2. 2
In Theatre of the Absurd, how are themes and characters conveyed through design in Samuel Beckett’s,
‘Waiting for Godot’?
What are the costumes, make-up and wigs of the Hisamatsu, Osome and Omitsu in the Kabuki perfor-
mance of, ‘Shimpan Utazaimon’?
In Greek Theatre, what is the function and effect of the chorus within Euripides’ play, ‘The Bacchae’?
In Elizabethan Theatre, how do the costumes in, ‘The Merchant of Venice’ help to communicate the char-
acters to the audience?
How would the main female characters - Phedre, Aricia, Oenon and Ismen - be dressed in the French Neo-
classical play, ‘Phedre’?
How do the Kabuki costumes in the play, ‘Chushingura, The Treasury of Loyal Retainers’ emphasize and
differentiate the different characters and their traits, status and role in the play?
In French neo-classical theatre, how is the mockery of women emphasized in onstage action in Moliere’s,
‘Les Precieuses Ridicules’?
Research Investigation Example
Questions:
3. 3
Research
Investigation
In a Nutshell
What am I Being
Assessed on then?
The Research Investigation is described in the
guide as: ‘Personal dramaturgical research into
an unfamiliar theatre practice for the produc-
tion of a play or theatre piece ... to contribute to
a realisation of the play/theatre piece from the
chosen theatrical practice.’
The IB are assessing whether you can develop
draturgical research skills, understanding of an
unfamiliar theatre practice, to present research
appropriately and within a specific word length
and to contribute to the realisation of a piece of
theatre.
Research Skills: Students are marked on their abil-
ity to select a range of sources, deduce key points
(referred to as observations), back these up with
evidence from the range of sources consulted and
attribute these sources.
Task Relevance: To succeed under this criteria,
students should ensure that they have a practice, a
play or theatre piece from that practice and an as-
pect of that play or theatre practice. These 3 areas
need to be connected and addressed in the body of
the RI.
Presentation: Students have to present appropri-
ate material in a formal way.
Critique of Sources (HL): Students are assessed on
their ability to objectively comment on the nature
of the source and its general usefulness and on
their ability to demonstrate how relevant a source
was to the dramaturgical research.
What does it look like?
The final Research Investigation should
look like a formal written paper. HL word
count is 2,000 to 2,500 words and SL is
1,500 to 1,750. Please note that, as the IB
have stipulated a word count range, there
is no flexibility with the word count. HL
students have to complete a ‘Critique of
Sources’. This does not have a word count
and is a separate section at the end of the
Research Investigation.
The essay should be structured, organised
discussion that is methodical, coherent
and organised as a series of paragraphs.
The essay should be written in third per-
son and should not be chatty or use abbre-
viations.
The presentation should be neat, clearly
titled and formatted with clear, relevant,
well produced and carefully selected visu-
als. Any appendices should also be care-
fully selected, relevant, appropriate and
well presented.
The advice from the IB is that sub-head-
ings may lead to the essay lacking coher-
ence.
Every observation that is made regarding
the play, the aspect or the practice should
be attributed. Students must have foot-
notes/endnotes and a bibliography.
4. 4Consectetuer#00Laoreet0000
Tips for the Research
Investigation:
Before choosing your theatre practice, look at vari-
ous theatre to see what has been put on recently. Try
to make email contact with a member of the produc-
tion team from several of the productions that have
a clear theatre tradition attached to it. Pusue the
tradition that is connected to the person that replies
to you.
Check out the National Theatre website because
they have some great resources such as interviews
with directors, tours around their stages etc.
If you choose a production that was performed in
the National Theatre, book to visit their archive to
access some great primary sources.
Dramaturgical research is research that will be of
service to and inform a production.
An ‘aspect’could include the following examples;
the use of a fan in a particular scene, performing a
specific character, the use of colour throughout. The
‘aspect’should help to focus the investigation.
Look for as many different performances of your
chosen production as possible - and then try to
make contact with somebody connected to the
production.
Handy Hints SectionResearch
Investigation
As well as locating primary sources, increase your
range of sources by looking at the internet, reading
books, watching DVDs, examining screen shots,
getting hold of director’s notes, newspaper reviews
etc.
The word count does not include quotations or the cri-
tique of sources.
For as many sentences as possible; state the idea , state
where you got the idea from, use a textual/visual reference
to back up your point.
You demonstrate initiative through the kinds of
sources that you get information from.
Tips for writing the Critique of
Sources:
Include the following; how the source can be used,
who they can be used by, indicate the reliability/ac-
curacy and value, how the student used the source,
their usefulness, their relevance to the investigation.
The student should indicate how they have used the
source for the purpose of this task.
The critique should be formal and focussed on
sources.
The critique should be treated as a guide to the
resources used for any practitioner who wishes to
research further into this practice/aspect.
5. Research
Investigation
Possible Template:
Cover Sheet
An IB template provided by me
Title Question
(Ensure it includes practice, play & aspect)
Brief Introduction to the Practice
Specify the conventions within that particular practice e.g. the
things that make that practice unique
Brief Introduction to the Play & Playwrite
Summarise the storyline and main themes.
Introduce the ‘aspect’that you are exploring
The aspect should help you to narrow down your research. The
aspect should be referred to in your original question.
Answer the Question
Use examples of how other people have already done the aspect that
you are researching. At no point in your RI should you be saying it
‘could be’ or ‘would be’ done like this. You are only reporting on the
facts that you have found.
Because you will have found several different examples of how your
aspect has been done by other people, you will be able to compare
the effect that each has had.
Everything you have learned about your RI should be attributed to
a source that has given you that information. When making a state-
ment, back it up with either a quote or a picture.
Label each picture and attribute each source.
