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MISKIN THEATRE

BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)


2014 2015

Qualification

Unit Number And Title

Pearson BTEC HND Diploma In


Performing Arts

UNIT 60: SITE SPECIFIC PERFORMANCE


UNIT 41: MOVEMENT FOR THE ACTOR
UNIT 50: POPULAR ENTERTAINMENT
UNIT 5: ALTERNATIVE APPROACHES TO
ACTING
UNIT 77: WRITING FOR PERFORMANCE

Actor Name

Assessor Name

Erol Uzunhasan

Claire Louise Portelli

Date Issued
02/02/2015

Completion Date
20/03/2015

Assignment Title

Variety Show

Submitted On
16/03/2015

Actor Declaration
I certify that the work submitted for this assignment is my own and research
sources are fully acknowledged.
Actors Signature: EU
Date: 16/03/2015

1|P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

LO

Learning Outcomes
(LO)
LO1 Understand the
contextual
background to sitespecific
performance
practice.
LO2 N/A
LO3 N/A
LO4 Be able to evaluate
the effectiveness of
site-specific
performances.

AC

Assessment Criteria For A Pass

1.1 Assess different historical


practices of site-specific
performance.
1.2 Analyse theoretical and practical
perspectives of site-specific
performance.
2.1 N/A
2.2 N/A
3.1 N/A
3.2 N/A
4.1 Evaluate venues and audience
responses.

Task Evidence
1

Observation,
Video

Observation,
Video

N/A
N/A
N/A
N/A
3

N/A
N/A
N/A
N/A
Onservation,
Video, Blog

4.2 Analyse the objectives of the


site-specific performances.

Observation,
Video

4.3 Critically assess own role within


the project.

Observation,
Video

2|P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

In Addition To The Above PASS Criteria, This Assignment Gives You The Opportunity To Submit Evidence In Order To Achieve The Following
MERIT and DISTINCTION Grades

Grade Descriptor

Indicative Characteristic/s

Contextualisation

M1
Identify and apply strategies to find appropriate
solutions.

N/A

N/A

M2
Select/design and apply appropriate methods
and techniques.

N/A

N/A

M3
Present and communicate appropriate findings.

The communication is appropriate for familiar and


unfamiliar audiences and appropriate media have
been used.

Communication is detailed, thorough and


informative and delivered effectively to audiences
with accurate use of technical language and clear
analysis.

D1
Use critical reflection to evaluate own work and
justify valid conclusions.

Realistic improvements have been proposed


against defined characteristics for success.

Developments and changes to the work have


been fully explored, evaluated and justified.

D2
Take responsibility for managing and organising
activities.

N/A

N/A

D3
Demonstrate convergent/lateral/creative
thinking.

Effective thinking has taken place in unfamiliar


contexts.

Creative use of locations has been fully explored,


developed.

3|P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

LO

Learning Outcomes
(LO)
LO1 Understand the
relationship
between anatomy
and how an actor
moves.

AC

LO2 Understand own


strengths and
weaknesses in
movement skills.

2.1 Assess own physical capability


identifying strengths and
weaknesses.
2.2 Evaluate own improvement and
adapt training programme as
relevant.
3.1 Devise and implement a
personal movement training
Programme.

LO3 Be able to devise a


personal
programme to
develop and extend
movement skills

LO4 Be able to apply


movement
Techniques and
skills to practical
work.

Assessment Criteria For A Pass

1.1 Explain human anatomy and its


specific significance for the
actor.
1.2 Compare and contrast different
movement methodologies.

Task Evidence
6

Scrapbook

1 / 6 Scrapbook,
Observation,
Video, Logbook
6
Scrapbook

Scrapbook,
Logbook,
Observation
Logbook,
Observation

3.2 Carry out regular practice


including warm-up/cool-down
and relaxation routines.
4.1 Select and demonstrate
movement technique and skills
both in isolation and in group
contexts.

Video,
Observation

Observation,
Video

4.2 Design and use appropriate


recording to monitor movement
in classes, performances and
personal programmes.

Scrapbook

4|P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

In Addition To The Above PASS Criteria, This Assignment Gives You The Opportunity To Submit Evidence In Order To Achieve The Following
MERIT and DISTINCTION Grades

Grade Descriptor
M1
Identify and apply strategies to find appropriate
solutions.

Indicative Characteristic/s

Contextualisation

An effective approach to study and research has


been applied.

Detailed and elaborate research from a mixture of


sources has been conducted and reflected within
the work.

M2
Select/design and apply appropriate methods
and techniques.

The design of techniques has been justified.

Detailed and accurate warm-up/cool-down


structures have been fully planned, explained and
justified.

M3
Present and communicate appropriate findings.

The appropriate structure and approach has been


used.

Appropriate structures have been executed with


full consideration being paid to the safety and
sustainability of the chosen exercises.

D1
Use critical reflection to evaluate own work and
justify valid conclusions.

Realistic improvements have been proposed


against defined characteristics for success.

Developments and changes to the PTP have been


regularly made and all improvements have been
fully justified.

D2
Take responsibility for managing and organising
activities.

Autonomy has been demonstrated.

Full responsibility has been taken for the


successful progression, delivery and completion of
warm-ups/cool-downs and relaxation routines.

D3
Demonstrate convergent/lateral/creative
thinking.

Self-evaluation has taken place.

Detailed and accurate self-reflection, analysis and


evaluation has taken place.

5|P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

LO

Learning Outcomes
(LO)
LO1 Understand the
nature and context
of popular
entertainment
work.

