ResponsibilitiesSpecific duties & responsibilities
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Roles & Responsibilities
Interaction Task
TASK:
Create a CV for one of the job roles you have
been looking at.
Use the template if help is needed.
Name:
Address:
Key Skills:
Experience within this role:
Previous job roles:
Roles & Responsibilities within the Performing Arts Industry
Recruiting Processes
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Recruiting Technique Information about the technique
Auditions The most traditional method of recruiting. Production companies and theatres will advertise the show
and the roles. Sometimes they will approach performers directly. Performers will be expected to
prepare a performance for the meeting; this could be pre-prepared or connected with the specific
performance. Some directors employ a workshop approach. There will usually be an interview as well.
Interviews Meeting between the production company reps and person looking for work. Most common for
backstage roles and freelance contracts.
Show-reels A collection of short extracts from film and television performances that the performer has taken part
in. Sent to the film and TV directors who will then decide if an audition is required.
Demo recordings (CD) Recordings created of performances of songs – either covers or original – which are sent out to
recording companies or agents.
CVs (Curriculum Vitae) A full record of personal details, qualifications and experience that is sent off to companies, agents.
Websites Personal websites to advertise previous experience and offer themselves for work.
Roles & Responsibilities within the Performing Arts Industry
Contracts
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Contracts Information about the type of contract
Permanent A full time job that you are given for as long as you want to have it.
Part-time A job that is often permanent but is not as many hours as a full time role.
Fixed Term A job that lasts for a specific period of time – usually stated in the contract from the employer.
Freelance A job where you are paid for a specific task; it is up to you how much time you are going to spend on
completing it. How much you charge will be dependant on your calculation of the cost of the task / job
you are completing.
Volunteer Supporting the organisation with your labour without pay. Sometimes you get other benefits in
exchange for labour – tickets etc.
Roles & Responsibilities within the Performing Arts Industry
Employment Potential
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Job Role Chance of Full Time Work Income
Performing 10-18% depending on circumstance When working about £97 per day
Directing No available statistics £1100 per year; dependant on arrangements
Technical & Design Roles No available data; but part time work here is not
available
Approx. £16 per hour
Marketing & Publicity Medium – with clear structure for progression Base pay £25,000
Arts Administration Medium – with clear structure for progression £20,00 - £45,000 per year (London rates)
https://uktheatre.org/theatre-industry/rates-of-pay/
Use the above link to research further into this area
The Roles of Performing Arts
in Society
Economic and Social Benefits of the Performing Arts
Organisations funding social projects, arts council
local organisations/councils
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The Role of Performing Arts in Society
Economic & Social Benefits of the Performing Arts
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ECONOMIC BENEFITS SOCIAL BENEFITS
29.5 million jobs created worldwidehttps://www.economywatch.com/features/The-Economic-Benefits-of-Art-and-Culture0120.html
In 2015 an estimated £20 billion in revenue was created by Artshttps://www.artscouncil.org.uk/sites/default/files/download-file/Contribution_arts_culture_industry_UK_economy.pdf
Wider economic growth in terms of restaurant and other ancillary areas
Performing arts growing at a rate 5 times faster than the rest of the UK economyhttps://www.thestage.co.uk/news/2017/arts-growing-five-times-fast-uk-economy-report/?login_to=https%3A%2F%2Fwww.thestage.co.uk%2Faccounts%2Fusers%2Fsign_up.popup
Introducing and celebrating a range of cultures.
Community cohesion; sustaining heritage and traditions. Help raise community spirit. Brings the locals together
Lifelong learning and development. Develop hobbies and interests with the
community Can build confidence Gives people an outlet for their creative
ability within the community. A medium for self expression and expressing
opinion. Mental health – self esteem.
Type of Organisation:
Lottery Funding
Examples:
Areas of Funding Interest:
Applications for specific projects, usually
with a clearly defined purpose and amount.
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The Role of Performing Arts in Society
Organisations funding social projects, arts council local organisations/councils
Type of Organisation:
Arts Council England (ACE); Arts
Council of Wales; Creative
Scotland; Arts Council of
Northern Ireland
Areas of Funding Interest:
All. Large grants to national profile
organisations e.g. the Royal National
Theatre; Royal Opera House; Tate Britain.
Regional partnerships run by regional
centres.
Individual project funding in areas
considered to require it. Supported by the
national Lottery.
Type of Organisation:
Foundations & Charities
Examples:
Esmee Fairburn Foundation Paul Hamlyn
Foundation
Andrew Lloyd Webber Foundation
Areas of Funding Interest:
Applications for specific projects, usually with a
clearly defined purpose and amount.
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The Role of Performing Arts in Society
Organisations funding social projects, arts council local organisations/councils
Type of Organisation:
Business Funding / Sponsorship
Examples:
Travelex; BP; Hyundai
Areas of Funding Interest:
Either limited term funding or funding for a
specific event: logo on all marketing and
other benefits – corporate tickets
Type of Organisation:
Local Authorities
Areas of Funding Interest:
Usually supporting the buildings within the
local area
Approaches to Rehearsal
Divisions of the Stage / Performance Space
The Stage
Understand the process of bringing a performance
to an audience
Technical Terms
Different Performance Spaces
Creating mood and atmosphere
Influence of key practitioners in chosen disciplines
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Approaches to
Rehearsal
Divisions of the
Stage /
Performance
Space
UP STAGE CENTRE
CENTRE STAGE
DOWN STAGE CENTRE
UP STAGERIGHT
UP STAGELEFT
DOWN STAGERIGHT
DOWN STAGELEFT
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Approaches to Rehearsal – The Stage
Approaches to
Rehearsal
Understand the
process of
bringing a
performance to
an audience
Rehearsal Practical meetings between the director and actors. Stage managers will also be present to record decisions made. Designers may attend at early stages. In the professional theatre rehearsal is between 4 and 6 weeks as a general rule.
