PPP - Section 3: The Report

• A chance to explain things more in depth.
• Should not be an explanation of section 3.
• Philosophical (theories)
• Social
• Historical (society of historical events) (Princess Diana. Show understanding and how it's been used.)
• Traditional influence (theatre practices)
• Show understanding. How have they been used? What are the affects?
• Everything must be supported by research.

Understanding, Integration, Practical Affects

(Work cited for whole PPP, but a separate work cited for section 3)

PPP - Section 1: The Pitch

250 Word Max

Should include:

• Motivation for the performance.
• Aim for the performance.
• Description of the performance concept.
• A justified identification of the target audience.
• Elements of the performance which the student considers would excite and inspire them and an audience.
• Themes

Writing style:

• Concise.
• Dynamic.
• Language that demonstrates and understanding of theatrical production and processes and performance conventions.

Coherence and form:

• A justified outline of a concept for the performance, which communicates the dramatic impact of said performance.
• A description of how the production elements used, interrelate to convey said performance concept.

IP: Rehearsal Schedule

Independent Project - Calendar

November 6th - IP Calendar Due

November 10th - Finish reading The Tempest

November 11th - Finish watching The Tempest

November 12th - Have a scene picked from The Tempest

November 13th - Talk to Leila

November 15th - Create a rehearsal calendar and give it to Leila

November 26th - IP Journal Due

November 27th - Have the piece choreographed

December 3rd - Begin rehearsing with Leila

December 7th - IP Journal Due

January 3rd - IP Individual Meetings

January 7th - IP Individual Meetings

January 8th - Have the piece finished

January 10th - IP Production Meeting

January 14th-18th - IP Tech Week

January 18th - IP Showcase

Towards a Performance

*The ability to interpret something. How we frame something in theatre to allow the audience to look for meaning within it.*

1. Raw Materials (devising)

2. Shaping (performance concept)

Practice: 
        Kathakali Theatre


Play: 
        The Progency of Krishna by Mandavappalli Ittiraricha Menon


Aspects of Practice:

• Based on themes from Hindu mythology (the Ramayana and the Mahabharata).

• Elaborate make up code.

• A highly developed language of gesture, through which the artist can convey whole sentences and stories.

• Included five elements of "fine arts": natyam (expression), nrithyam (dance), mudras (enactment), geetha (song) and vadyam (instrumental accompaniment).

• "The training and body language were influenced by the techniques of Kalarippayattu (a martial art)".

• Royal Patronage.

• Characters are classified into five groups (Pacha, Kathi, Thadi, Kari and Minukku)

• The make up is different depending on the group.

• Categorized according to their nature.

• 18 additional characters who have distinct make up.

• The dancers wear large head dresses.

• The style of singing is called Sopaanam.

• The orchestra provides the background to the dancing and serves as a highly expressive special effects team.

Aspects of Play:

• Hindu Mythology

• Royal Patronage

• Character Classification (nature, make up etc.)

Possible Focus:

• Hindi Mythology (Scenes 6-11)

• Royal Patronage (Scene 1)

Possible Research Question:

• How is Hindi Mythology used to create a more relatable and understandable circumstance in Scenes 9-11 of The Progency of Krishna by Mandavappalli Ittiraricha Menon?

Kathakali Theatre - My Sources

Websites:

http://www.indiavideo.org/kathakali/

http://www.artindia.net/kathakali.html

http://library.thinkquest.org/C006203/cgi-bin/stories.cgi?article=mc&section=dance/classical/kathakali&frame=parent

http://www.saigan.com/heritage/dance/dhan5.htm

http://ccrtindia.gov.in/kathakali.php

Books:

Kathakali: The Art of the Non-worldly – D. Appukuttan Nair, K. Ayyappa Paniker

Kathakali – Sadanam Balakrishnan

Kathakali dance-drama – Phillip b. Zarrilli