Collaborative Project

Candidates’ portfolios, at the higher level, clearly demonstrate and explain the dynamic stages of their creative process, including preparatory inquiry, practical action and meaningful reflection.

Examiner’s Report May 2017

Starting Points

The inspiration for the collaborative creation of the piece of theatre. A focus to the initial stages of practical exploration. The starting point must be one of the following.

  • Event
  • Idea, issue, question or theme
  • Image or photograph
  • Non-dramatic text
  • Object
  • Person
  • Piece of music
  • Site
  • Street art, graphic novel or comic strip

Ground Rules: https://muse.jhu.edu/login?auth=0&type=summary&url=/journals/theatre_topics/v015/15.1schirle.html

The attribution of sources, including visuals, diagrams, plans, sketches etc. within the body of the work is still a challenge and many Collaborative Project Portfolios provided only a bibliography or list of sources, without citing sources within the body of the portfolio. This is a serious issue as not sourcing appropriately is considered academic malpractice.

Examiner’s Report May 2017

More successful portfolios referred not only to the company but also to the theories (and even theorists) that their work derives from.

Examiner’s Report May 2019

Present cited research on the creative approaches used by a professional theatre company that creates and stages original work, considering how you are applying the company’s creative approaches to your own creation.

More thorough evaluations weighed up the strengths and limitations of the piece as a whole, comparing and contrasting their original intention with the impact the piece actually had on the audience (making clear reference to the audience’s responses during the talkback.) Work at the lower level did not refer back to intentions, used limited audience feedback or didn’t refer to the audience’s responses at all.

Examiner’s Report May 2019

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Click on the video above for the National Theatre’s: Movement playlist


Improv Games https://spolingamesonline.org/games/

Improvisation For The Theater A Handbook Of Teaching And Directing Techniques by Viola SpolinPublication date 1963 https://archive.org/details/improvisationfor010408mbp

In this booklet you will find tons of improv games and handles, show formats, warm-ups, references and improv keywords. The Internet version is more fun to wander around in because of the hyperlinks in there, but we’ve done our best to organize this paper version as comfortably as possible.

Organization – This booklet is organized in 4 chapters:

  • Categories: every game, exercise or handle is classified in one or more categories. The categories are listed alphabetically, and you will find an index of all games in each category following the category. A game, handle or exercise can be in more that one category.
  • Games: this is the main chapter, listing all games alphabetically. For every game you will find the category/categories the game belongs in printed next to the game description.
  • Keywords: a chapter that lists some important improv terms, each with a short explanation.
  • References: a list of interesting people, books or websites. At the end of the booklet you will find an index of all contents.

Company Manifestos

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Theatre Companies, their websites, shows and resource packs

Theatre companyWebsite
Age Exchangehttp://www.age-exchange.org.uk/
Belgrade Theatre, Coventry


Belarus Free Theatre

http://www.belgrade.co.uk/


http://belarusfreetheatre.com/live/

Complicitehttp://www.complicite.org

Teachers Notes: Devising

Dell ‘Arte Internationalhttp://www.dellarte.com/default.aspx
Teatro de Creaciónhttp://www.devisingtheatre2013.com/#/methodology/4574690305
DV8 Physical Theatrehttp://www.dv8.co.uk/ A couple of shows on Vimeo: Cost of Living Strange Fish
Fevered Sleephttp://www.feveredsleep.co.uk/
Forced Entertainmenthttp://www.forcedentertainment.com/
Fork Beardhttp://www.forkbeardfantasy.co.uk/
Frantic Assemblyhttp://www.franticassembly.co.uk/

Guide to Devising

Fuelhttp://www.fueltheatre.com/
Gecko Theatrehttp://www.geckotheatre.com/

Watch The Overcoat here:

Resource Pack

Greenwell & Lewisham Young People’s Theatrehttp://www.glypt.co.uk/
Goat Islandhttp://www.goatislandperformance.org
Gob Squadhttp://www.gobsquad.com/about-us
Grid Ironhttp://www.gridiron.org.uk/
Improbablehttp://www.improbable.co.uk/
Invisible Flockhttp://www.invisibleflock.co.uk
Invisible Threadhttp://www.invisiblethread.co.uk/
I O Uhttp://www.ioutheatre.org/
Ex Machinahttp://lacaserne.net/index2.php/exmachina/
Lone Twinhttp://www.lonetwin.com/
Massive Companyhttp://www.massivecompany.co.nz/
Wrights and Sitshttp://www.mis-guide.com/
Northern Stagehttp://www.northernstage.co.uk/
Theatre Passe Muraillehttp://www.passemuraille.on.ca/
People Showhttp://www.peopleshow.co.uk/
Pintsize Theatre Companyhttp://www.pintsizetheatre.co.uk/
Pirate Productionshttp://www.pirateproductions.co.uk/
PotatoRoom Productionshttp://www.potatoroom.co.uk/
Reckless Sleepershttp://www.reckless-sleepers.co.uk/
Red Ladder Theatre Companyhttp://www.redladder.co.uk/
Rude Mechanicalshttp://www.rudemechs.com/about/index.htm
Shunthttp://www.shunt.co.uk/
Space Hijackershttp://www.spacehijackers.org/html/history.html
Stan’s Cafehttp://www.stanscafe.co.uk/
Station House Operahttp://www.stationhouseopera.com/
Tangled Feethttp://www.tangledfeet.com/the-company/
Théâtre du Soleilhttp://www.theatre-du-soleil.fr/thsol/index.php?lang=fr
Theatre Ohttp://www.theatreo.co.uk
The Paper Birds Theatre Companyhttp://www.thepaperbirds.com/
The Red Roomhttp://www.theredroom.org.uk/
The Wooster Grouphttp://www.thewoostergroup.org/blog/
Third Angelhttp://www.thirdangel.co.uk/home.php
Trestlehttp://www.trestle.org.uk/