Technical Rehearsals
Full run-throughs of the performance for the benefit of all the design teams – lighting, sound, stage management etc. During this time issues are resolved and design decisions are checked.
Dress Rehearsals
This is the full performance to check all running details.
Preview Performances
First run throughs in front of an audience. Tickets for these are cheaper because you might not get to see the whole production complete.
Performance runs
Full run of the show in front of a full paying audience.
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Approaches
to
Rehearsal
Technical
Terms
Technical
Term
What it means
Wings Area on both sides of the stage where actors /
performers wait to come on; sometimes used for all
off stage areas.
Fly Towers
(flies)
Tower above the stage where the backdrops for the
back of the stage are held until they are brought in
“flown” at the appropriate moment.
Stage Dock The area where large pieces of scenery etc are
uploaded.
Orchestra Pit Area for musicians, usually under the front of the
stage area.
Tabs The name given to the (usually) black curtains
blocking audience view of the wings.
LX Short for LIGHTING Effects – usually seen in the
stage managers notes.
FX Short for SOUND Effects – usually seen in the stage
managers notes.
The Book Stage manager’s record of the complete show.
Compiled during rehearsals and used to run the show
during performances.
SM Stage Manager
ASM / DSM Assistant Stage Manager / Deputy Stage ManagerORCHESTRA PIT
FLY SYSTEM to operate the
backdrops
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Approaches to Rehearsal – Different Performance Spaces
PROSCENIUM
ARCH
THRUST TRAVERSE IN THE ROUND
PROMENADENo specific space as the performance is in the midst
of the audience. Popular for outdoor performances
SITE SPECIFICThe performance is tailored to a non-performance
space e.g. hotel, factory, historic building (research
the work of PUNCHDRUNK)
https://www.punchdrunk.org.uk/home
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AUDIENCE
STAGE
END ON STAGE
Approaches to Rehearsal
Performance spaces
A stage where the audience sits on one side only is called
a proscenium arch stage (you might know this as end-
on staging). The audience faces one side of the stage
directly and may sit at a lower height or in tiered seating.
The frame around the stage is called the proscenium
arch. The area in front of the arch is the proscenium – it’s
in front of the scenery.
St Helens Theatre Royal Theatre Royal, Drury Lane London
Advantages Disadvantages
• The proscenium frame emphasises the stage pictures.
• Backdrops and large scenery can be used without interfering with
sightlines.
• There might be fly space and wing spaces for strong scenery.
• The frame around the stage adds to the effect of the fourth wall,
giving the impression of a self contained world.
• When the curtains are down, for example the set changes, scenes
might be played in front of the curtain on the stages apron.
• Some audience members might feel distant from the stage.
• The auditorium might feel very formal and rigid.
• The proscenium frame might seem too old-fashioned for some
people.
• Audience interaction might be more difficult.
• Sight-lines can be an issue.
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Approaches to Rehearsal
Performance spaces
An in-the-round stage is positioned at the centre of
the audience. This means that there’s an audience around
the whole stage.
This type of stage creates quite an intimate atmosphere,
and is good for drama that needs audience involvement.
There are walkways for the performers to reach the
acting area. The Royal Albert Hall, London Hale Centre Theatre, Sandy Utah
Advantages Disadvantages
• It often suits productions where the audience should be close to the
action.
• It can encourage audience interaction and/or a sense of intimacy.
• Entrances and exits are usually made through the audience, which can
be exciting.
• The audience might feel more involved with the action as there is no
obvious ‘fourth wall’.
• Blocking must be done carefully, so that certain sections of the
audience don’t miss key moments of action or dialogue or facial
expressions.
• Tall flats, backdrops or stage furniture cannot be used, as they will
restrict sightlines.
• The audience can see each other which can be distracting.
• It can be difficult to create a single ‘stage picture’ which is sufficiently
effective for the whole audience.
• It is difficult to put a curtain around the stage, so scene changes might
have to occur within the view of the audience.
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Approaches to Rehearsal
Performance spaces
A thrust or open stage is where the acting area in front
of the proscenium arch comes forward or juts out from
a back wall so that the audience are sitting or standing
on three sides of the action of the play. This sort of
stage can give the performers the same sort of close
relationship with the audience as a theatre-in-the-round,
but also allows the back wall to be used to suggest
different locations.Advantages Disadvantages
• It combines some of the benefits of both proscenium arch and
theatre-in-the-round stages.
• As there is no audience on the upstage side of the stage, backdrops,
projections, flats and large scenery can be used.
• Many members of the audience might feel close to the performance
as there are three first rows – one on each of the stage’s three sides
and they are often close to the edge of the stage.
• This is often perceived as an exciting space which encourages a
connection between the performers and the audience.
• Sightlines for those on the extreme sides might be restricted or
obstructed.
• The audience on the right and left sides of the auditorium have each
other in their view.
• Box sets – where three sides of the room are constructed – cannot
be used as they would restrict views for much of the audience.
• Not all the audience members see the stage from the same angle, so
stage pictures might be more difficult to create.
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Approaches to Rehearsal
Performance spaces
A stage which has a long central acting area where the
audience sits on the two sides is called a traverse stage.
The audience are very close to the action which creates
intimacy with the performers. It’s an unusual form of
staging but you will often see the format used for fashion
shows since it is effectively a catwalk.
Advantages Disadvantages
• Many members of the audience will feel close to the action as there
are two long front rows.
• The audience can see the reactions of the other people facing them.
This might increase a feeling of involvement and interaction.
• It can be used to recreate certain settings with great effect, such as a
catwalk, a pavement, a conveyor belt or a railway platform.
• The extreme ends of the stage can be used to create additional acting
areas.
• Large pieces of scenery, stage furniture or backdrops can block
sightlines.
• The long, thin nature of the acting area can make some blocking
tricky.
