Kathakali: Narrowed Aspects

• The make up and how it is used to depict a stock character/character classification.

• The use of the orchestra to support the background of the dancing.

• The use of gestures to recite a sentence/tell a story.

Kathakali Theatre: Important Aspects

• A colourful dance-drama.

• 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)".

• Ramanattam is divided into 8 sections and is performed within 8 days.

• Royal Patronage.

• Characters are classified into five groups.

• The make up is different depending on the group.

• Categorized according to their nature.

• The classifications are Pacha, Kathi, Thadi, Kari and Minukku.

• 18 additional characters who have distinct make up.

• The dancers wear large head dresses.

• Contours of the face are extended with moulded lime.

• The style of singing is called Sopaanam.

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

Kathakali Theatre

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

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

Noh Theatre: Possible aspects for RI

7. The Noh play is acted by the protagonist (the Shite), the supporting character (Waki) and the followers (Tsure).

9. The role of the chorus is to chant the lines of the main performer in a falsetto pitch while he performs a dance.

10. The Shite wears a precious mask and a traditional brocade costume.

13. The ha section is subdivided into its own introduction, development and climax.

14. A rhythmic Kuse dance is performed as the third part of the ha. The play then ends with a lively dance.

16. Masks play an important part in Noh Theatre.

24. Scenery like objects are used on the Noh stage.

26. Scenery like objects are used to represent a mountain, a mound, a group of trees, a small shrine, a thatched hut, a cart or wagon, a boat, a well.

29. A platform is used to depict a throne, a dance stage or a bridge.

31. Hand props include: straw hats, umbrellas, fans, Buddhist rosaries, mirrors, letters, swords, daggers, drums and incense.

32. An enclosed rame is used on stage to allow actors to appear or disappear suddenly.

35. The hayashi orchestra is a four-beat "shibyoshi" orchestra, referring to a flute, a small hand drum, a large hand drum and a floor drum.

38. The present style of stage is a copy of a theatre built by the Shogyn in Edo Castle during the Tokugawa Period.

41. Performances are presented with Nature providing the lighting and sound effects.

44. The acting area is a made up of four sections: the main stage, the upstage area, the porch-like area stage left and the bridge like structure leading off at an angle on stage right.

47. The main stage protrudes out into the audience and is supported by four wooden pillars.

55. The only scenery is the back wall on which is painted a pine tree.

58. The side wall is decorated with paintings of young bamboo trees.

60. The chorus and stage assistants enter and leave through this small sliding door.

62. The performer must gauge his acting to be effective not only in heigh and width, but also in depth.

70. The shite-bashira is the actor's home base.

80. Acting on the hashi-gakari is always performed behind one or other of the pine trees. This they are very important guideposts in the staging of a Noh play.

84. The speed and rhythm of raising the curtain determine the mood and set the scene in the imagination of audience and performers.

87. In the past an official in charge of the shrine would enter the stage by these steps to announce the play.
                - 88) Servants of generals would use these steps to convey gifts.

96. Music is made up of three elements - vocal: woodwind and percussion.

97. Concrete cones with sand in the bottom are used  to create the special effect of the dancers' stamping feet.

99. Nohis is highly stylized masked music drama centred around dance as its main element.

101. All aspects are severely simplified and refined to the highest possible degree, resulting in a single concentrated effect.

104. Wake roles fall into three distinct categories - ministers, priests, common ment. The Wake is always human and never a ghost, demon god or woman.

105. The Waki does not wear makeup or mask.

106. The Shite portrays all imaginable characters including old men, gods, mighty warriors, women, ghosts and animals.

107. The actor's mask will depict thinness, disappointment, advanced age and blindness. If the character is healthy and middle-aged the Shite wears no mask.

108. When no mask is used the face is kept immobile and expressionless.

109. Humanity is concealed to reveal the pure poetic form through body and movement.

110. Noh Dance is a closed, controlled, sedate dance of the soul, closely related to the stage it is danced upon.

Research Investigation

Stages:
    HL & SL - 

• Undertake personal dramaturgical research.
• Select a specific aspect of a play or theatre piece from the chosen theatrical practice.
• Formulate a research question to answer.
• Collect, edit and present research.

    HL only - 

• Write a critique of the sources used in the research investigation.

Content & Format:

1. Presented in an essay format.
2. Supporting visual and textual material.
3. HL must write between 2,000 and 2,500 words.
4. Visual documentation and/or textual references.
5. Formal in nature.
6. Should be clearly set out as a research investigation (that is, titles, sourced and attributed).
7. Consult a range of sources.

