Running Head: THEATRE TECHNIQUES PORTFOLIO 1

THEATRE TECNIQUES PORTFOLIO 5

Portfolio of work done during Theatre Techniques courseTaneisha Malcolm #1208936International University of the Caribbean(VAP412) Theatre TechniquesDecember 7, 2015.Rev. Michael Reckord

Table of Contents Title Page Number Introduction5History of Theatre6Origin of Theatre7Western Theatre 9Origin of Jamaican Theatre12William Shakespeare 14Shakespeares Life and Family 15Shakespeares History Plays17Shakespeares Tragedies 18Shakespeares Comedies19Class Notes2112 Point Plotting Recipe22What is Literature?23Why do we Study Drama?25Floor Plan 26Structure of a Play27Components of a Play28Elements of a Production30Jamaican Playwrights 31Jamaican Producers35Components of a Critique 39Critique on Play The Baby Scam 40Program for Play Baby Scam43

Script based on a Joke47Questions to be asked when doing a Story Outline 50Story Outline51Scene by Scene Breakdown of Play Batten Down the Roof52Essays54Theatre Spaces 55Roles and Functions of the Playwright 60Roles and Functions of a Stage Director 61Roles and Functions of a Producer 63Roles and Functions of a Director 65

IntroductionTheatre is a wonderful form of art where you can pretend to be anyone you want to be and to act as that character before an audience. However, there is much more to theatre than simply acting out a character on stage. There are important techniques that are central to theatre.Theatre techniquesare procedures that facilitate a successful presentation of a play. They also include any practices that advance and enhance the understanding the audience brings to the action and the acting by the cast on stage.

Origin of TheatreLittle information about theorigin of theatrehas survived. The information we do have comes from wall paintings, decorations, artifacts, and hieroglyphics that show the importance of successful hunts, seasonal changes, life cycles, and stories of the gods. From these we see the necessity of passing along the experiences of the old to the young through art, storytelling, and dramatizing events. This practice gave the youth of a culture a guide and a plan for their own lives.Theatre emerged frommyth, ritual, and ceremony. Early societies perceived connections between certain actions performed by the group and the desired results of the whole society. These actions moved from habit, to tradition, and then on to ceremony and ritual. The formulation of these actions, and the consequent repetition and rehearsal, broke the ground for theatre.These rituals are accompanied by myths. The myths enter the storytelling tradition, gaining a life beyond the original rites. This new life allows the myths to move towards entertainment and the esthetic. These stories now are performed for their own sake and move towards theatre.Through these rituals, leaders, or actors of sorts, emerged. These acting/leadership roles were often filled by elders and priests. In addition, the beginnings of acting spaces or auditoriums developed as a result of more elaborate rituals.According to the historians Oscar Brockett and Franklin Hildy, rituals typically include elements that entertain or give pleasure, such ascostumesandmasksas well as skilled performers. As societies grew more complex, these spectacular elements began to be acted out under non-ritualistic conditions. As this occurred, the first steps towards theatre as an autonomous activity were being taken.The earliest example of ceremony and ritual evolving towards theatre comes from ancient Egypt. "Pyramid texts" dating from 2800 to 2400 B.C., contain dramas sending the dead pharaoh off to the underworld. There is also the Memphite Drama, recounting the story of the death and resurrection of the god Osiris, and the coronation of his son Horus. The most important Egyptian drama, though, was the Abydos passion play. Like the Memphite drama, the Abydos passion play concerns the story of Osiris. The paramount Egyptian myth, this drama was enacted at the most sacred place in Egypt, Abydos- the burial site of Osiris. Performed annually from 2500 to 550 B.C. and full of spectacle, this passion play is the first of its kind ever recorded and is the first example of theatre.

Aristotle, in hisPoeticsdefined theatre in contrast to the performances ofsacred mysteries: theatre did not require the spectator to fast, drink thekykeon, or march in a procession; however theatre did resemble the sacred mysteries in the sense that it brought purification and healing to the spectator by means of a vision, thetheama. The physical location of such performances was accordingly namedtheatron.