AC

Assessment Criteria For A Pass

LO2 Be able to create


popular
entertainment
work.

2.1 Plan the development of


popular entertainment work.
2.2 Contribute to the making of a
piece of popular entertainment.

1.1 Evaluate the meaning of


popular entertainment.
1.2 Compare and contrast at least
two types of popular
entertainment.
1.3 Assess historical developments
in popular entertainment.

LO3 Be able to take on


3.1 Apply appropriate skills to the
the role of a
rehearsal of popular
popular entertainer.
entertainment material.

LO4 Be able to evaluate


the effectiveness of
own popular
entertainment
work.

3.2 Apply appropriate skills to the


performance of popular
entertainment material.
4.1 Critically evaluate own role as a
popular entertainer.
4.2 Assess, through analysis of
feedback, effectiveness of own
performance.

Task Evidence
2

Blog,
Observation,
Video
1 / 2 Blog,
Observation,
Video, Logbook
1
Observation,
Video, Logbook
4
4

Observation,
Video
Observation,
Video,
Scrapbook
Observation,
Video

Observation,
Video

Observation,
Video,
Logbook

6|P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

In Addition To The Above PASS Criteria, This Assignment Gives You The Opportunity To Submit Evidence In Order To Achieve The Following
MERIT and DISTINCTION Grades

Grade Descriptor

Indicative Characteristic/s

Contextualisation

M1
Identify and apply strategies to find appropriate
solutions.

Effective judgements have been made.

Thorough analytical exploration has taken place


and effective judgements and conclusions have
been met through detailed assessment.

M2
Select/design and apply appropriate methods
and techniques.

Relevant theories and techniques have been


applied.

A range of techniques, styles, practices, have been


applied to workshops and have contributed to the
generation and evolution of material.

M3
Present and communicate appropriate findings.

The communication is appropriate for familiar and


unfamiliar audiences and appropriate media have
been used.

Communication is clear and well considered and


the effective delivery has ensured that new
information has been understood by audiences.

D1
Use critical reflection to evaluate own work and
justify valid conclusions.

Self-criticism of approach has taken place.

Detailed, analytical self-reflection has taken place


and honest self-criticism has been thorough and
fully justified.

D2
Take responsibility for managing and organising
activities.

The importance of interdependence has been


recognised and achieved.

The preparation and production of material has


taken place independently.

D3
Demonstrate convergent/lateral/creative
thinking.

Receptiveness to new ideas is evident.

The positive approach to work, direction and the


generation of new material has been consistently
receptive, pro-active and professional.

7|P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

LO

Learning Outcomes
(LO)
LO1 Understand the
context of the rise
of naturalism and
the alternatives to
it.
LO2 Understand the
approaches,
methods and forms
of acting
alternatives.

LO3 Be able to take part


in a performance
that involves a
specified acting
alternative.

LO4 Be able to evaluate


and document
process and
performance.

AC

Assessment Criteria For A Pass

1.1 Explain the development of


different acting techniques.
1.2 Explain differences between
naturalistic acting and other
Techniques.
2.1 Justify the practice inherent in
acting alternatives.
2.2 Compare and contrast the
techniques of practitioners.
2.3 Examine the way practitioners
are influenced by historical,
social and non-western
contexts.
3.1 Use rehearsals and workshops
to develop skills appropriate to
defined practice.

Task Evidence
1 / 2 Observation,
Video, Logbook,
Blog
1
Observation,
Video, Logbook
1
1
1

Observation,
Video, Logbook
Observation,
Video, Logbook
Observation,
Video, Logbook

Observation,
Video

3.2 Creatively experiment with


styles of acting during
rehearsals and workshops.

Observation,
Video

3.3 Apply learned techniques and


skills to realise performance.

Observation,
Video

4.1 Use techniques of analysis and


evaluation during development,
rehearsal and performance.

Logbook, Blog

4.2 Use appropriate methods of


documenting developmental
and performance processes.

Logbook, Blog

8|P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

In Addition To The Above PASS Criteria, This Assignment Gives You The Opportunity To Submit Evidence In Order To Achieve The Following
MERIT and DISTINCTION Grades

Grade Descriptor

Indicative Characteristic/s

Contextualisation

M1
Identify and apply strategies to find appropriate
solutions.

An effective approach to study and research has


been applied.

Detailed and elaborate research from a mixture of


sources has been conducted and reflected within
the work.

M2
Select/design and apply appropriate methods
and techniques.

The selection of sources has been justified.

The reliability, accessibility and understanding of


research sources has been fully considered and
justified.

M3
Present and communicate appropriate findings.

A range of methods of presentation have been


used and technical language has been accurately
used.

Appropriate methods have applied to the


presentation of material and technical terminology
has been accurately understood and used.

D1
Use critical reflection to evaluate own work and
justify valid conclusions.

Realistic improvements have been proposed


against defined characteristics for success.

D2
Take responsibility for managing and organising
activities.

The unforeseen has been accommodated.

D3
Demonstrate convergent/lateral/creative
thinking.

Receptiveness to new ideas is evident.

New ideas, material and changes to the existing


work have been made and successful
improvements have been proposed and actioned
through collaboration.
A detailed contingency plan has been fully
developed and planned prior to presentations to
ensure that the unforeseen has been
accommodated.
The understanding of knowledge and development
of analytical conclusions has been met through
collaboration and compromise.
9|P a g e

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

LO

Learning Outcomes
(LO)
LO1 N/A

AC

Assessment Criteria For A Pass

Task Evidence

LO2 N/A

1.1
1.2
1.3
2.1
2.2
2.3
3.1

N/A
N/A
N/A
N/A
N/A
N/A
Decide on the genre, format and
content of the dramatic text.