Other:

1. Must adopt a directorial perspective.
2. Write a rationale, outline and detailed description of proposal for staging a performance.
3. Should include written work, scenarios, images, storyboards etc.
4. Appropriate visual materials.

Year Two

             As I enter year two of the IB Theatre HL course, I reflect back to when I first started last August. My whole perception on theatre and this course have changed completely. It has definitely been a reality shock for me. I was under the impression that this course would come easily to me, and although I was aware of the workload, I didn't think it would be hard succeed. However, I was completely wrong.

            This course is in no way similar to what I had initially expected. The concept of being an ensemble seemed straightforward. However, it was an extremely difficult and lengthy task. In theatre I was very naïve in terms of what was going on underneath the surface of our ensemble. I was under the impression that we all liked each other, and that although we weren’t all best friends, we were able to work together and be friendly to one another. I was completely wrong about that. There was a lot of tension and underlying drama that I was unaware of. Therefore, when the big fights began, I was extremely surprised.

            Aside from learning what a true ensemble is, what I have learned so far in IB Theatre, is that what I originally thought was good isn’t good enough. I have always put in a good amount of effort into my work. However, in order to succeed in theatre, the amount of effort one must put in needs to be above the average. I would work hard on assignments and turn them in expecting to get a 6 or a 7 and I would get a 4. I have always struggled with depth and the ability to analyze something. This has been my biggest downfall so far. However, I am starting to get better.

            The thing I have enjoyed most so far is also what I consider to have been the most challenging. The IB Theatre Showcase, Lost Luggage, although an enjoyable and rewarding experience, was extremely stressful. The time constrains and pressure that we were all under made it very difficult to process by the end of the eight weeks. There were moments when we would become counter-productive and get very snappy with each other. We had to remind each other that getting snappy and having drama wasn’t going to get us anywhere, considering the whole point of the eight weeks was to become an ensemble, not to destroy all relationships within the ensemble.

            This year I am looking forward to the independent project. I probably won’t end up devising, but I am considering researching a style of theatre. I am excited to pick something that interests me and create something based on it. I have considered researching stage make up or costumes. I thought that it might be cool if I chose make up, to research traditional stage make up from different cultures, and then test them out on different members of the ensemble. I would then display them during the showcase.

            For the final year of IB Theatre, I am most apprehensive about all of the assessments. Last year coming into the course, I wasn’t as nervous because I thought I could easily get good grades because it’s work that I enjoy. However, I quickly learned that despite enjoying the work I was doing, good grades in theatre are difficult to come by. There are a lot of skills required, such as the ability to analyze and go in depth about something. This year, I am scared that what I think is good work won’t be good enough to get the grades that I aim for.           

           

            Over the past year in IB Theatre, our ensemble has covered many of the core component requirements. We have covered text-based and non text-based studies such as our unit on Commedia dell’Arte and the Theatre vs. Oppression work we did with Jennifer Hartley etc. We have also studied isms such as Feminism, Dadaism, Realism etc. Another key component we have covered has been taking on different production roles. A lot of emphasis has been put on the roles within a production, aside from the performers. I was a performer in “Beauty in the Beast” and I helped a bit with make up in “Alice in Wonderland”. This year I hope to be a performer in “Avenue Q”, and then assistant direct the Middle School Production of “Snow”.

            After completing the first year of IB Theatre, I think that the nature/purpose of theatre is not just for audience enjoyment, but also for oneself. Theatre gives you the chance to explore a different person and a different persons perspective. You dive into a different world for a few hours. It is relieving for those people who find that they might need an escape. The audience too can find a relief from watching theatre. If the actors do their job well, they should be creating an alternate world for the audience members to immerse themselves within. The purpose is to ultimately make it as beneficial of a experience for the audience members, as it is for the actors, and visa versa.

            Any student who aspires to do well would ultimately want the best possible grade. Therefore, ultimately, I would obviously want a 7 in theatre. However, I feel like that would be a bit over my head. I ended up with a 5 last year and I understand why that it is. Like I said previously, the standards for this course are above the average. Therefore, extra effort has to be put in in order to succeed. However, I don’t want to end up with a 5 in IB Theatre. Although a 5 is a good grade, I would be thrilled if I got a 6. I mean a 7 would be amazing, but I would be very happy receiving a 6.

            To conclude, I enter year two of IB Theatre finding myself more prepared in terms of what lies ahead. I understand that the average isn’t going to get me more than a 4, and I am extremely motivated to get a 6 by the end of the course. This is going to require a lot of practice in depth and analysis.