This document provides guidance for students on bringing a published script to life for an audience. It outlines that the focus is on establishing the playwright's original intention, not devising new work. Students must understand the script's context, genre, characters and design elements to develop an effective performance that supports their chosen interpretation. The working process involves preparation, exploration, rehearsal, performance and review aligned to the professional model. Assessment is based on a working record of ideas and the final performance.

2. From Page to Stage
What is the Focus of the unit
• The Focus of the unit is
how a published script is
brought to life for an
audience.
• The emphasis is on
the original intention
of the playwrite.
NOT DEVISING

3. You will need to
• Establish The
Playwright’s intention
• Establish the key features
of the genre and related
performance style
• Identify the historical and
cultural context and how
that might impact on any
performance.
• Identify the design
elements indicated in
the script and adopt or
add to these in a way
that supports the
interpretation decided
upon
• Develop and practice
the necessary
performance skills
needed to deliver an
effective performance
of the interpretation of
a chosen extract
• Rehearse the
developed piece for
final performance.

4. Areas of Study
You must show an understanding
and appreciation of Areas of Study
• Character, context and
plot
• Structure
• Audience and Defining
performance space
• Improvisation
• Genre, performance style
and convention
• The semiotics of Drama
and Theatre
To Bring the Script to
life
• You must explore the
roles of
– Designer
– Director
– Performer

5. You must develop and
demonstrate an ability to:
• Apply performance and
production skills
• Acquire reflective and
evaluative skills in
response to the Script
• Work collaboratively and
creatively to achieve
shared dramatic
intentions
Workshop sessions
• We will be taking
part in workshop
sessions to
introduce you to the
script and its main
themes.
• It is up to you to the
take these ideas and
develop them further

6. Assessment
Assessment is in Controlled Conditions Again
• You will be assessed on
your working Record
– These are all your ideas
and workings leading up to
your final performance.
• Final performance of
Extract
– This is the culmination of
your ideas based on the
intention of the script and
you ideas in your working
record.
• 20 marks
• 40 marks
• Total 60 Marks

7. The working process
• The working process is
designed to reflect the
work of proffesionals and
covers 5 stages needed
to create a performance.
The 5 Stages
• Preparation
• Exploration
• Rehearsal
• Performance
• Review

8. 5 Sections in Brief
• Preparation
• Exploration
• Rehearsal
• Performance
• Review
• This is research
• Trying ideas/
workshop lessons
• Formulating all ideas
ready for
performance
• Evaluation

9. Preparation and Exploration
Preparation - Research
• Examine the Social,
Cultural and Historical
context of the play
• Identify the genre,
performance style and
Audience
• Investigate the intention
of the playwright
• Areas of Study
Exploration – Based
on the script as written
• Take part as a
Performer and
director in workshops
of the script
• Consider the Design
Implications of the
script and within the
time constraints apply
elements of design
where possible

10. Rehearsal and Performance
Rehearsal
• Start of Controlled
Conditions
• Direct Sections of the script
applying ideas generated
from previous workshops or
creating a new
interpretation.
• Prepare for performance as
a Performer
• Complete Second Section
of Working Record Charting
Rehearsals
Performance
• Perform the
rehearsed section of
Script

11. Review
• Review of intention of
Areas of study
• Reflection on
Performances
• If I had more time
• Review of another group

12. How to set out Working Record
• There are many different
ways to set out your
working Record.
• Outlined is just an
example of how to do it.

14. Social, Cultural and Historical
Research
• On the Playwright
• When Play was Written
• When play was set
– What was going on at this time
• Is it still relevant now.
– Other production
– Costume
• Anything that helps you form
your own opinion
• Playwright intention
• Genre of The
Script/Practitioner influences • Annotations of all you have found and
how it has helped your understanding

16. During the read through
Initial thoughts whilst
reading through
• This could be elements
that highlight the
playwrights original
intention
– This could be anything that
highlights the theme
– Enhances Character
– Develops plot
– Relates directly to historical
event
• Look for use of
language
– As it was written by
the playwright
– Crime and
Punishment
– Redemption
– Societies views

17. Remember when
annotating
Don’t forget to
say
Why
Why
Why
Why
Why
Why
Why

18. Workshop session
Keep a record of the
workshop sessions
• This could be exercises
we have done
• Character development
exercises
• Set
• Props
• Character relationship
Reflect on the
session
• This is what you
have personally
found out from doing
the sessions and
should spark ideas
of what section/
character you would
like to work on.

19. Idea for development
• Idea for a monologue
piece and Why?
• Idea for a duologue Piece
and Why?
• Idea for a group piece
and why?
Final Idea
• What you are doing
and how that fits
with the playwrights
intention

20. Areas of Study
This is directly linked to
your final Idea
• Character, context and
plot
• Structure
• Audience and Defining
performance space
• Improvisation
• Genre, performance style
and convention
• The semiotics of Drama
and Theatre

22. Throughout the Rehearsal
• Description of Character
in context must be
coherent and justified
• Ideas for use of
performance space
• Capture important
essence of the script for
performance
• Semiotics combine
sound, lighting,
projection to combine
in a unified way.
• Practitioner
influences on your
work.
• Subject vocab
throughout.

23. Rehearsal
This is what you are doing to get
you piece ready for rehearsal
• You can split this into
sections if you want.
• Script – Annotated
• Costume
• Set Design
• Semiotics
• Lighting
• Staging
And WHY!!!!!!
• Or you can work
through it session by
session.
• This is spread out
not just on one
page.
• It is as long as it has
to be.

24. Performance
What I am looking for
• Use and selection of
stage space.
– Integrated with the theme
• Good Command of the
demands placed on the
performer by the script.
• Use of Voice and
gesture
– Well crafted
Characterisation
– Works productively
with others
• Semiotics –
costume/properties/te
chnical aspects/
symbolism works with
the theme of the text.
• Gives insight into
character, creates
mood, adds layers
and meaning for
audience

26. Review
Your own piece
• Areas of study
• Evaluate
– Directing, Acting, Design
• Context of text extract
• All analysed with
perception
• If I had more time.
Work of others
• The practitioner
influences
• Ideas of others
• How they brought
the section to life.