N/A
N/A
N/A
N/A
N/A
N/A
3

LO3 Be able to create a


dramatic text for
performance in a
selected medium.

LO4 Be able to evaluate


the effectiveness of
the created
dramatic text in
performance.

N/A
N/A
N/A
N/A
N/A
N/A
Blog,
Observation

3.2 Draw up an outline/draft of the


dramatic text for initial review.

Logbook

3.3 Write a final dramatic text for


the selected medium.

Logbook

4.1 Organise a performance of the


work (or extracts) in selected
medium.
4.2 Organise appropriate methods
of critical feedback.

Blog

4.3 Evaluate the effectiveness of


script in performance through
critical feedback.

Video,
Observation,
Blog
Observation,
Video

10 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

In Addition To The Above PASS Criteria, This Assignment Gives You The Opportunity To Submit Evidence In Order To Achieve The Following
MERIT and DISTINCTION Grades

Grade Descriptor

Indicative Characteristic/s

Contextualisation

M1
Identify and apply strategies to find appropriate
solutions.

N/A

N/A

M2
Select/design and apply appropriate methods
and techniques.

N/A

N/A

M3
Present and communicate appropriate findings.

The communication is appropriate for familiar and


unfamiliar audiences and appropriate media have
been used.

The content and delivery of material is


appropriate for the target audience and the
context of the piece.

D1
Use critical reflection to evaluate own work and
justify valid conclusions.

N/A

N/A

D2
Take responsibility for managing and organising
activities.

Autonomy has been demonstrated.

The development of material has been conducted


independently and without the aid of a director.

D3
Demonstrate convergent/lateral/creative
thinking.

Ideas have been generated and decisions taken.

Collaborative ideas have been explored,


developed and finalised.

11 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

Assignment Brief
Unit Number And Title

Qualification
Start Date
Performance Date
Logbook/Scrapbook Deadline
Tutorial Dates
Assessor

Unit 60: Site-Specific Performance


Unit 41: Movement For The Actor
Unit 50: Popular Entertainment
Unit 5: Alternative Approaches To Acting
Unit 77: Writing For Performance
Pearson BTEC HND Diploma In Performing Arts
2nd February 2015
5th 6th March 2015
16th March 2015
19th - 20th March 2015
Claire Louise Portelli

Assignment Title

Variety Show

Scenario
You must contribute to the devising, writing and performing of a range of alternative
entertainment material and film selected scenes in appropriate locations.

Purpose Of This Assignment


UNIT 60: SITE SPECIFIC PERFORMANCE
The aim of this project is to enable actors to gain an understanding of the nature of sitespecific performance from a theoretical perspective and as a performance practice.
UNIT 41: MOVEMENT FOR THE ACTOR
The aim of this project is to enable actors to use the body safely and expressively in
performance by developing an understanding of the part movement, physical fitness and
knowledge can play.
UNIT 50: POPULAR ENTERTAINMENT
The aim of this project is to enable actors to explore the world of popular entertainment and
to develop and perform work that is appropriate for this branch of the performing arts.
UNIT 5: ALTERNATIVE APPROACHES TO ACTING
The aim of this project is to enable actors to explore alternative approaches to acting (i.e.
approaches other than those based on the principles of naturalism).
UNIT 77: WRITING FOR PERFORMANCE
The aim of this project is to acquire the necessary knowledge and skills to create a dramatic
text in a selected medium and to evaluate its effectiveness in performance.
12 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

TASK 1:
Unit 5: Alternative Approaches To Acting
(LO1: 1.1, 1.2) (LO2: 2.1, 2.2, 2.3)
(M1) (M2) (M3) (D2)
You are required to understand the context of the rise of naturalism and the alternatives to it and
understand the approaches, methods and forms of acting alternatives. You will be assessed on the
evidence you provide for the following tasks.

Unit 41: Movement For The Actor


(LO1: 1.2)
(M1)
You are required to understand the relationship between anatomy and how an actor moves. You will be
assessed on the evidence you provide for the following tasks.

Unit 50: Popular Entertainment


(LO1: 1.2, 1.3)
(M3)
You are required to understand the nature and context of popular entertainment work. You will be assessed
on the evidence you provide for the following tasks.

Unit 60: Site-Specific Performance


(LO1: 1.1, 1.2)
(M3) (D3)
You are required to understand the contextual background to site-specific performance practice. You will be
assessed on the evidence you provide for the following tasks.

Prepare and perform a formal presentation comparing and contrasting two types of
popular entertainment that explore different movement methodologies. Your
presentation must be a minimum of 30 minutes long and include the following:
1. How the art forms originated and their significant historical developments.
(1.2, 1.3) (1.1)
2. The recognised characteristics of the styles. (1.2)
3. Where they are/were usually performed and how the location has/had an
impact on the style, performers and audience. (1.1, 1.2)
4. An explanation of the differences and contrasts between the two art forms
and naturalistic acting. (1.2) (1.2)
5. The comparisons in the techniques of significant practitioners that have
helped to shape the forms. (2.2)
6. The influences that have helped practitioners to shape the form, i.e.
historical, social, non-western. (2.3)
7. Rehearsed performances of appropriate material in the style of the two art
forms in relevant and appropriate locations. (1.1) (1.2)
8. Engage in a debrief and Q&A session after the performance to justify your
rehearsal methods and appropriate practices for the form. (2.1)
13 | P a g e

