Drama
Explorative strategies
Your drama practical work and Documentary Response will require you to demonstrate a variety of explorative strategies [explorative strategies: Eight individual techniques used in drama work to explore the possibilities of the drama. ] to show that you have fully explored the character, scene or stimuli you've been working on.
This Revision Bite will define the eight explorative strategies you should know.
Video examples of each explorative strategy can be found on each page of this Revision Bite.
Here are some ways to create a still image:
Just like a photograph, a still image can be examined closely, and the audience can note body language [body language: The non-verbal way in which a person communicates their physical and mental state through using facial expressions, gesture and posture ], facial expressions or proxemics [proxemics: The distance between two interacting individuals ] to give clues as to the situation or the people within the situation at that moment.
Watch the video example by clicking on the link opposite.
Note: this link will open in a new browser window.
Thought-tracking helps inform an audience about a character. You see it in action when:
Sometimes in daily life we would like to know what someone thinks at important moments. We really want to know how people have been affected by a situation. When we know more of what they are feeling, we understand them better. In drama, too, when we know more of what a character thinks or feels, the drama is deepened and the audience becomes more involved.
Watch the video example by clicking on the link opposite.
Note: this link will open in a new browser window.
Narrating is what you do when you're giving a spoken commentary on the action taking place during a drama. It's a useful technique when you want to inform the audience of what is happening.
Narrating can make a drama more understandable or stylised in a number of ways:
Watch the video example by clicking on the link opposite.
Note: this link will open in a new browser window.
Role-play is what you do when you're pretending to be another person and using your imagination to speak, think and even feel like that character.
If you don't pretend to be someone else while acting in a drama, then the audience will see only 'you' and not the character you are meant to be portraying. They will only see 'you' in the situations that are described. If you make the role-play realistic and believable, then the audience will be more likely to 'suspend their disbelief' (forget that they're watching a drama, and feel personally involved).
Watch the video example by clicking on the link.
Note: this link will open in a new browser window.
Cross-cutting is what you do after you've created a series of scenes or sequences, and you re-order them to create a drama that goes forwards and backwards in time.
Sometimes a drama that starts and carries on in a linear [linear: To follow a series of events in real-time without the use of flash-backs or flash-forwards ] manner can be too predictable, which makes it boring to watch. With cross-cutting we can show the moment when something important happened in the past (using a flash-back), or we can move the drama forward in time (using a flash-forward). In this way the action can be broken up to enhance tension or the narrative.
NB - the cross-cutting video example can be found on the next page, with the hot-seating video.
Hot-seating is a way of developing (or deepening) character. If you are in the hot-seat you answer questions from others in the group while you are 'in role'.
The characters will seem more realistic if you feel you really 'know' them. It is easier to be spontaneous and believable if you have carefully explored a character in your drama during the hot-seating process.
Watch the video example by clicking on the link.
Note: this link will open in a new browser window.
Forum theatre is a technique you can use while acting out a scene. The group watching is encouraged to stop the action when they think it necessary, to suggest a different action. At other times, the actors themselves can stop the action, and ask for help. Sometimes someone else can step in and take over a role - or even introduce a new one.
Sometimes it is hard, when devising drama, to imagine what a character might do or say at a particular moment. If you stop the drama when in role, and ask for help from your group, someone will probably give you a good idea of what to do or say next. They might also offer to take over the role to try out their idea - or even join the scene as another character altogether, to take things in a new direction.
Watch the video example by clicking on the link.
Note: this link will open in a new browser window.
Marking the moment can happen when a scene has been created, and the group decides it's a significant moment in the drama, and they want to show this in some way.
At times things happen in a scene very quickly - and yet we know these moments can change the whole direction of a drama. This is when something is needed to emphasize the moment.
Watch the video example by clicking on the link opposite.
Note: this link will open in a new browser window.