Unit 11 Theatre for Children Assessment Feedback

SUMMATIVE ASSESSMENT RECORD SHEET
Programme	BTEC Level 3 in Performing Arts (Musical Theatre)		Learner Name	Victoria Tullett	Assessor Name	Rachel Maddix
Unit No. & Title	Unit 11 – Theatre for Children		Target Learning Aims	1 Know how to research, select and refine suitable material for children’s theatre 2 Be able to devise and shape material for children’s theatre 3 Be able to perform in children’s theatre.	Assignment Title	Primary Performance
Issue Date	15/10/15		Interim Submission Date	15/12/15	Final Submission Date	28/1/16
Target criteria	Criteria Achieved Yes/No	Final Assessment Comments
P1	/	You described the suitability of material for a children’s audience
M1	/	You explained the potential and suitability of material for a children’s audience
D1	/	You analysed appropriate material for children’s theatre, with creative ideas for developing its potential
P2	/	You developed and shaped material for children’s theatre responding to ideas offered
M2	/	You actively shaped and developed material for children’s theatre, offering creative, realistic and appropriate ideas
D2	/	You shaped with commitment the material for children’s theatre, showing an appreciation of what can be effective and appropriate for performance
P3	/	You performed a role in a piece of theatre for children using performance or production skills competently.
M3	/	You performed a role in a piece of theatre for children using performance or production skills confidently.
D3	/	You performed a role in a piece of theatre for children using performance or production skills with confidence, interpretation and flair.
Summative comments
You achieved M1 by explaining the potential and suitability of the material for a children’s audience. You achieved D2 by making an enthusiastic and focused contribution to the development process. Your ideas and suggestions were imaginative and inventive showed a firm understanding of the key elements of children’s theatre and the needs of the target audience. You achieved D3 by demonstrating a proficient and creative use of performance and production skills showing imagination and a feel for the nature of the piece. Victoria, your approach was constructive and increasingly focused. You could afford to take a leadership role more frequently but demonstrated effective development and a real willingness to develop both your devising piece and your performance skills – Well done. MERIT

Dance Lesson Seven

Dance lesson Seven
Final Rehearsal before the Dance Show (Dec 13th)


Targets:

• I need to add facial expression to express the character that I am portraying during the performance.
• I need to use more dynamics to create a more engaging piece.
• I need to use more energy where performing so that the performance looks clean and well put together. This also helps to portray character with the amount of energy my character would be using at certain moments.
• Clear dynamics between the slow and smooth movements and the fast and sharp ones.
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Dance Lesson Six

Dance Lesson Six
Over the previous weeks we have been creating a piece for our dance show in December. The themes that we are basing the piece on are: gangs, identity, anger, fighting, gestures, Indian influence.

Throughout the piece, we perform as a whole group, smaller groups, pairs and individually. This helps each person to create different movements and combinations that display the themes we are portraying through their own individual style.

We first start with a solo from Lois as four of us, Megan, Fran, Jennah and myself, are standing at the back. We then join her and perform the floor routine; when we point towards our hands the rest of the group enter from upstage right diagonally forward. After this, we perform the main phrase as a whole group. Some run off upstage left whilst others role upstage right, leaving Lois, Megan and Charlotte centre stage. After their lift, their partners run on and join them with their set-movement phrase. When they are finished, Maddy and myself, Fran and Andrew run downstage and perform our partnered pieces; after we have finished Valencia and Nathan perform their partnered piece. Once they have finished we all walk centre stage to create a circle around Lois, we then walk around her slowly as she is performing several lifts with different partners and groups, every eight steps we take in the circle we lunge downwards. Once Lois has performed her last lift we all slide on the eighth step; we then rush towards Lois and block her as if we are attacking her. we then run upstage to our corners and Lois remains centre stage as we perform our gang routine towards the other group. We then run to our solo spots and perform our solos. Once we have all finished we then join our partner and performa our constant-touch fight scene and slowly die of partner at a time. Then Lois performs a small solo piece before walking off upstage left.

I feel that this structure is affective because it has a range of different routines that line nicely and contrast from the last in a way that creates a sense of hurriedness that adds to the idea of fighting and anger.

Draft One

The Demons Within

By

Victoria Tullett

Victoria Tullett

vickyt1998@hotmail.com

+44 7714 280876

West Sussex, BN14 0AQ

©2016 V.TULLETT Productions

Scene 1

JULIA

I suck in a breath, cold and harsh, feeling nothing; this is normal, while my head reels and spirals out of control. I’m cold, frozen. The coldness of the world has destroyed me. It drains the light from the soul and the warmth from the now shell of the body. I feel numb, the nothingness taking control. Icy shards piercing the brink of my corrupt brain, paralysing the nerves; the emotions, the feelings, any feeling, cemented by the frost running through the empty case I know as my body. I feel the pain - pain that is so strong it penetrates through the ice cold to the fragile surface. It burns. What a contrast from my frozen corpse. Pain is a feeling, the only one I can experience. Pain is better than the numbness of reality. I can control Pain; I already have, and I carry its leash with me, Pain’s silver sharp leash that I wield in the face of the numbness, the frost. The blood that’s placed throughout my frozen vessel still flows, another element of the body the frost cannot control. I see it flow, trickling along my frigid flesh as I dominate Pain, a sharp sting crawling over my skin. I restrain the shriek biting at the back of my throat; my features remain indifferent, despite being isolated from the world the mask still remains. The mask that makes people believe that I am as happy as ever, the mask that makes them say, “Oh Julia, you are such a content person”, the mask that stops people raising concern because I am just the ‘same old Julia!’ The ‘I’m Fine’ mask. They see ‘happy little Julia’; besides, seeing is believing, right?