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

To achieve M3, communication is detailed, thorough and informative and delivered


effectively to audiences with accurate use of technical language and clear analysis.
To achieve D3, creative and relevant use of locations has been fully explored and developed.
To achieve M1, detailed and elaborate research from a mixture of sources has been
conducted and reflected within the work.
To achieve M1, detailed and elaborate research from a mixture of sources will have been
conducted and reflected within the work.
To achieve M2, the reliability, accessibility and understanding of research sources will have
been fully considered and justified.
To achieve M3, appropriate methods will have been applied to the presentation of material
and technical terminology will have been accurately understood and used.
To achieve D2, a detailed contingency plan will have been fully developed and planned prior
to presentations to ensure that the unforeseen has been accommodated.
To achieve M3, communication will have been clear and well considered and the effective
delivery will have ensured that new information was been understood by audiences.

14 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

TASK 2:
Unit 5: Alternative Approaches To Acting
(LO1: 1.1)
(D3)
You are required to understand the context of the rise of naturalism and the alternatives to it. You
will be assessed on the evidence you provide for the following tasks.

Unit 50: Popular Entertainment


(LO1: 1.1, 1.2)
(M1)
You are required to understand the nature and context of popular entertainment work. You will be assessed
on the evidence you provide for the following tasks.

Engage in a variety of company discussions to analyse and explain the following:


1. The development of different acting techniques. (1.1)
2. The meaning of popular entertainment. (1.1)
3. The comparisons and similarities between different forms of popular
entertainment. (1.2)

To achieve M1, thorough analytical exploration will have taken place and effective
judgements and conclusions will have been met through detailed assessment.
To achieve D3, the understanding of knowledge and development of analytical conclusions
will have been met through collaboration and compromise.

15 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

TASK 3:
Unit 77: Writing For Performance
(LO3: 3.1, 3.2, 3.3) (LO4: 4.1, 4.2, 4.3)
(M3) (D2) (D3)
You are required to be able to create a dramatic text for performance in a selected medium and evaluate the
effectiveness of the created dramatic text in performance. You will be assessed on the evidence you provide
for the following tasks.

Unit 60: Site-Specific Performance


(LO4: 4.1, 4.2, 4.3)
(D1)
You are required to be able to evaluate the effectiveness of site-specific performances. You will be assessed
on the evidence you provide for the following tasks.

Using a chosen location as a stimulus brainstorm the following points to assess the
potential of appropriate site-specific scenes:
1. Genre and performance style. (3.1)
2. Format, theme and structure. (3.1)
3. Specific scenarios and dramatic content. (3.1)
Write a first draft of the scene using the results of the brainstorm as a stimulus. (3.2)
Plan and present the rehearsed scene to a live audience and engage in a Q&A
session to obtain critical feedback. (4.2)
Finalise the script based on audiences feedback and rehearse the piece of location.
(3.3)
Plan and organise an on-site performance of the finalised product and the
chaperoning of the audience to and from the location. (4.1)
Engage in a debrief to critically assess and analyse the process and obtain critical
feedback from your audience. You must discuss and evaluate the following:
1. The effectiveness of the script. (4.3)
2. The audiences responses. (4.1)
3. The effectiveness of the venue/location. (4.1)
4. The objectives of the site-specific performance. (4.2)
5. Your role within the site-specific project. (4.3)

To achieve D1, developments and changes to the work have been fully explored, evaluated
and justified.
To achieve M3, the content and delivery of material has been appropriate for the target
audience and the context of the piece.
To achieve D2, the development of material will have been conducted independently and
without the aid of a director.
To achieve D3, collaborative ideas will have been explored, developed and finalised.
16 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

TASK 4:
Unit 5: Alternative Approaches To Acting
(LO3: 3.1, 3.2, 3.3) (LO4: 4.1, 4.2)
(D1)
You are required to be able to take part in a performance that involves a specified acting alternative and
evaluate and document process and performance. You will be assessed on the evidence you provide for the
following tasks.

Unit 50: Popular Entertainment


(LO2: 2.1, 2.2) (LO3: 3.1, 3.2)
(M2) (D2) (D3)
You are required to be able to create popular entertainment work and take on the role of a popular
entertainer. You will be assessed on the evidence you provide for the following tasks.

Unit 41: Movement For The Actor


(LO4: 4.1)
You are required to be able to apply movement techniques and skills to practical work. You will be assessed on
the evidence you provide for the following tasks.

Contribute to rehearsals and workshops to develop appropriate skills and


creatively experiment with styles. (3.1, 3.2)
Contribute to the devising, development and making of the piece by selecting,
demonstrating and applying appropriate skills and techniques to rehearsals and the
overall performance. (2.1, 2.2, 3.1, 3.2) (3.3) (4.1)
Keep a weekly written log to document, analyse and evaluate the development and
effectiveness of your own role within the process, your performance, the process
itself and the overall production. (4.1, 4.2)

To achieve M2, a range of techniques, styles, practices, will have been applied to workshops
and will have contributed to the generation and evolution of material.
To achieve D2, the preparation and production of material will have taken place
independently.
To achieve D3, the approach to work, direction and the generation of new material will have
been consistently receptive, pro-active and professional.
To achieve D1, new ideas, material and changes to the existing work will have been made
and successful improvements will have been proposed and actioned through collaboration.

17 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

TASK 5:
Unit 50: Popular Entertainment
(LO4: 4.1, 4.2)
(D1)
You are required to be able to evaluate the effectiveness of own popular entertainment work. You will be
assessed on the evidence you provide for the following tasks.