• Actors must be aware of making themselves visible and audible to
both sides of the audience.
• Lighting needs to be arranged carefully to avoid lights shining in the
audience’s eyes or spilling onto them.
• Some audience members might find being able to see each other
distracting and unsettling.
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Approaches to Rehearsal
Performance spaces
Bridge Theatre, London
In a promenade performance, the audience does not sit
down. The performers work in different parts of the
performance space and the audience moves around to
see what is being presented.
Advantages Disadvantages
• There can be exciting design opportunities in converting an unusual
space into a performance area.
• This is an interactive and exciting type of theatre, where the audience
can feel very involved.
• This type of staging is likely to enable experimental and new types of
theatre.
• Non theatre buildings can be used, street theatre, multi focus
environments and outdoors.
• The audience might find moving around the space difficult or get tired
of standing.
• Actors or stage crew need to be skilled at moving the audience
around and controlling their focus.
• There can be health and safety risks.
• There is no ‘off stage’ area for the performers to use.
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Approaches to Rehearsal
Performance spaces
This is when the rear of the stage is higher than the
front of the stage. It helps with visibility (so that a
performer stood behind another could still be visible as
opposed to being masked on a flat, non-raked stage); it
was common in older theatres. This is why it is called
‘upstage’ and ‘downstage’.
A raked stage can have an impact on perspective
because it isn’t level. This has to be considered carefully
when planning the design for the production.
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Different Performance Spaces
Interaction Task
Draw what a promenade theatre would look like.
What would be an advantage and disadvantage of using this
space?
A thrust stage isn’t often used as a performance space, why might that be?
What are the advantages of using Theatre in the round?
Research a show that has used Theatre in the Round, why did they use this
space?
What type of theatre do you think is the most popular for Dance and
Drama performances- why might that be?
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Influence of Key Practitioners in chosen disciplines
ACTORSKey Practitioners
DANCERS; CHOREOGRAPHERS
Key Practitioners
KONISTIN
STANISLAVSKI
-Russian Theatre
PractitionerBERTOLT
BRECHT
– German
Theatre
Practitioner
STEVEN BERKOFF
- Theatre director
MARTHA GRAHAM
– Contemporary Dance,
American modern dancer
and choreographer
PINA BAUSCH
– Contemporary Dancer
and Choreographer
GENE
KELLY /
FRED
ASTAIRE
- American
Dancers
BOB FOSSE
– Jazz Dance,
American
Dancer, Musical
Theatre
Choreographer
MATTHEW
BOURNE
– Contemporary Dance
& Dance Theatre
Choreographer
ANTONIN
ARTUAD
- French
Dramatist, Poet,
Actor, Theatre
Director
MUSICIANSKey Practitioners
DIRECTORSKey Practitioners
BOB DYLAN
-American Singer
SongwriterMICHAEL
BUBLE
- Canadian-Italian
Singer
PAUL
McCARTNEY
- Singer
Songwriter
NICK HYTNER
- Theatre DirectorCAMERON
MACKINTOSH (not a
director but massive
influence) – British
Theatrical Producer
VICKY
FEATHERSTONE
-Theatre director
GREGORY
DORAN
- Artistic
Director of the
Royal
Shakespeare
Company
RICK RUBIN
- American Record
Producer
Influence of Key Practitioners in chosen disciplines
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FILM MAKERSKey Practitioners
TECHNICIANSKey Practitioners
STANLEY KUBRICK
- Film DirectorALFRED
HITCHCOCK
- Film Director
DAVID LEAN
- Film Director
SANDY POWELL EDITH HEAD
- British Costume Designer - American Costume Designer
BOB CROWLEY
- Theatre Designer (set)
NEIL AUSTIN
- English Lighting
Designer
STEVEN SPIELBERG
- American Film maker
BUNNIE
CHRISTIE
- Theatre Designer
(set)
Influence of Key Practitioners in chosen disciplines
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Working as a devisor, performer,
director, practitioner and
facilitator
Written Formats for Performance
Constraints on Creation of Work
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Working as a devisor, performer, director, practitioner and facilitator
Written Formats for Performance
Performance
Medium
Type of material produced
FILM &
TELEVISION
Storyboards – a cartoon strip form to plan both
dialogue, visuals and types of camera shots
Shooting Scripts – the above converted into a
script
MUSIC /
MUSICALS
Musical Scores – the notes and words for songs
etc.
Libretti – the correct term for a script of a
musical, it will include the song lyrics and often
the music.
THEATRE Play/Film scripts – the most common form. Lay
out is different for a play script as for a film
script.
DANCE Laban notation – a form of symbols that record
the movement of Dance. Not used as much as
practical learning from one dancer to another.
MUSICAL SCORES
LABAN NOTATION
SHOOTING SCRIPTS
STORYBOARDS
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Working as a devisor, performer, director, practitioner and facilitator
Constraints on Creation of Work
Constraints
Budget How much you have to spend on a performance will limit
your decisions. £500 on costume will need a rethink if your
whole budget is £500.
Funding If you are funded by a particular group they may have
restrictions on how you spend their money or it may be “in
kind” funding where you are getting specific goods instead of
money.
Location Where you are performing has two effects; what is the
amount of money you can expect from the ticket sales and
how much in the venue costing you? This last one might be to
do with audience expectations of the venue.
Commissioning
Groups
If you have been commissioned by a particular group, often a
charity, to create a piece of work with a particular theme you
must fulfill this commitment.
Touring Transport and accommodation costs will cut into the creative
budget; your work must be able to fit into the spaces where
you will be performing.
