Award-winning playwright, drama teacher, writer, publisher. Author of the infamous Harry Rings, Lord of the Potters, and other plays...
How do you assess a practical, artistic subject like drama? This free article on the Arts On The Move website gives you some pointers...
Drama teachers - what would the ideal KS5 qualification in drama and theatre look like to you? For me it would be —- A FREE CHOICE OF ANY PLAY FOR PERFORMANCE/DIRECTION/DESIGN - a minimum suggested time but no penalties for going over or under. Assessed on the basis of collaborative realisation of the story. Externally assessed A FANTASY PRODUCTION PITCH FOR A REVIVAL - a written document that re-imagines a classic text for a contemporary audience - written as if to a producer with a detailed breakdown of the rationale behind the revival. Written as a document, or recorded. A PRACTITIONER WORKSHOP - students explore the work of many theatre artists, select one and lead a workshop day with the year below on their preferred practitioner. They will show leadership and have to guide others to realise a piece of work at the end of the day. Internally assessed (Workshop filmed). No written work (preparation required but not assessed) CRITIQUE OF PROFESSIONAL WORK Students go to see two productions. They then debate the merits of each under controlled conditions. A viva-style assessment.
Irrfan Khan and Manoj Bajpayee’s influence as a child led me to start theatre. I was involved in doing theatre at inter-school competitions. However, I was not satisfied. Because I was winning Best Actor awards at those competitions but I knew I was not the best. As a result, I was admitted into a college that was reputed for its theatre – D.G RUPAREL COLLEGE. For 5 years, I rigorously did theatre. Our rehearsals used to start at 7 am and end at 9 pm almost every day. By the end of my graduation, I was a much better actor. I felt it. However, I did not realize that while I was genuinely striving to become a better actor, I lost my contacts in the film industry. Several people who contacted me during these years were either ignored or were greeted with mediocre tests. People in the industry lost faith in me and I had to pay for it. I fell to the ground faster than I had climbed the peak. While rebuilding and during the lockdown, I learned a great lesson. The industry requires connections. Either you belong to a family from the industry or you should know how to sell yourself. You need to have people who will stand for you if you desire to sustain in the industry. Also, while working as a non-fiction writer, I understood that the competition is fierce. Some people are dying for work. You quote Rs. 15,000 for a 3-minute script and somebody is doing it for Rs. 5000. Either you cut down your rate or you provide something extraordinary. The client should either get the project for a lesser amount or they should receive something out-of-the-box.
Theatre artists, this question is for you!🎭 Why do monologues feel like scaling Mount Everest for so many actors? Monologues have a unique place in the world of theatre. They offer actors a rare opportunity to showcase their talents, to delve deep into a character’s psyche, and to engage the audience on a deeply personal level. Yet, despite the apparent simplicity of a single actor delivering lines, pulling off a monologue can be incredibly challenging. As someone who has spent considerable time both on stage and behind the scenes, I often ponder why so many actors struggle with monologues. Is it the pressure of being alone in the spotlight? Is it the complexity of sustaining emotional truth without the give-and-take of scene partners? Or perhaps it’s the challenge of maintaining the audience’s engagement through a lengthy piece of text? I’d like to extend this discussion to my fellow theatre practitioners here on LinkedIn. What do you think makes monologues so difficult to pull off successfully? How do you coach actors to find the depth and nuance required to deliver a monologue with true meaning and emotion? Your thoughts and experiences are invaluable, and I look forward to a rich discussion. . . . . . #discussion #theatre #practitioners #educators #monologues #actor #theatreeducation #drama #speech #acting #coaching #selfdevelopment #linkedinpost #comment #thoughts #experience
Kitchen sink drama, a term originating in post-war Britain, refers to a genre of theatre, film, and literature that focuses on the domestic lives of working-class people, often highlighting social and political issues. This form of realism emerged in the late 1950s and early 1960s, characterised by its gritty portrayal of everyday life, authentic dialogue, and a focus on the mundane aspects of existence. ...READ MORE #english #englishclasses #englishteacher #englishlanguage #englishlearning
What's the difference between stage drama and life drama ? In a stage drama or movie everyone knows that it is a drama and s(he) is only a character howsoever bad or good. But in the life drama no one (except few) knows that it is also a drama and everyone is acting as per conditioning of the mind-body. Why do we forget that life is also a drama ? Because life drama is too long to give us a break like we get after coming out of the theatre. Also because we get too much identified or involved with our character either because we like it or hate it. How to avoid this identification with our character in the life drama ? By remaining aware of it by seeing it through and through again and again. By noticing recognising THAT which always remains behind after whatever our character has done or is doing. THAT is our changeless nature aka Awareness or Bodh which is similar to an onlooker a witness a silent spectator of the life drama. This knowing this recognition this seeing is just difficult but very much possible.
Hi, as many people already knowam trying to develop theatre based workshops for Neurodivegent young people, this is in very early development I am just wondering is there any types of theatre based workshops already out there in the world or in the UK that are led by Neurodivgent or disabled people if so who and if not why isnt there ? - Any help would be appreitced as am seeing if there is a gap in the theatre market for like spoken word/story telling workshops
My latest theater review!
A great viewpoint from this teacher about the importance of theatre education. You can read the full article here: https://lnkd.in/dRKSCtce