Actively contribute to the process debrief, critically analysing the success of the
project, your own role as a popular entertainer and the effectiveness of your own
performance. (4.1, 4.2)
Write an overall evaluation of the process assessing individual performances,
audiences feedback and the overall production. (4.2)

To achieve D1, detailed, analytical self-reflection will have taken place and honest selfcriticism will have been thorough and fully justified.

18 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

TASK 6:
Unit 41: Movement For The Actor
(LO1: 1.1, 1.2) (LO2: 2.1, 2.2) (LO3: 3.1, 3.2) (LO4: 4.2)
(M2) (M3) (D1) (D2) (D3)
You are required to understand the relationship between anatomy and how an actor moves, understand own
strengths and weaknesses in movement skills; be able to devise a personal programme to develop and extend
movement skills and apply movement techniques and skills to practical work. You will be assessed on the
evidence you provide for the following tasks.

Accurately complete a Personal Exercise Programme (PEP) Booklet; identifying and


explaining the human anatomy and its significance to actors, comparing and
contrasting different movement methodologies, assessing your own physical
capabilities, identifying your strengths and weaknesses and monitoring and
evaluating your own improvements and use of movement skills both in rehearsals
and performance. (1.1, 1.2, 2.1, 2.2, 4.2)
Lead weekly warm-ups/cool-downs and relaxation routines. (3.2)
Devise and implement a personal training programme that is easily adaptable to
the nature of the rehearsals. (2.2, 3.1)

To achieve M2, detailed and accurate warm-up/cool-down structures will have been fully
planned, explained and justified.
To achieve M3, appropriate structures will have been executed with full consideration being
paid to the safety and sustainability of the chosen exercises.
To achieve D1, developments and changes to the PTP will have been regularly made and all
improvements will have been fully justified.
To achieve D2, full responsibility will have been taken for the successful progression,
delivery and completion of warm-ups/cool-downs and relaxation routines.
To achieve D3, detailed and accurate self-reflection, analysis and evaluation will have taken
place.

19 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

The Outcome And


Result Of Performance
In Practical
Task 1

Task 2
Task 3

Task 4

Task 5
Task 6

Summary Of Evidence Required By


Actor

Evidence Presented

Director Observation. Video


Footage. Actors Logbook.
Scrapbook.
Director Observation. Company
Blog Site. Video Footage.
Director Observation. Company
Blog Site. Video Footage. Actors
Logbook.
Director Observation. Video
Footage. Actors Logbook.
Scrapbook. Company Blog Site.
Director Observation. Video
Footage. Actors Logbook.
Director Observation. Video
Footage. Actors Logbook.
Scrapbook.

Director Observation. Video


Footage. Actors Logbook.
Scrapbook.
Director Observation. Company
Blog Site. Video Footage.
Director Observation. Company
Blog Site. Video Footage. Actors
Logbook.
Director Observation. Video
Footage. Actors Logbook.
Scrapbook. Company Blog Site.
Director Observation. Video
Footage. Actors Logbook.
Director Observation. Video
Footage. Actors Logbook.
Scrapbook.

Sources Of Information

UNIT 60: SITE SPECIFIC PERFORMANCE


Theory: historical background eg Greek and Roman amphitheatres, medieval mystery cycles,
street theatre, Commedia dellarte, installation art, performance art, carnival, mummers
plays; practitioners eg Barba, Schechner, Brook, Gordon Craig (the architectural scene),
Appia, Kantor; terminology eg site specific, landscape, environmental, ritual, celebration,
ceremony
Practice: examples of different companies work eg Welfare State International, Natural
Theatre Company, Bread and Puppet Theater, Emergency Exit Arts, Zap Arts, Stans Cafe,
Grid Iron, Red Earth and Dreamthinkspeak; the relationship between architecture and
performance; the nature of the audience eg paying/non-paying; elitist or communal;
sitting/standing/moving; participatory or non-participatory; the relationship with the
environment eg what to add, alter, incorporate or obscure and why; legislative
considerations eg licensing requirements, contractual arrangements, health and safety,
insurance
Evaluation: meeting original objectives or artistic intentions; audience and peer observation
and feedback; articulating the conceptual framework of the piece; identifying a context for
the work eg recognising influences or associations to the work of others, discussing the
social, artistic and cultural significance of the work

20 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

UNIT 41: MOVEMENT FOR THE ACTOR


The Human Form: structure; the spine; musculature; joints; cardio-vascular system;
respiratory and nervous systems; tendons and ligaments; biomechanics
Movement Methodologies: Laban; Alexander; Feldenkrais; Pilates
Strengths And Weaknesses: use of spine; posture; control; flexibility; balance; fluency;
travelling; dynamics; transformation of own natural movement qualities; improved strength
stamina
Analysis: reflection and evaluation: observation; reporting; critiques
Exercise Programme: relaxation; respiration; warm-ups and cool-downs; observation and
imitation; vocabulary of movement eg based upon Laban motion factors; states of tension;
fitness; strength; stamina and flexibility exercises; use of movement log to record
programme and reveal understanding
Physical Skills: co-ordination; alignment; balance; control; focus; fluency; strength and
stamina; dynamics; using rhythm and space; Laban motion factors eg weight, space, time,
flow
Physical Technique: tumbling; period movement; mime; stage fighting; fencing; animal
movement; movement changes through age; moving with speech/music; creating
motif/tableau; physicalising text; working with others eg trust, balance, support, lifts and
catches
Monitoring: logs; DVD recordings of workshops and classes
Analysis: reflection and evaluation: of self and others eg observation, reporting, critiques