Marketing &
Public Relations Types of Marketing
Marketing – Posters & Tickets
(what needs to be included)
The Parts of a Theatre - Front
of House, Box Office, Lobby
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Types of
Marketing
Marketing and Public Relations - Forms of Marketing
SOCIAL MEDIA
Cheap (often free) but limited by
having people who have signed up
able to access it; no new audience
ADVERTISING
All forms of media utilised to promote the
performance; usually with a linking
theme/logo/colour scheme so they are associated
with each other
TV
Only really used for large scale live
events, especially if touring. Used
for films. Very expensive
TRAILORS
Short film adverts referencing
exciting moments from a film or
TV series to encourage people to
go and see it.
BILLBOARDS
Large posters placed along
roadsides in busy usually urban
areas.
POSTERS & PROGRAMMES
Posters- Colourful images
representing the performance with
all necessary details for a potential
audience member to get tickets.
Programme- Information about
the actors and the running order
of the production that is given out
to all the audience.
TEASER CAMPAIGNS
Very short hints of what is to
come; often visual without words
or posing a question
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Marketing and Public Relations - Forms of Marketing
PROMO EVENTS
Events paid for by the promotion
compony; usually a drink provided.
Book launches most common use
of this.
FLASH MOB EVENTS
A flash mob is a group of people who assemble suddenly in a public
place, perform an unusual and seemingly pointless act for a brief time,
then quickly disperse, often for the purposes of entertainment, satire and
artistic expression. Such events have high profile on social media and are
cheap publicity.
ARTS FESTIVAL
Opportunities for bookers to see
a lot of different types of work in a
small area in a short space of time.
Edinburgh Fringe Festival popular
for this.
PHOTOSHOOTS
Professional specialist photographers
employed to take shots of leading
performers either during the
performance or in special settings to
be used in publicity, included in press
releases etc
TV INTERVIEWS
Stars of shows made available for
chat shows to promote the show.
Usually supported by extracts for
discussion.
Types of
Marketing
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Marketing and Public Relations -Marketing - Posters
Example of Poster created for Portfolio published
by AQA
When creating posters for marketing and advertising
purposes there are clear pieces of information that must
be include:
• Title of performance
• Price of tickets
• Venue and address
• Where to book tickets
• Dates and times of performance
• Company putting on the performance
• Picture to give a hint about the performance but does
not give anything away
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Example ticket linked to the poster created for
Pupil Portfolio published by AQA
When creating tickets for marketing and advertising
purposes there are clear pieces of information that must be
included:
• Title of performance
• Price of tickets
• Venue and address
• Row and seat number
• Date and time of the tickets’ performance
• Company putting on the performance
• Picture to give a hint about the performance but does
not give anything away
• Images and colours chosen are the same as the poster
to show the connection.
Marketing and Public Relations –Marketing -Tickets
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Marketing & Public Relations
Interaction Task
You are part of the
marketing and public
relations team who are
responsible for advertising
the production of
Cansfield’s
‘The Rise of Simba’ which
will take place on 5th, 6th
and 7th May 2020 at 7pm
in the school theatre.
TASK:
To produce a poster that
will attract a large
audience to promote the
show and the school.
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Marketing and Public Relations -
The Parts of a Theatre - Front of House
Front of House (FOH)Lobby – The lobby is a room within the theatre that
is used for public entry into the theatre from the
outside. The ticket counters, concessions and toilets
are all usually located in the lobby area.
Box Office – This is where the tickets are sold to
the public.
House – The house is any area within the theatre
which is not considered the playing /performing space
or backstage. This includes the lobby, ticketing
counters, restrooms and coat check area.
The house also refers to any area in the theatre
where the audience is seated which also includes the
aisles, the orchestra pit, control booth and balcony.
The Box office – located in the
lobby of St. Helens Theatre Royal
Health & Safety
Risk Assessments
Front of House (also see Marketing & Public
Relations section)
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Health & Safety -
Front of House Facilities, amenities
Front of House (FOH)The aim of the FOH team is to provide a safe, welcoming place for all visitors, staff
and volunteers.
The front of house manager is responsible for:
• The safety and security of the public during the performance time and whilst they
are on the premises.
• Managing the box office, ticket sales
• refreshments, making sure that food and drink is up to standard that is sold on the
premises.
• Ordering and dealing with any merchandise that is sold at the theatre.
• Making sure the auditorium is clearly et up before each production.There is often an assistant manager who
helps the house manager to run the theatre.
The front-of-house manager also has front-
of-house assistants to check the audience's
tickets, help them to find their seats, and
make sure the theatre is safe during the
performance.
These assistants are often also called 'ushers'
or 'stewards'.
https://www.slideshare.net/elfiecheetham/risk-assessment-86966774
Health & Safety
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Example: Risk Assessment
Risk Assessments A risk assessment is something you are required by the law to carry out to
manage the health and safety of your business/workplace. To do this you need
to highlight what may be classed as a hazard and identify sensible measures to
implement to control these risks and protect and prevent people from harm.
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Health & Safety Example: Risk Assessment
http://ablivemt.blogspot.com/2018/11/risk-assessment.html
The Risk Rating Hazard & Prevention New
Rating
Running
and
tripping
3/5 When rehearsing do not wear socks ensure dance shoes are worn or
bare feet to prevent slipping.
1/5
Dance Falls 3/5 Within one scene, someone is lifted within a group lift. To prevent
injury the lift will be practiced many times with correct technique and
additional bodies will be choreographed into the piece for added
support.
2/5
Spillages 2/5 Drinks should not be drunk within the performance space, in the
event that something is spilt it is to be cleared straight away.
2/5
Props 3/5 Within some scenes, some characters use hand held props, (horse on
a stick, swords). Each performer will have plenty of practice and
space to perform with these props to prevent any harm to another
performer.
1/5
Set Props 3/5 There will be heavy set on the stage during each scene that may
cause hazard if someone were to trip over. It has been made very
sturdy to prevent it from falling over and will be set in the same place
throughout and a skilled member of the stage crew will be altering
the set and have plenty of practice at doing so.
2/5
Curtains 2/5 The stage curtains may cause someone to trip therefore they will be
set in place throughout all rehearsals and performances and the wings
will be clear at all times.