…candidates who used the recommended subheadings presented in the theatre guide and paid attention to the 7-8 marker band descriptors and command term(s) were more organized and more successful than candidates who did not

Examiner’s Report May 2017

Sections & suggested sub headings:

The process portfolio should contain a table of contents (which is excluded from the page count) and all pages should be numbered. The main body of the process portfolio should be structured using the following main headings A-D. The subheadings – particularly the text written in italics – are optional.

A. My personal context in theatre (including my own approaches, interests and/or skills in theatre) and my research into a professional company that creates and stages original pieces of theatre

  • A1 My personal context as a student of theatre up to this point in time and how it might influence who I work with and how I work
  • A2 Research into a professional company that creates and stages original pieces of theatre and how I might apply some of their practices

B. The formation of my group and our exploration of the starting point (including our target audience and intentions for the piece)

  • B1 How we formed our group, developed trust, agreed ways of working and the skills needed for our chosen approach
  • B2 How we explored our chosen starting point, chose our target audience and intentions for the piece

C. Reflections on the collaborative development of our piece and the specific explorations led by me

  • C1 My specific contributions to the collaborative process
  • C2 How we practically developed, structured and prepared the original piece for presentation.

Criterion C2 – Top Tip

Often this is the most substantial section within the portfolio and done well. Some candidates choose not to differentiate between their own contributions and group process. The addressing of structure, or lack thereof, continues to be a weak point. “Structure” only appears in the 5-6 & 7-8 mark bands. If a student does not refer to structuring of the piece, they cannot score higher than the 3-4 band for this descriptor.

Examiner’s Report May 2019

D. My artistic choices (as seen in the video) and my evaluation of the final piece considering the impact on the audience. Students are required to submit a separate list of all sources cited.

  • D1: My artistic choices as shown in the extracts chosen from our group’s performance
  • D2: An evaluation of the final piece, considering how the piece fulfilled its intentions and the extent to which it achieved its impact on the audience with reference to their responses.

Criterion D1 – Top Tip

Those students who supported their ideas to their intention(s) for the piece and linked their choices to the creation of Tension, Emotion, Atmosphere and/or Meaning scored in the top marker bands.

Examiner’s Report May 2019

Recommended Reading

  • Bennathan, J. 2013. Making Theatre: The Frazzled Drama Teacher’s Guide to Devising. London, UK. Nick Hern Books.
  • Bicât, T and Baldwin, C (eds). 2002. Devised and Collaborative Theatre: A Practical Guide. Wiltshire, UK. The Crowood Press.
  • Callery, D. 2001. Through the Body: A Practical Guide to Physical Theatre. London, UK. Nick Hern Books.
  • Etchells, T. 1999. Certain Fragments: Contemporary Performance and Forced Entertainment. Oxon, UK. Routledge.
  • Graham, S and Hogget, S. 2009. The Frantic Assembly Book of Devising Theatre. Oxon, UK. Routledge.
  • Govan, E, Nicholson, H and Normington, K. 2007. Making a Performance: Devising Histories and Contemporary Practices. Oxon, UK. Routledge.
  • Harradine, D. 2009. Invisible Things: Documentation from a Devising Process. London, UK. Fevered Sleep.
  • Heddon, D and Milling, J. 2006. Devising Performance: A Critical History. Hampshire, UK and New York, USA. Palgrave Macmillan.
  • Lamden, G. 2000. Devising: A Handbook for Drama and Theatre Studies. London, UK. Hodder and Stoughton.
  • Mermikides, A and Smart, J (eds). 2010. Devising in Process. Hampshire, UK. Palgrave Macmillan.
  • Oddey, A. 1994. Devising Theatre. Oxon, UK. Routledge.
  • Pearson, M. 2010. Site-Specific Performance. Hampshire, UK. Palgrave Macmillan.
  • Quick, A (ed). 2007. The Wooster Group Work Book. Oxon, UK. Routledge.
  • Swale, J. 2012. Drama Games for Devising. London, UK. Nick Hern Books.

Korean PA directory – companies/practitioners etc