UNIT 50: POPULAR ENTERTAINMENT


Historical, Social, Cultural: historical overview of popular entertainment eg court jesters,
clowns in Shakespeare, Commedia dellarte, influence of broadcast media on popular
entertainment, folk dance and song; social significance eg use of satire, political subversion
and commentary; considering what popular entertainment means eg what makes
something popular?, high class entertainment vs low class entertainment, subsidised vs
commercial entertainment; cultural contrasts eg western compared to eastern traditions;
good and bad taste; perceived exploitation eg strip clubs, lap dancing
Forms And Types: consideration of the many forms that popular entertainment can take eg
cabaret, vaudeville, music hall, burlesque, variety shows, comedy clubs, light entertainment
television and radio shows, pub gigs, street theatre, folk clubs, festivals, fringe, busking;
consideration of the types of popular entertainment acts eg stand up comedians,
21 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

ventriloquist, impersonators, circus acts, folk singers, solo acts, double acts, group acts,
childrens entertainers, mime artists, puppeteers, drag acts, erotic dancers, disc jockeys
Creating And Making: exploring ideas and developing appropriate material eg script writing,
song writing, choreographing, working out routines, devising, improvising, designing and
making props/costumes/set, filming and recording material
Planning And Practice: analysing task requirements; creating a schedule which identifies
timescales, milestones, deadlines, meetings with collaborators, rehearsal times
Rehearsing: physical and mental preparation; learning material; making adjustments to
performance through the rehearsal process; rehearsing the material eg learning lines;
working with props eg costume; technical equipment eg microphones; learning steps;
moves; songs; polishing and refining performance skills
Performing: accuracy of performance skills eg hitting the mark, timing, positioning, pace,
projection, spatial placement; using physical and vocal skills as appropriate eg vocal and
physical control, effective use of physical and vocal range, use of space, manipulation and
control of props and equipment, stage presence; making adjustments to performance as
required
Communication: getting the performance across to the audience; constant awareness of
audience reaction; communicating, listening and responding to other performers; reacting to
the audience and making any required adjustments or responses as appropriate; maintaining
focus and concentration
Evaluation: meeting original objectives or artistic intentions; audience and peer observation
and feedback; testing and modifying material in response to feedback eg through critical
friends, discussion groups, focus groups, questionnaires, professional mentor, venue
manager, booking agent, press/broadcast critics

UNIT 5: ALTERNATIVE APPROACHES TO ACTING


Historical: how naturalistic acting techniques evolved eg Stanislavski, Meyerhold and their
studios; symbolism; expressionism and political theatres; the emergence of epic; eastern
traditions
Contemporary Context: practitioners and companies exploring non-naturalistic techniques eg
Trestle, Told by an Idiot, Complicite, Forced Entertainment, Punchdrunk, Improbable
Theatre, The Wrestling School, in-yer-face theatre
Styles And Genres: non-naturalistic acting eg choreographic, mimetic, comedic, political,
circus, Kabuki, Noh, performance art, epic, restoration, melodrama, dance theatre
Practitioners: eg Brecht, Artaud, Piscator, Fo, Boal and spect-actors, Pina Bausch, Habib
Tanvir, Julie Taymor, Robert Lepage, Anne Bogart, Yukio Ninagawa
22 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

Embodiment Of Acting Style: commitment to choice; understanding in practice of style and


genre; physical articulation and understanding of attributes eg gestic acting techniques,
playing of guillare, Kabuki characteristics
Physical Expression: eg posture, gesture, dynamics, rhythm and energy, flexibility, use of
space, range and variety, weight
Vocal Expression: eg range and use of voice; tone, control, inflection, articulation and clarity,
projection, flexibility, register, idiosyncrasy, dialect and accent, use of song
Evaluation: eg analysis of self and ensemble in process and performance, audience response,
awareness of feedback, strategies for growth, identification of skills and techniques for
development, personal expertise and skills, reflection, learning needs, implementation
Documentation: appropriate forms of logging process and performance eg DVD recordings of
rehearsals and performance, performers log, annotated scripts

UNIT 77: WRITING FOR PERFORMANCE


Text-Form: eg play texts, radio, film and TV scripts, storyboards, scenarios
Genres: eg comedy, serious drama, documentary style, satire
Production Process: eg single director, collective production, improvisation, role play
Draft Scripting: drafting; editing; consulting; revising
Final Script: use of formal conventions; presentation of final draft
Performance Format: eg live performance, rehearsed reading, film/video, audio recording
Evaluation Process: interviews eg cast, director; audience feedback eg through
questionnaires, interviews, discussion groups; self-evaluation

23 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

Achievement Summary
Qualification

Pearson BTEC Higher


National Diploma In
Performing Arts

Assessor
Name

Unit Number
And Title

Unit 60: Site Specific


Performance

Actor Name

Criteria
Reference
LO1
1.1
1.2
LO2
2.1
2.2
LO3
3.1
3.2
LO4
4.1
4.2
4.3

Claire Louise Portelli

Erol Uzunhasan

To Achieve The Criteria The Evidence Must Show That


The Actor Is Able To:
Assess different historical practices of site-specific performance.
Analyse theoretical and practical perspectives of site-specific
performance.

Achieved?
(Tick)

N/A
N/A

N/A
N/A

N/A
N/A

N/A
N/A

Evaluate venues and audience responses.


Analyse the objectives of the site-specific performances.
Critically assess own role within the project.