1/5
Cables 2/5 The cables for the sound could be a potential hazard and someone
could trip. To prevent injury cables will be stored neatly out of the
walkway of any performer, stage crew, member of the performance.
1/5
Example OF Risk Assessment for
School Summer Showcase Production
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Health & Safety
Interaction Task
You are the director of a
touring company and have
hired out the Cansfield
Theatre for your
production.
TASK:
To ensure the safety of
your staff, you need to
carry out a risk
assessment of the
performance space being
used. Use the space to the
left to create your risk
assessment.
Design & Technical Elements Setting out a props table
Technical cue sheets – lighting & sound
Lighting
Creation of mood and atmosphere through design
elements
Set Design
Stage Plans
Sets - naturalistic / non-naturalistic
How lighting, sound and design elements work to
enhance performance
Constraints on design, venue, performance space,
available specialist equipment
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Design & Technical Elements
Setting out a props table
The PROPS TABLE ensures that hand props are properly set out
in their own marked off square and set before each performance.
It consists of all the props that the performers have to collect or have
to bring off stage. The props table has its own marked off labelled
square for each prop so that all props can be easily and quickly found.
It looks like a theatrical C.S.I. table. Sometimes actors are guilty of
not returning their props to the table which can make things quite
complicated.
The Stage Management Team (ASM – Assistant Stage Manager), is
responsible for making sure that all props are organised and laid out
correctly on the props table offstage. They have a pre-show check list
which makes sure that all props are in the correct location.
They may also have a running list which involves the ASM moving
props to different locations backstage during the performance or
maybe handing the props to actors as they rush off stage.
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Design & Technical Elements
Technical Cue Sheets
Technical cue sheets are used by the lighting and sound
technicians so that they know when and where to change the
lighting / sound effects within a production. The cue sheet to
the left shows a lighting (LX) cue sheet and the cue sheet to
the right is an example of a sound (FX) cue sheet
Sound effects Cue SheetLighting Cue Sheet
Some can also be fitted with what is known as a gobo. This is a
sheet inserted on a frame at the front of the light with a design cut
into it. It filters the light, creating a picture effect on the stage.
For example, a gobo could be used to create a dappled lighting effect
to look like the leaves of a forest, or could be cut to create strips of
light onstage which look like the bars of a prison.
Design & Technical Elements Lighting
Use the following link to make extra notes about how lighting is used for the stage.
https://www.youtube.com/watch?time_continue=45&v=YhI1I0wPhxQ
Lighting is a very technical area and there are many types of
lights (or lanterns).
Coloured gels can be added to the front of some lanterns so
that they throw coloured light onto the stage.
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McCandless method
Actors are fully front lit with at least two angled lights.
A backlight and/or top light will help to add dimension to the actor.
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Design & Technical Elements Lighting
Spot - has a hard-edged effect, used to light
characters or elements on the stage. Coloured
filters can be used with this lamp.
Fresnel - used for a softer edged effect,
with a diffusing lens in front of the lamp. It's
useful for good overall light when used with
others. Coloured filters can be used with this
lamp.
Design & Technical Elements Lighting
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Design & Technical Elements Lighting
Flood - produces a clear wide-angled
light, but there’s little control over the spread
of the light. Coloured filters can be used with
this lamp
Strobe - a flashing light, used for special effects.
It’s often used to give the effect of old
movies. It produces a jerky effect on the
movements of actors when used on its own.
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Design &
Technical
ElementsCreation of
mood &
atmosphere
To create a specific mood
and atmosphere on stage
certain colours are
connected with different
emotions and feelings
which can be portrayed
on stage for example
through lighting.
e.g. Red could also
represent danger.
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Design & Technical Elements How do we create an effective stage design plan?
It is important we
know stage
positioning when
designing set and
directing actors.
Examples of stage
plans, set design
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Audience
You’re not assessed on your drawing
skills.
You are assessed on your understanding
of stage plans
TASK: Birds eye view.
Mark on each aspect of the set and explain how it is being used.
Mark on the position e.g. washing machine USC (Upstage Centre)
Washing Machine
Design & Technical ElementsInteraction Task
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Design & Technical Elements - Set Design
When you're writing
about your set
choices or the set of
a production you've
seen, remember to
note the colour,
texture, shape, scale
and style in your
review.
It’s important that the choice of set suits the style of
production and enhances it.
Set design drawing for Peaky
Blinders, 2013. Credit: Grant
Montgomery
The set designer usually:
1. Discusses sketches of their ideas with the director
(and sometimes the cast).
1. Once the choices have been made, they build a
scale model of the set, which is called a ‘model
box’. This gives them an idea of what the real set
would look like and lets them make any necessary
adjustments.
‘Apologia’ at the Trafalgar Studios, 2017 ‘The Ferryman’ at the Gielgud Theatre, 2017
“Naturalism and realism Realism was a 19th-
century theatrical movement, seeking to portray
real life on the stage. ... Naturalism is often
used to refer to the same things but it can also
mean the belief that a human character is
formed by what they've inherited from their family
and environment”.
https://www.bbc.co.uk/bitesize/guides/zxn4mp3/re
vision/3
Design & Technical Elements
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‘The Curious Incident of the Dog in the Night-Time’,
at the Apollo Theatre, 2013
‘The Threepenny Opera’ by Bertolt Brecht
Non-naturalism is a broad term for all
performance styles that are not
dependent on a life-like representation
of everyday life.
It is based on the work of Antonin
Artaud (Theatre of Cruelty), Bertolt
Brecht (Epic Theatre) and Jerzy
Grotowski (Poor Theatre).
https://materchristi.libguides.com/c.php?
g=677507&p=4780424
Design & Technical Elements
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Design & Technical Elements
How do lighting, sound and design elements work to enhance performance?