Ensure that everything that you put in your RI answers your origi-
nal question.
Introduce each of your sources eg. give a brief idea as to why they
are qualified to comment and on what their experience is in con-
nection to the play you are looking at.
Conclusion
Conclude, based on the answers that you have found to your ques-
tion.
Bibliography
List all sources - including ones you didn’t directly quote
Critique of Sources (HL only)
Assess the reliability of the source, its’usefulness, reliability, scope,
origins, limitations, format. Also, say how you used the source, how
useful it would be to others, how useful it was to your dramaturgical
research.
6. Assessment Criteria
Level Descriptor
0 The student has not reached level one
1 – 2 The student makes superficial, inaccurate and unclear observations. Source
material is limited and not properly attributed .
3 – 4 Generally superficial / derivative observations which are often unclear. Source
material is included but is predictable and is not always properly attributed.
5 – 6 The student makes generally perceptive and accurate observations. A range of
source material has been included and, although it is a little predictable, it has
been properly attributed.
7 – 8 The student makes perceptive and accurate observations which are consistently
supported by research evidence. A varied range of source material has been
included and has been properly attributed.
9 - 10 The student makes perceptive and accurate observations which are competently
supported by research evidence. Sources have been chosen inventively and have
been properly attributed.
Research Skills
Level Descriptor
0 The student has not reached level one
1 – 2 The student shows little or no initiative and perseverance in meeting the specific
requirements of the RI. Little or no attempt has been made to formulate a research
question.
3 – 4 The student shows limited initiative and perseverance in meeting the specific
requirements of the RI. An attempt has been made to formulate a research
question but responses to the question are often unfounded and irrelevant.
5 – 6 The student shows some initiative and perseverance in meeting the specific
requirements of the RI. A research questions has been formulated and an attempt
has been made to respond to this question with generally appropriate evidence.
7 – 8 The student shows initiative and perseverance in meeting the specific
requirements of the RI. A research question has been clearly formulated and
responded to with relevant evidence and appropriate discussion.
9 - 10 The student shows consistent initiative and perseverance in meeting the specific
requirements of the RI. A research question has been clearly formulated and
responded to with relevant evidence and illuminating discussion.
Task Relevance
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Assessment Criteria
Level Descriptors
0 The student has not reached level one
1 – 2 The student has written the RI in a register inappropriate to the subject matter.
The selection and presentation of visual / textual material is poor. The word
count requirement has not been met.
3 – 4 The student has written the RI in a register that is not always appropriate to
the subject matter. The selection and presentation of visual / textual is limited
and mainly irrelevant. The word count requirement has not been met.
5 – 6 The student has written the RI in a register that is generally appropriate to the
formal essay style and subject matter. The visual / textual material has been
adequately selected and presented. The word count requirement has been met.
7 – 8 The student has written the RI in a register that is appropriate to the formal
essay style and subject matter. The visual / textual material has been carefully
selected and presented. The word count requirement has been met.
9 - 10 The student has written the RI in a register that is fully appropriate to the
formal essay style and subject matter. The visual and textual material has been
selected and presented in a way that fully compliments the formal essay style.
The word count requirement has been met.
Presentation
Level Descriptor
0 The student has not reached level one
1 – 2 The student provides little or no critique of sources used. There is little or no
demonstration of how relevant these sources are to the dramaturgical research.
3 – 4 The student provides a limited critique of the sources used. There is some
demonstration of how relevant these sources are to the dramaturgical research.
5 – 6 The student provides an adequate critique of soucres used. There is an adequate
demonstration of how relevant these sources are to the dramaturgical research.
7 – 8 The student provides a consistent critique of the sources used. There is a good
demonstration of how relevant these sources are to the dramaturgical research.
9 - 10 The student provides an incisive and convincing critique of the sources used.
There is an incisive demonstration of how relevant these sources are to the
dramaturgical research.
Critique of Sources (HL only)
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African Folk Theatre
African Popular Theatre
American Burlesque
American Musical
Arabian Shadow Puppets
Balinese Dance Drama
Balinese Puppet Theatre
Beijing Opera/Peking Opera
Botswana Mask Theatre
British Pantomime
Bunraku
Butoh
Cantonese Opera
Court Masques
Carnivale
Commedy of Manners
Commedia Dell’arte
Elizabethan/Jacobean Theatre
Expressionism
Epic Theatre
French Neo-Classical Comedy/ Trag-
edy
Classical Greek Comedy / Greek Trag-
edy
Grosso Criollo
Indonesian Shadow Puppetry
Indonesian Tari
Italian Renaissance Theatre
Kabuki
Karagoz (Turkish Shadow Puppetry)
Legong Kraton
Medieval Liturgical Theatre
Medieval Mystery Plays
Morality Plays
Native American Storytelling
Naturalism
Noh/Kyogen
Palermitan Marionettes
Punch and Judy
Rakugo Japanese ‘Sit Down’ Theatre
Restoration Comedy
Roman Comedy
Romanian Marionettes
Simcheongga Korean Stoerytelling
Sri Lanken Folk Ritual & Dance Drama
Thai Nang Yai
Thai Puppetry: Hun Lakhon Lek
Theatre of the Absurd
Theatre of Cruelty
Theatre of the Oppressed
Vaudeville
Victorian Melodrama
Vietnamese Water Puppets
Wayang Golek
Wayang Orang
Yiddish Theatre
Yorubian Theatre
Yuan Drama
Potential Theatre Practices
10. 10Consectetuer#00Laoreet0000
My Research Investigation Notes
Theatre Practice: ...........................................................................
Play: ................................................................................................
Performed at: ................................................................................
Conventions of Practice: ............................................................
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Primary Source Contact Details: ...............................................
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Research Scope: ............................................................................
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