Higher Grade Achievements (Where Applicable)


Grade Descriptor
(Merit)

Achieved?
(Tick)

Grade Descriptor
(Distinction)

M1: Identify and apply strategies


to find appropriate solutions.

N/A

D1: Use critical reflection to


evaluate own work and justify valid
conclusions.

M2: Select/design and apply


appropriate methods and
techniques.

N/A

D2: Take responsibility for


managing and organising activities.

N/A

M3: Present and communicate


appropriate findings.

Achieved?
(Tick)

D3: Demonstrate
convergent/lateral/creative
thinking.

24 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

Achievement Summary
Qualification

Pearson BTEC Higher


National Diploma In
Performing Arts

Unit Number
And Title

Unit 41: Movement For The


Actor

Criteria
Reference
LO1
1.1
1.2
LO2
2.1
2.2
LO3
3.1
3.2
LO4
4.1
4.2

Assessor
Name
Actor Name

Claire Louise Portelli

Erol Uzunhasan

To Achieve The Criteria The Evidence Must Show That


The Actor Is Able To:

Achieved?
(Tick)

Explain human anatomy and its specific significance for the actor.
Compare and contrast different movement methodologies.

Assess own physical capability identifying strengths and weaknesses.


Evaluate own improvement and adapt training programme as relevant.

Devise and implement a personal movement training


Programme.
Carry out regular practice including warm-up/cool-down and relaxation
routines.

Select and demonstrate movement technique and skills both in isolation


and in group contexts.
Design and use appropriate recording to monitor movement in classes,
performances and personal programmes.

Higher Grade Achievements (Where Applicable)


Grade Descriptor
(Merit)

Achieved?
(Tick)

Grade Descriptor
(Distinction)
D1: Use critical reflection to
evaluate own work and justify valid
conclusions.

M1: Identify and apply strategies


to find appropriate solutions.
M2: Select/design and apply
appropriate methods and
techniques.

D2: Take responsibility for


managing and organising activities.

M3: Present and communicate


appropriate findings.

D3: Demonstrate
convergent/lateral/creative
thinking.

Achieved?
(Tick)

25 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

Achievement Summary
Qualification

Pearson BTEC Higher


National Diploma In
Performing Arts

Unit Number
And Title

Unit 50: Popular


Entertainment

Criteria
Reference
LO1
1.1
1.2
1.3
LO2
2.1
2.2
LO3
3.1
3.2
LO4
4.1
4.2

Assessor
Name
Actor Name

Claire Louise Portelli

Erol Uzunhasan

To Achieve The Criteria The Evidence Must Show That


The Actor Is Able To:

Achieved?
(Tick)

Evaluate the meaning of popular entertainment.


Compare and contrast at least two types of popular entertainment.
Assess historical developments in popular entertainment.

Plan the development of popular entertainment work.


Contribute to the making of a piece of popular entertainment.

Apply appropriate skills to the rehearsal of popular entertainment


material.
Apply appropriate skills to the performance of popular entertainment
material.

Critically evaluate own role as a popular entertainer.


Assess, through analysis of feedback, effectiveness of own performance.

Higher Grade Achievements (Where Applicable)


Grade Descriptor
(Merit)

Achieved?
(Tick)

M3: Present and communicate


appropriate findings.

Achieved?
(Tick)

D1: Use critical reflection to


evaluate own work and justify valid
conclusions.

M1: Identify and apply strategies


to find appropriate solutions.
M2: Select/design and apply
appropriate methods and
techniques.

Grade Descriptor
(Distinction)

D2: Take responsibility for


managing and organising activities.

D3: Demonstrate
convergent/lateral/creative
thinking.

26 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

Achievement Summary
Qualification
Unit Number
And Title
Criteria
Reference
LO1
1.1
1.2
LO2
2.1
2.2
2.3
LO3
3.1
3.2
3.3
LO4
4.1
4.2

Pearson BTEC Higher


National Diploma In
Performing Arts
Unit 5: Alternative
Approaches To Acting

Assessor
Name
Actor Name

Claire Louise Portelli

Erol Uzunhasan

To Achieve The Criteria The Evidence Must Show That


The Actor Is Able To:

Achieved?
(Tick)

Explain the development of different acting techniques.


Explain differences between naturalistic acting and other techniques.

Justify the practice inherent in acting alternatives.


Compare and contrast the techniques of practitioners.
Examine the way practitioners are influenced by historical, social and
non-western contexts.

Use rehearsals and workshops to develop skills appropriate to defined


practice.
Creatively experiment with styles of acting during rehearsals and
workshops.
Apply learned techniques and skills to realise performance.

Use techniques of analysis and evaluation during development, rehearsal


and performance.
Use appropriate methods of documenting developmental and
performance processes.

Higher Grade Achievements (Where Applicable)


Grade Descriptor
(Merit)

Achieved?
(Tick)

Grade Descriptor
(Distinction)

M1: Identify and apply strategies


to find appropriate solutions.

D1: Use critical reflection to


evaluate own work and justify valid
conclusions.

M2: Select/design and apply


appropriate methods and
techniques.

D2: Take responsibility for


managing and organising activities.

M3: Present and communicate


appropriate findings.

D3: Demonstrate
convergent/lateral/creative
thinking.