Set
In Blood Brothers, the set
represents the working
class community within
Liverpool.
Sound
In Blood Brothers they use sound
effects to enhance the performance
through the simple use of a heart beat
to show the connection between the
two brothers
Lighting
In Blood Brothers, one of
the key lighting effects is
the use of red because it
signifies the blood and what
it to come later in the
performance e.g. death
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Design & Technical Elements
Constraints on Creation of Work
Constraints
Design Performing Arts Companies have to work to a budget which could have restraints on the amount
of money they spend on the set/props. E.g. if your budget is £1000, you would not use £1000 just on
the set.
Venue The cost of hiring a venue could be a problem again due to the budget that companies have to
work to which means that they may not be able to showcase their performance within a certain
venue. Booking the venue in advance is also essential due to other companies sharing the space.
With out advanced booking this again could be a problem.
Performance
Space
The size of the space could be a problem for companies if they have not done their research about
the space they want to use. For example, if they have practiced their production within a small
studio and the space they are booking is a lot bigger this could cause problems to their
choreography and movement between performers.
Available
specialist
equipment
Trained technicians – are there available trained technicians to use the equipment.
Cost – can your company actually afford to hire out the equipment
Availability – due to different venues, they may or may not have access to specialist equipment.
Performing Arts Industry
Management structures
Profit and non-profit organisations
Range of venues
Performing rights legislation
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KEY TOPIC 1
Performing Arts
Industry
Management
Structures
Chief Executive
Production
Manager
Artistic
Director
Master
Carpenter
Chief
Electrician
Wardrobe
Supervisor
Stage
Manager
Scenic
Painter
Deputy
Electrician
(lighting)
Wardrobe
Assistant
Deputy
Stage
Manager
Prop
Master
Deputy
Electrician
(Sound)
DresserAssistant
Stage
Manager
Lighting /
Sound
Technician
Stage
Technician
Musical DirectorChoreographer
Props
Master
Lighting
Designer
Set
Designer
Costume
Designer
Actors / Dancers / Musicians
Theatre / FOH
Manager
Box Office
Manager
AdministratorHead of
Marketing
Box Office
Assistant
Admin
Assistant
Marketing
Assistant
Creative
Performance
Technical / Production
Design
Admin / FOH
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Performing Arts Industry
For profit, not-for-profit organisations
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PROFIT NOT FOR PROFIT
The aim is to make a profit from the
performance.
For example:
Large West End Theatres
Concert Venues especially arenas
Not-for-profit does not mean operating at
a loss; these venues still need to cover
costs.
For example:
Regional Arts Centres, usually with a
community focus.
Performing Arts Industry
Range of venues
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Type of Venue What shows / events take place?
Receiving Theatre/Houses Work produced in one location and then taken on tour come to these venues. E.g THEATRE ROYAL BATH
Producing Theatre/Houses Work made on the premises for that building (NB because of cost and funding these shows are often
joint productions with another venue). E.G SALISBURY PLAYHOUSE/BRISTOL OLD VIC
Arts Centre Range of arts work in a programme of different timings – single night events, exhibitions, film, classes –
a complete range of shows and events. E.G TROWBRIDGE TOWN HALL/POUND ARTS
Arena Large scale events requiring massive amounts of space and technical resources. Often part of a tour
e.g. think singers, bands O2 ARENA
Studio Used for in house work and small scale touring theatre. Small venue; small audiences. Heavily reliant
on volunteers. E.G THE SPECTRUM
Multi-use spaces Flexible spaces that can be used for any arts activity – community centres
Festival Annual / bi-annual open air events usually over a few days in a range of venues. The full range of arts
available but most audience members will have come to see specific acts in the line up. E.G
GLASTONBURY
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Performing Arts Industry Range of venues AND safety
Venue What is it? Picture examples Advantages Disadvantages
Small - Local Venues
-School theatre / Studio
- Used for in house
productions and small scale
touring companies e.g.
local dance schools
SCHOOL THEATRE • Intimate atmosphere
• Close to the audience
• More accessible for local bands, companies,
caters for the community
• Poor sound and technical
facilities within smaller
venues e.g. school
stage/theatre
• Limited audience
• Less publicity/promotion
Medium – local
venues / theatre
– St Helens Theatre
-Work produced in one
location and then taken on
tour come to these venues
ST HELENS THEATRE • Close to the audience but larger audience area due to the size of the building
• Audience interaction• Accessible to the local community• More publicity through involvement of well
known performers / artists (pantomimes – well known performers as key characters)
• Some parts of the audience are further away from the stage
• Hiring of a larger venue than a studio or local school hall / theatre
Large / Multi-Use
Spaces
Arena – E.G. O2
Festival – E.G.
Glastonbury /
Community Centres
-Large scale events
requiring massive amounts
of space and technical
resources. Often part of a
tour
O2 • Excellent sound and technical facilities
• Huge publicity and promotion
• Higher fee from tickets sold
• You have to be already
famous to perform at a large
venue (less easily accessible)
• The cost of hiring a large
venue
• Less intimate interaction
with audience
Health & safety , security at
venues: You need to know the
health and safety issues and
security concerns within
performance venues to keep
people safe:
5. Obstacles are clearly lit / indicated (e.g. stairs)
6. Adequate parking and parking arrangements
7. Flow of people in and out of the venue is safe
8. Secure ramps / stage scaffolding
1. Heating, ventilation and lighting
2. Electrical equipment is kept safe
3. Toilets and drinking water are clean
4. First aid and emergency exits are highlighted in case of a fire
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Performing Arts Industry
Interaction Task
Why would a small touring theatre company not hire an arena?
Who might use arenas to perform, why might this be?
What problems may local communities/companies face if hiring small
venues for their productions?
As a GCSE Performing Arts Company, discuss which venue
you would hire to put on a production for the local
community.
What do you consider the most important when
considering the safety of others in this venue?