Scene 2

LUCY

I’ve been told that mirrors lie to the person in front of it, but why would something so treasured and pure lie to the innocent. No, a mirror never lies. The voices in my head never lie. The results of my actions never lie, yet the scars they leave are permanent. The feather-like lines along my knuckles, the drastic drop in my health and mental wellbeing, but the results are proving that these permanent scars are worth their while. I don’t believe that the scars are permanent, but my doctor insists, he has even given me a food chart and a weekly meal diary. He thinks that I am starving myself, pushing all my food away. But the reality is that I do eat, I binge eat everything I can, but it doesn’t stay there for long. My friends always say that they will come to the toilet with me, so they can go on and on about how Jake was staring at them during maths or whatever, and they always question me when I refuse. They are all naturally skinny, they won’t understand. No-one understands. I’ve got used to it now, the clenching of my stomach, trying desperately to cling on to whatever it can so that my body won’t starve another day; the strain in my fingers being forced lower, and my forearms bracing the toilet seat while my knees shatter on the stain-covered floor of the girls toilets. My eyes never lie to me; besides, seeing is believing, right?

Scene 3

DIANE

Fingers tingling, body numbing, breath quickening. Heart racing, skipping beats, count them, one, two three, four, five … Racing too fast, can’t keep up. Lungs collapsing under the weight. Lips quivering, tears threatening to spill; stomach churning, choking, Fear is lodged in my throat. I can never escape Fear, he always finds me. He greets me as a friend, kind compassionate; then the obsession starts, the yearning to control, manipulate, takeover, corrupt. He squeezes my limbs causing them the tingle, a sharp tingle. Sucks the oxygen from my lungs and the air surrounding me; caresses my throat with his monstrous hands and crushes it like a piece of rubbish and discards me like I’m shit. Yet, I regain composure, and return to my indifferent mask. The mask that hides the pain, the concerns, the Fear. I am no different to the way I was yesterday, so they think. I seem like the same old person I was many years ago; besides, seeing is believing, right?

Drama Lesson Fourteen

Drama Lesson Fourteen
Today was our final performance of our Children's Theatre piece 'Storybox Land'.

The performance we did today was our groups best as in terms of structure, line confidence and instructions given because had had the other performances to learn and adapt from. The placement of the spoon, bowl and cereal hadn't change much due to the children finding them rather easily. We managed to devise the changing from the dragon to the prince rather easily and didn't have to adapt it for any performances because it was the most efficient way for it to happen yet it was affective.

After the performance the afternoon before, we had finalised our placement of the spots and where the children would be lined up before following them to give Daniel his magical cereal. As well as this, we finalised the dance moves for the end when 'Shrek' is playing so that the children have some rough guide to follow so it is less overwhelming for them, we also decided to have a free-style section for the children to dance in anyway they'd like.

I felt that this performance was our groups best because we had finalised positions for certain objects and certain lines to be delivered and all this helped the flow of the piece which made it feel more natural to the actors.

Drama Lesson Thirteen

Drama Lesson Thirteen
For this performance, we have decided to adapt it so that the children would be able to understand it better. I felt that the changes that we made helped to make the stories clearer so that the children became less confused and enjoyed it more.

We decided to move the spots on the floor, which create the path over the 'lava floor' so that it is easier for the children the cross and then they are following my lead rather than jumping onto which ever ones they can reach first; it also helps they cross in a safer way due to the spots being very slippery if the children jump on then, so if they are following me then I know that it is safe for the children to cross because I have crossed it before them.

In the morning performance, we made the children line up in front of me, however, we didn't consider the position of the path when we lined the children up so I had to stop to let the children pass because otherwise I would have walked through their line and then they would have become confused. We changed this in the performance that afternoon, we placed the spots so that they created more of a straight line rather than a long winded on; we then asked them to line up infant of me, facing the start of the spots so that there would be no crossing through the line that they had created. This worked better because they followed me rather than just walking were they wanted and it was all played out very clearly so it was easy for them to follow.

Drama Lesson Twelve

Drama Lesson Twelve
We performed our first two performances to the primary schools. Before the children arrived we preset our stage for the first performance, set out props or had them ready backstage for when they were to be bought on stage for the right story, and got into costume ready for the children to arrive.

Feedback On The First Performance
I felt that in this performance, the children understood the stories and the tasks that we set for them, at times I felt that the instructions may have been unclear or have confused them. In the question and answer session after our performance, I found out that the children enjoyed find the keys in the 'Story-Stealer Story', the orange in the 'Citrus Story' and the riddles answers and Daniel's cereal (bowl, spoon and cereal) in the 'Princess and The Dragon Story'.

Feedback On The Second Performance
I felt that in this performance, the children understood the stories and the tasks we set for them. I felt that they understood the instructions that they were given better than the audience of children from the first performance; this was due to the children previous who didn't understand the instructions given so we took that into account when performing the second time. They also enjoyed searching for different things in each story; they also enjoyed it when the Story-Stealer turned good again and when Daniel turned from a Dragon to a Prince, as well as booing the bad and evil characters in the stories.