Achieved?
(Tick)

27 | P a g e

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

Achievement Summary
Qualification

Pearson BTEC Higher


National Diploma In
Performing Arts

Assessor
Name

Unit Number
And Title

Unit 77: Writing For


Performance

Actor Name

Criteria
Reference
LO1
1.1
1.2
1.3
LO2
2.1
2.2
2.3
LO3
3.1
3.2
3.3
LO4
4.1
4.2
4.3

Claire Louise Portelli

Erol Uzunhasan

To Achieve The Criteria The Evidence Must Show That


The Actor Is Able To:

Achieved?
(Tick)

N/A
N/A
N/A

N/A
N/A
N/A

N/A
N/A
N/A

N/A
N/A
N/A

Decide on the genre, format and content of the dramatic text.


Draw up an outline/draft of the dramatic text for initial review.
Write a final dramatic text for the selected medium.

Organise a performance of the work (or extracts) in selected medium.


Organise appropriate methods of critical feedback.
Evaluate the effectiveness of script in performance through critical
feedback.

Higher Grade Achievements (Where Applicable)


Grade Descriptor
(Merit)

Achieved?
(Tick)

Grade Descriptor
(Distinction)

Achieved?
(Tick)

M1: Identify and apply strategies


to find appropriate solutions.

N/A

D1: Use critical reflection to


evaluate own work and justify valid
conclusions.

N/A

M2: Select/design and apply


appropriate methods and
techniques.

N/A

D2: Take responsibility for


managing and organising activities.

D3: Demonstrate
convergent/lateral/creative
thinking.

M3: Present and communicate


appropriate findings.

28 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

Assignment Feedback
Formative Feedback & Observations
(Assessor To Actor)
Bouffon
Approaches the work with confidence and passion
Is taking time to explore and make the bouffon creative and unusual
Open to other company members
Engaged in the animated physicality
Good use of language during improvisations
Has a sense of individualism and able to make clear character decisions.
As the workshop is progressing he is becoming more open to taking risks
Puppetry
Puppet has an individual look and some thought for artistry
Showing a sensitivity when bringing the puppet to life
Will encourage the actor to develop a greater awareness of tension and puppet technique
Needs to link his body to the puppet to make the puppet major
Is working well to add detail into the devised scenes
Not afraid to explore the character voice of the puppet
Laban Efforts
Showing a driven response to the different effort actions
Is able to immerse himself with the task and fully commit to the exploration
Is very expressive and able to push physical boundaries
Needs to work on relaxing the body in Laban effort float and glide
Laban efforts wring/press/punch/slash are strong and appear natural
Actor needs to work on muscle tension and relaxation
Clowning
Approaches the workshop with openness and energy
Able to feel relaxed on stage and acknowledge his audience
A joy to watch
Very confident when using his voice to improvise
His clown is highly playful, strives to reach the end goal but sometimes gets frustrated
Isnt trying to be a clever clown, instead was happy to be there and able to react off the other
clowns
Rises to the challenge of a game but sometimes over complicates the task

29 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

Action Plan
Establish and define the category that your fall into as a performer and the market you
should be promoting yourself to. Research companies, drama schools, employers,
promoters, sponsors, etc. that are relevant and appropriate to and tailor for your style.
Invite such people to your showcase and send such companies relevant material to
advertise yourself as an artist.
Summative Feedback
Erol, you have made a good contribution to the company over the process. Your playful eccentricity
has been your greatest asset to your work as a whole. You must make sure that you always consider
the unforeseen when planning work, as your presentation had to be re-scheduled twice because a
sufficient contingency plan had not been put into place. You must make sure that you come out of
your social comfort zone and work with as many different actors inside your company as you can, this
will give your work a different dynamic. You work hard and reap the results from this and you have
explored new skills and theatrical techniques over the process that have clarified your wit and
comedic timing. Seek work that challenges you, a piece that is more concentrated on the voice,
naturalism and use of stillness. As an actor you can carry weight but at times undermine your work by
opting for parody or clown. This maybe something to consider for your next process. Clowning is a
clear strength of yours and this was proved in the clowning workshop, which you approached so
passionately and skilfully. During the Laban workshop you accomplished the strong, weighted efforts
with ease but struggled to fluidly become float and glide. I encourage you to pro-actively seek out
relaxation techniques and spine loosening exercises. Make sure you connect your breath to your
body and look at your arms and legs as an extension of your torso. Your dance skills and co-ordination
have dramatically improved and your sense of physical clarity is an asset to you. Push and challenge
yourself in your next process and show your strengths with honesty and integrity. At times you lacked
essential professionalism, you must make sure you are pro-active in your approach as you are
capable of autonomy.
Feedback
(Actor To Assessor)

Felt that my role in the process was successful but I failed to be independent and needed
guidance from directors. I worked well with the actors in my scenes but struggled to be
consistent in finding new ideas. When inspired I felt I worked well to develop the material.
My presentation lacked creativity and the rehearsed performances lacked effort and
enthusiasm. Given the time scale I felt that I didnt fully fulfil the task. On reflection I think
we should have had less time to work on the material. This may have helped us to be more
proactive.

30 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)

MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA PERFORMING ARTS (QCF)
2014 2015

Tasks
Propose a selection of material for your showcase. Choose, cast and prepare a minimum of
four scenes that best showcase you skills and performing ability. Ensure that your casting
decisions are based on actors that you feel best compliment your performance style and
the chosen character and/or performance genre.

Assessor Signature

CLP

Date

20/03/2015

Actor Signature

EU

Date

20/03/2015

31 | P a g e
MISKIN THEATRE
BTEC LEVEL 5 HIGHER NATIONAL DIPLOMA IN PERFORMING ARTS
2014 2015
BRIEF IVD: CLAIRE LOUISE PORTELLI (29/10/2014)