Work in the Performing Arts and research aspects - Venues
The Ancient Greeks built amphitheatres into hillsides having discovered that sound carried well in naturally formed bowls in the
landscapes. Some amphitheatres, such as Epidaurus, could hold around 20,000 spectators, Colosseum in Rome holding around
50,000.
Amphitheatres allow every member of the audience to see what is going on.
It is an open-air venue that was used for entertainment, performances and sports.
They were used by the Romans for events such as gladiator combats, venationes (animal slayings) and executions.
The Olivier Theatre at the National Theatre, London
Modern Example of an amphitheatre
The Theatre of Epidaurus, Greece The Colosseum, Rome, Italy
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Can produce ‘in-house’ in a specific venue where they are resident e.g. Bristol Old Vic
Can become a ‘touring theatre’ company such as Kneehigh, Travelling Light, Paper Birds etc.
Includes drama, dance, physical theatre, musical theatre, dance, opera, theatre for children, theatre in education, street theatre, and specialist work such as mask,
puppetry and circus
DO YOU KNOW WHAT ALL THESE ARE?
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Performing Arts IndustryOrganisations-
Production Companies (create performing arts work)
Transport e.g. van hire
Hiring equipment e.g. costumes, set etc.
Selling and installation e.g. lighting, sound and other specialist equipment
Can you think of any other things that theatres or theatre companies might need to
buy in?
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Performing Arts IndustryOrganisations-
Service Companies (provide assistance to venues and production companies)
Public Sector Private Sector Third Sector
Large regional and national funding bodies
Arts Council- money from the
Government is distributed to arts
organisations following application
They will monitor how the money is spent
(ensure it is spent how the application
stated)
Money is given as a ‘grant’ meaning the
venue/company don’t have to pay it back
An example is – SALISBURY PLAYHOUSE
Sponsors or investors could be businesses
or individuals
They will give money (or benefits in kind)
to a organisation but will want something
in return e.g. advertising or use of facilities
for their own use
For example the Theatre Royal Bath offers
‘Corporate membership’ to companies-
including use of hospitality facilities and
membership fees go towards to running of
the building
Funding from trusts and charities
The trust or charity decides how much
money it will donate as a grant to an arts
organisation
An example is ‘The Wingate Foundation’-
an independent grant giving charity which
supports arts in Wiltshire. They have
separate grants for Performing Arts and
Music
Many arts venues become charities- this
means individuals can make donations to
the venue.
Performing Arts Industry
Funding Organisations
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Performing Arts Industry Performing Rights Legislation.
All work is protected by copyright and belongs to the writer of the work (composer, playwright etc). This right continues for at least 20 years after a persons’ death.
This is often administered by a licensing organisation like Samuel French Ltd, Music Scope, EMI etc…
The Performing Rights Society (PRS) and the Phonographic Performance License (PPL) oversees this.
Many venues need a license to perform and this will indicate how many people can attend for certain events. This license is often issued by local fire services.
Public Liability Insurance is also required for any space where people gather, even if it is an open air event.
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Work in the Performing Arts
and Research Aspects Professional Bodies; awareness of
professional bodies, unions and
associations
Training opportunities
Different venues (see Performing Arts
Industry section )
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Work in the Performing Arts and research aspects
Professional Bodies; awareness of professional bodies, unions and associations
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EQUITY The performers’ union – actors, dancers, musicians
BECTU Broadcasting, Entertainment, Communications and Theatre Union
The technical, media and entertainments union
BAPAM British Association for Performing Arts Medicine – supporting the
physical demands of a performers’ life.
MU Musicians Union
NATKE National Association of Theatrical and Kino Employees – for people
who work in cinema and television.
Work in the Performing Arts and research aspects
Training Opportunities
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Training Opportunities
Professional Drama / Dance school
For all aspects of performance including design. Often leading to a degree qualification.
Film and television courses Both at university and independent schools
University Courses Huge variety; may need a postgraduate qualification in order to work in the business.
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Work in the Performing Arts and research aspects
Interaction Task
Research into a chosen College / University / Performing Arts Centre of your choice.
Name of Training Provider: _________________________________________________________
What qualifications do you need to be entered onto this course?
Linking to your specialist discipline/area that interests you most within Performing Arts,
identify the courses that are available for you to take after school:
Any other relevant information about this
training provider:
Exam Question Tips
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What kind of questions could come up about Performing Arts & the community?
You could be expected to consider:
Reasons for arts in the community
Possible activities as part of arts in the community
An understanding of how the arts can reflect life in a community, location or have a specific purpose.
How and why things should be funded
Responding to a brief
What kind of questions could come up about Performing Arts & the community?
You could be expected to consider:
REASONS FOR ARTS IN THE COMMUNITY
POSSIBLE ACTIVITIES AS PART OF ARTS IN THE COMMUNITY
AN UNDERSTANDING OF HOW THE ARTS CAN REFLECT LIFE IN A COMMUNITY, LOCATION OR HAVE A SPECIFIC PURPOSE.
HOW AND WHY THINGS SHOULD BE FUNDED
RESPONDING TO A BRIEF
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What kind of questions could come up about Performing Arts & the community?
State four benefits that a Performing Arts Centre could provide the local community. (4 marks)
-----------------------------------------------------
SOME POSSIBLE ANSWERS
- providing jobs
- bringing the community together e.g. putting on performances/festivals
- providing education for the younger generation
- Celebrating local diverse culture
- Provide an education for a range of age groups
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Short response question:
Q: Choose a performance by an actor, dancer or singer that you
have seen in either:
a live performance
A film
Name your chosen performance: _________________________
Give two reasons why this is an interesting performance/film
-----------------------------------------------------------------------------------
Select two points below to consider within answer:
-The choice of performer
-The challenge
-The performance style
- Interaction with other performers
-The audience response
-Aspects of the performance – vocal/physical work
-Costumes/design features
-The direction
Short response question: (answers and marks gained)
Response 1
Curious Incident of the Dog in the Night-time Christopher – Scott Reid
I thought he knew a lot about being autistic because it seemed very lifelike, I liked his
movements they were done really well. I liked the arguments with his parents as his
movement was done well in those scenes.
