Unit 1: Beginnings

ADA20Y Ms. Lillie

CREATING AN ENSEMBLE
Did you know that: Mark Zuckerberg worked with a team of classmates to create Facebook? Steve Jobs assembled a workforce of nearly 1000 to create the first iPhone? The writing team of The Simpsons consists of more than a dozen writers? Truly creative and exciting discoveries come through collaboration. In a collaborative environment, people share ideas and leadership tasks, and they work toward a common goal. In a drama classroom, students work in pairs, in small groups, and sometimes as a whole class to solve creative challenges. When actors and performers of all types work together toward an artistic goal, they are part of an ensemble. Although ensemble work can be challenging, the contributions that are made by each individual ensure that they creations are innovative and original.
As you navigate through the rest of your life, be open to collaboration. Other people and other peoples ideas are often better than your own. Find a group of people who challenge and inspire you, spend a lot of time with them, and it will change your life. Amy Poehler, ensemble member of Saturday Night Live from 2001 to 2008

Can you identify the three acting ensembles below? What other acting ensembles can you think of?

Focus Questions: What must each individual bring to the collaborative process? Why does the creative work of both the individual and the group need the support of an effective ensemble? How does effective collaboration influence the individuals in the group and shape the work? How might the values of ensemble work and collaboration push creative exploration in new directions?
Adapted from Drama Works by Kirsty Cunningham Irvine, Joe Tirone, Cameron Ferguson, Carolee Mason (p. 2 -3)

INDIVIDUAL SKILLS
Students working in an ensemble have a responsibility to bring certain individual skills to the group to ensure a smooth and effective working environment. The following characteristics are among the necessary ingredients for effective, successful ensemble work: Self awareness Openness to ideas Sense of responsibility Strong listening skills Respect for one another Willingness to help others The roles described below are traditionally found in an ensemble. There can be a duplication of any of these roles in an ensemble. Most likely, you will play a variety of these roles during your career as a drama student. Player Leader A member of the ensemble who listens, does what is expected of him/her by other group members A member of the ensemble who tends to take charge. Two characteristics of positive leaders are that they listen to all group members and help the group stay focused on the task. Two characteristics of negative leaders are that they tend to take over activities without giving others the opportunity to speak or do not integrate the ideas of the whole group. A member of the ensemble whose strength is being able to envision the aesthetics of the drama work. For example, a designer might contribute creative ideas about sets and costumes. A member of the ensemble who blocks, rather than contributes to, the progress of the rest of the group. A naysayer will focus on how difficult an aspect of the ensembles goal is, or find fault in the idea A member of the ensemble who is a strong communicator and who helps the ensemble develop and articulate ideas. A soundboard responds positively to an idea and helps develop it by asking questions such as What if we...? or Wouldnt it be interesting if...? A member of the ensemble who is strength is organization. Tasks a stage manager takes on might include recording ideas, creating a rehearsal schedule and helping the group focus by prioritizing steps and creating timelines.

Designer Naysayer

Soundboard

Stage Manager

REHEARSAL SKILLS
Drama students spend a lot of time rehearsing. There are several different types of rehearsals and each one has a specific purpose. Your first rehearsals will probably include discussions regarding roles, relationships, theme, plot, tone, etc. Then you will be ready to rehearse the work that you are choosing to commit to. An acting ensemble will use a variety of rehearsal types to polish its final performance. You can help ensure a successful rehearsal by following these guidelines: Establish the W5. Who, what, where, when, why be specific! Be on your feet. While discussion is important, greater discoveries come from exploring your ideas actively. Do not use your time as an ensemble to work on something that you could do individually. Tasks such as memorizing your lines and preparing for a character can be completed outside of ensemble rehearsal time. Establish the 4th Wall and play to it. Dont rehearse in a circle. Dont rehearse to repeat; rehearse to improve. Clearly identify new goals at the outset of each rehearsal. Always be an active member in rehearsals. Provide feedback, sketch the stage design, and/or prepare for the next step in rehearsals. Dont watch others or wander around playing with other props or visiting. TIP: You are responsible for recording your own blocking.

Always work with a log or journal. Record your inspirations and important ensemble choices, such as stage design, blocking, costume choices, props and music that could be easily forgotten.

Types of Rehearsals Used to Polish a Performance: Blocking To make choices about the physical action on stage, including entrances, exits, placement of actors, and placement of props and set pieces. Before you can create your blocking plan, you will need to be familiar with the type of stage that you are working on and with the short forms that are used to indicate the nine playing areas of a stage. The four most common types of stages, along with a grid showing the nine main playing areas are shown in Figures C and D. To review and refine established blocking and character work. The bulk of the rehearsal process consists of run-throughs. To rehearse technical cues, transitions, scene changes, entrances and exits. To complete a final run-through of the performance, with full technical, costume, makeup and prop elements. To help actors solidify their lines. In this rehearsal, actors go through the entire performance saying only their lines rapidly; there is no movement or interaction with their scene work. To rehearse the cues associated with lights, sound equipment, and other technical aspects. Only those operating the technical equipment participate; there are no actors present. A dry tech rehearsal is sometimes called a closed tech rehearsal.

Run-Through Cue to Cue Dress Rehearsal Italian Dry Tech

NOTE: Expressions that Ms. Lillie does not want to hear in rehearsal: 1. This is stupid or I feel dumb 2. How are we supposed to do that? 3. Cant we have a different group? 4. Weve already finished rehearsing. 5. Were just talking. (Never leave your rehearsal group)
Adapted from Drama Works by Kirsty Cunningham Irvine, Joe Tirone, Cameron Ferguson, Carolee Mason (p. 6-7)