IGCSE Drama (0411) builds on the performance process and the "how to devise original work" tenets established in Honors Actors Lab and Outreach (HALO) and Theatre Studies coursework. IGCSE Drama (0411) emphasizes and assesses the dramatic process as well as the final performance product. In addition to exploring the how and why facets of theatre, IGCSE Drama students widen their contextual understanding, augment their performance intention skills, devise original dramatic material, and strengthen their concepts of artistic evaluation and the practical application of technical theatre models.
Here are some of the IGCSE Drama students' observations.
How could the
application of contrasts (such as movement/stillness, sound/silence,
light/darkness etc.) add interest to the final scene in A Doll’s House?
The final scene in "A
Doll’s House" provides readers with one of the most interesting scenes,
relationship wise, in theater history. The story not only promotes humanism,
but provides hope to feminists, despite it not being the original purpose. True
contrast and difference between the opposing characters drives the final
argument, and can be further represented in various technical aspects.
Movement and proxemics is a clear indicator of contrast not
only in theatre, but in everyday observance. This then provides the naked,
untrained eye of an audience member a clear divide between two opposing
characters in a way they can understand. . . Another way of showing contrast is
through lighting. Visuals are a large part of human learning and understanding
of content. Therefore, when an audience is provided a strong visual to
represent a tone or mood, it can also clearly establish a divide between
characters. I would flood center stage with light, generally forming a box
space around where Helmer is sitting, and provide Nora with her own spotlight.
This shows that she is in control of where she goes, and is no longer trapped
in a literal box. The rest of the stage would be pitch black, to emphasize the
singular importance of the characters, and nothing around them. - Carly
How does the role of
Stage Manager differ from the “narrators” portrayed in The Diary of Anne Frank
and in The Glass Menagerie?
The Stage Manager from "Our
Town" is vastly different from both Tom and Anne because while they’re telling
their stories the Stage Manager controls his play. Anne, from "The Diary of Anne Frank," has no control over what will happen. She
doesn’t know what is going to happen. She is just narrating her story from her
day to day life. Though Tom, from "The
Glass Menagerie," knows what is going to happen, because this is his memory
and there is no changing what has already happened, he has no control. This is
a change from Stage Manager because he seems to be an omnipotent being who
happens to be watching the story and interacting within it. - Gia
What would be your
inspiration as the costume designer for Antigone? What era would you select and
why?
If I were to do the costume design for "Antigone" I would set it in the Ancient Greek times. This is the original time
period of the play. The costumes should go back to the root of the play and to where it all
began. I think that using the Grecian clothing gives the story a lot of depth.
I would have Antigone wear the stala dress in brown. It is a classic Grecian
outfit and it fits with Antigone’s character. This style isn’t over the top as
it is said she does not wear expensive clothing. It is also shorter and lighter
which gives her room for movement. For Ismene, there would be a peplus - in
pink. The peplus is a long dress with much detail on it. I feel that it shows a
higher class air which is very Ismene. The chiton would be for Antigone and
Ismene’s nurse. She is an older woman who works for Antigone and Ismene. She
wouldn’t have the most expensive or revealing clothing which is what I believe
the chiton to be. Creon would wear expensive clothing made of purples with gold
coins chains and tassels. Purple was very hard to get. Only people with money
wore it and it is usually connected with kings. Finally, the guards would wear
silver armor with red under the armor.- Gia
The inspiration of my costumes for Jean Anouilh’s "Antigone" would be dark common 1940s fashion trends. I would choose the era of the 1940s because that is when the play was originally released,
and was also the time of WW2. It is important that this was the time of WW2 because this play’s main theme is the resistance of the enemy, a theme also seen throughout this time period and the war. The three main costumes to be discussed in relation to the inspiration and the play will be those of Antigone, Ismene and Creon, as I feel those characters can be portrayed with the most creativity. Antigone’s costume would be very bland. Her materials do not mean much to her, compared to the pretty Ismene and royal Creon. She would be wearing a black dress with a scoop neck and simple collar. She would not have shoes on, to show that she does not wish to conform to the rules, and she can do as she pleases. Her legs would be bare, and her hair tied up so that it cannot obstruct her face whatsoever. Antigone has nothing to hide, and should therefore have nothing there to hide her. This could be done by tying the actress’s hair back into a slick ponytail, low enough so it does not swing at anybody in a scene involving movement. Ismene’s costume on the other hand, would be bright and beautiful. She may potentially wear a pink, yellow or green dress, as a direct reference to Antigone’s line, “Now, you wouldn’t recognize it. It’s like a postcard, all pink and green and yellow. You’ll have to get up earlier, if you want to see a world without color.” Her dress may have a low neck, showing skin and promoting her apparent complicit and flirtatious nature. She may have black heels and a ribbon tied in her hair, common of those in the 1940s. Her hair must not be in her face as Antigone’s, as her character should not be interpreted as free-flowing and carefree. Although she is flirtatious, Ismene sticks to the rules and is very sharp. Her hair may be tied up. Another element you could incorporate would be gloves, to show the cleanliness of her hands, similar to her wanted appearance of the cleanliness of her sins. Later, when she re-enters to join Antigone, her hands may be bare, and she may present them to Creon, showing her newfound sin. The final costume is that of Creon’s. Creon shall be costumed as a normal business man in the 1940’s. He may have some boisterous accessories on him such as a nice fedora, or colorful tie. This shall not be taken to the point of his character being viewed as flamboyant in comparison to him just acting lordly. Though this may pertain more to the properties department, I find it suiting that Creon has a cigarette that he carries and lights in the middle of one of his long paragraphs in which Antigone is simply nodding her head to.
These
costuming choices are made to draw parallels between the time period in which
it was released and the time period Jean Anouilh’s original production was to
be set in. It draws parallels between mythological Greek kings and modern-day
politicians, putting their unforeseen similar characteristics on display. This
makes a statement to the audience that they may consider, therefore
strengthening the piece as an Art for Change. - Carly
Words have power. If they are pieced together in a play, they begin to
get energy. You can bring sadness and joy through words. You can sway views and even start the fall of
a leader. This is shown in "Antigone" when
she talks about “the thing catching.” While she wasn’t physically strong enough
to change her fate, her words had power - so much power - that Creon wanted - needed - to silence her and keep her from spreading her power. Words out in the
world may not immediately cause change, but they sit and fester until they
finally burst free and make a difference. - Gia
Upcoming Theatrical Events
Wednesday, January 17th - On-site Outreach Event - Improvisational Theatre & Robotics
Friday, January 19th - School-Wide Field Trip to see production of Romeo & Juliet
Wednesday, January 24th - POL Coaching Sessions
Wednesday, January 24th - HYSA Thespian Society Meeting
Friday, January 26th - Final Tier of HYSA's Sixth Annual Poetry Out Loud Competition
Wednesday, January 31st - IGCSE Drama Coursework Recording Session One
Wednesday, January 31st - HYSA Thespian Society Meeting
Saturday, February 3rd - SparkySLAM Event
Friday, February 9th - Performance Outreach Event