This response only gained 1 out of 2 marks because they had made two
points but they both described the same element of the performance
‘movement of the character’ and how it enhanced their performance.
Response 2
Curious Incident of the Dog in the Night-time Christopher – Scott Reid
The actor had an excellent understanding of the effects of autism. The best example was in
the section on the London underground. His jittery movement and avoidance of eye contact
was very effective. After he had the initial tantrum about the death of the dog, the way he
demonstrated Christopher calming down and being comforted by his father was very
skilled and showed this interaction with another character in a very moving way.
This response gained the pupil 2 out of 2 marks because they made two
valid points that were different – movements to portray his character
and how he interacted with another performer.
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Longer Response Question:
You have been asked to support the proposal for the performing arts centre. Write a pitch to convince people that it would be a successful venture. (6 marks)
------------------------------------
Areas to consider and discuss within your answer below:
- The range of potential uses of the venue should be considered; workshops, rehearsals, creation of youth theatre groups and educational ventures such as Theatre in Education Projects.
- Appeal to the community and the possibility of building a centre that not only generates income through hiring and merchandise but benefits the cultural life of the community.
- Responses might include specific examples of specific cultural events ranging from Asian Dance to Folk Music and the celebration of significant local events.
- The performing arts centre could be seen as a place to bring culture and the arts together hosting small scale festivals of dance, drama and music and offering a wide range of classes and opportunities for people for all ages to come together and share experiences
through performance.
Example answers on next page…………………..
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Longer response question
Response 1
It would be a really good idea to build this centre in your town because lots of young people don’t have enough to do and this would be a place they could go to and do something. It
would be used by schools and youth groups and people could practice dancing and playing instruments. They would be paying for this so it would make money which could help to
make even better performances. Lots of people I know like drama and dancing so I think it would be popular.
Response 2
This proposal would be an excellent opportunity to bring community groups together in a shared experience of the creative arts. The venue will have multiple uses including dance and
drama workshops, a performance space and a small art gallery. A small shop and café will help to create some useful income – including opportunities for merchandising and even hosting small business events. One essential focus will be on the encouragement of cross-cultural events and the launch of the centre will be celebrated by an international dance
festival. It would be important to remember all groups in the community and to have opportunities that catered for all ages and tastes. We would make links with local schools and community groups and amateur productions could be staged at the centre. The venue
could also be rented out for meetings and conferences in order to raise more money.
Response 2 was awarded……..
Response 1 was awarded……..
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Example exam question linked to a brief!
HIGHLIGHT THE COMMAND WORDS – the words that are telling you what to doUNDERLINE 3 KEY WORDS that you must respond toGO TO THE MARK SCHEME – what will the examiner be looking for?
A) Identify four factors about this brief that a production company should consider when
planning for the festival.
B) Give three reasons why the government should fund events like this.
THE KEY PARTS OF
THE QUESTION TO
TAKE INTO
CONSIDERATION
WHEN GIVING
YOUR ANSWER
(HIGHLIGHTED)
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RESPONDING TO A BRIEF
THE INFORMATION YOU
NEED TO NOTICE FROM
THE BRIEF
Brief A
Your company are invited to participate in a community arts festival.This festival will be held on 16, 17 and 18 August 2019. The theme is ‘looking back’ and the organisers want audiences to see how their local history has had an effect on their lives. Audiences will be drawn from all areas of the local community. Performances will be staged at a suitable community venue at 7.30pm each evening.
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Breaking the BRIEF down
So you’re looking for
◦ What sort of Arts event is it?
◦ Who is sponsoring it and why?
◦ What is the theme?
◦ Who is the intended audience?
◦ Where is it going to be performed?
And when you know what they are that will give you the answer to the question.
REMEMBER – 4 marks = 4 minutes
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B) Give three reasons why the government should fund events like this.
Around £9oo million a year goes to the Arts – some directly to large museums and organisations and most to the Arts Council (ACE) who distribute the rest.
It will NEVER fund all of a project; it want the organisations to support themselves in other ways
No organisation producing performance work can cover its cost without external support.
Some music venues manage it; but they are not producing work
So why do we need to fund this stuff? Why is it important?
No funding would mean that we would only see work that could cover its costs
– a very limited range
Supporting new work by new artists
Allowing the community to reflect on itself artistically
Pride in your local area; learning more about the place you live and the people you live with.The arts preserve unique
culture and heritage,
The arts create jobs and produce tax revenue.
Create a sense of desirable place to live.
Exam Question Tips
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Reviewing Performances
How do technical elements enhance the production?
Using to structure your longer answer questions.
Point –The use of ……enhanced the performance by creating comic effect…
Evidence –This was clearly shown…
Analysis – the effect of / the use of….
Response –The audience responded/ the impact on the audience was…
Link –The use of this …therefore created an overall comedic effect…
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When writing a review consider the following:
Set –Think about the performance and comment about when it was set E.g. modern day, what
year was it performed?
Message – What was the main message that the director was trying to get across to the
audience performance. E.g. Is it about racism/sexism/bullying. How did they do this? E.g. Was it through the movement they used, the dialogue?
Character –Talk about one character within the performance. Was their performance good
and why? Was it well rehearsed? What techniques did they use that impressed you and that you will include in your next practical performance. Mention the costume and lighting and how it added to the effect of the performance.
Remember the exam question maybe asking you to write a review to encourage other people to watch it so finish it off with a one line statement that would sell the show:
E.G. “A magical moment not to be missed”.
CREATED BY S. LOWE & E. TONGE EDITION 1 89
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