Origin of Western TheatreThe Western theatre, commonly known as the Greek theatre, mostly developed in Athens and is the root of the Western tradition; theatre is in origin a Greek word. It was part of a broader culture of theatricality and performance in classical Greece that included festivals, religious rituals, politics, law, athletics and gymnastics, music, poetry, weddings, funerals, and symposia. Participation in the city-state's many festivals and attendance at the City Dionysia as an audience member (or even as a participant in the theatrical productions) in particular was an important part of citizenship. Civic participation also involved the evaluation of the rhetoric of orators evidenced in performances in the law-court or political assembly, both of which were understood as analogous to the theatre and increasingly came to absorb its dramatic vocabulary. The theatre of ancient Greece consisted of three types of drama: tragedy, comedy, and the satyr play. The Greek theatre history began with festivals honouring their gods. A god, Dionysus, was honoured with a festival called by "City Dionysia". In Athens, during this festival, men used to perform songs to welcome Dionysus. Plays were only presented at City Dionysia festival. Athens was the main centre for these theatrical traditions. Athenians spread these festivals to its numerous allies in order to promote a common identity. At the early Greek festivals, the actors, directors, and dramatists were all the same person. After some time, only three actors were allowed to perform in each play. Later few non-speaking roles were allowed to perform on-stage. Due to limited number of actors allowed on-stage, the chorus evolved into a very active part of Greek theatre. Music was often played during the chorus' delivery of its lines.Tragedy and comedy were viewed as completely separate genres. Satyr plays dealt with the mythological subject in comic manner. Aristotle's Poetics sets out a thesis about the perfect structure for tragedy.Thespis is considered to be the first Greek "actor" and originator of tragedy (which means "goat song", perhaps referring to goats sacrificed to Dionysus before performances, or to goat-skins worn by the performers.) However, his importance is disputed, and Thespis is sometimes listed as late as sixteenth in the chronological order of Greek tragedians. Other well-known Greek tragedy playwrights of the fifth century are Sophocles, Euripides and Aeschylus.Aristotle's Poetics contain the earliest known theory about the origins of Greek theatre. He says that tragedy evolved from dithyrambs, songs sung in praise of Dionysus at the Dionysia each year. The dithyrambs may have begun as frenzied improvisations but in the 600s BC, the poet Arion is credited with developing the dithyramb into a formalized narrative sung by a chorus. Comedy was also an important part of ancient Greek theatre. Comedy plays were derived from imitation; there are no traces of its origin. Aristophanes wrote most of the comedy plays. Out of these 11 plays survived - Lysistrata, a humorous tale about a strong woman who leads a female coalition to end war in Greece. Theatre buildings were called a theatron. The theatres were large, open-air structures constructed on the slopes of hills. They consisted of three main elements: the orchestra, the skene, and the audience. A large circular or rectangular area at the centre part of the theatre, where the play, dance, religious rites, acting used to take place. A large rectangular building situated behind the orchestra, used as a backstage. Actors could change their costumes and masks. Earlier the skene was a tent or hut, later it became a permanent stone structure. These structures were sometimes painted to serve as backdrops. Rising from the circle of the orchestra was the audience. The theatres were originally built on a very large scale to accommodate the large number of people on stage, as well as the large number of people in the audience, up to fourteen thousand. The cast of a Greek play in the Dionysia was comprised of amateurs, not professionals (all male). Ancient Greek actors had to gesture grandly so that the entire audience could see and hear the story. However most Greek theatres were cleverly constructed to transmit even the smallest sound to any seat. The actors were so far away from the audience that without the aid of exaggerated costumes and masks. The masks were made of linen or cork, so none have survived. Tragic masks carried mournful or pained expressions, while comic masks were smiling or leering. The shape of the mask amplified the actor's voice, making his words easier for the audience to hear.

Theatron

Origin of Jamaican TheatreWith the abolition of slavery a Jamaican theatrical style began to emerge, with public performances which blended music, drama and comedy. It took several years however for a true Jamaican theatre style to fully develop and it was not until 1941 that Greta Fowler founded the Little Theatre Movement (LTM) with the mission of fostering and developing drama in Jamaica. During this period Pantomime plays were staged at various locations across Kingston with no real home. It was not until 1961 that the LTM officially opened on Tom Redcam Drive, where it still stands today. The first Pantomime production by the LTM was Jack and the Beanstalk 1941- 42, since that first Pantomime play 68 years ago the pantomime has never closed its doors and has not failed to produce stellar performances thrilling audiences year after year.Many writers and actors have graced the stage of the LTM with their creations and artistic abilities. One of the most outstanding among these is Louise Bennett-Coverly Miss Lou. In 1943 Miss Lou appeared in her first Pantomime, after that initial appearance Miss Lou not only performed in Pantomimes productions but also wrote plays and songs. She was instrumental in bringing that distinct Jamaican flavour to Pantomimes drawing on her knowledge of Jamaican folkore and expressions to create memorable pieces. Perhaps her most endearing and enduring contribution to Pantomime is the song Evening Time which has become a main staple of Jamaican folk music. The song Evening Time was originally written for the play Bluebeard and Brer Anancy 1949/50. Miss Lou has not only written plays but has also published songs, short stories and poems. Her works are comedic in nature but are also instruments for making social commentaries.It would be remiss to mention Miss Lou and not Maas Ran for they were a celebrated duo. Randolph Samuel Williams (Maas Ran) was born in Colon Panama in 1912 and is better known in Jamaica as Ranny Williams or Maas Ran. Described by the Little Theatre Movement as a dramatist and comedian Ranny Williams began acting as a child, he has appeared in 29 Pantomimes and wrote two. Ranny Williams died on August 11, 1980. To date at least one establishment has been named for him, the Ranny Williams Entertainment Centre. Maas Ran and Miss Lou worked on several pantomimes together and co-wrote Queenies Daughter which was so successful that it was revived by the Little Theatre Movement twice. Maas Ranny hosted The Ranny Williams show and has worked on over six films.

Life and Family of William ShakespeareWithin the class system of Elizabethan England, William Shakespeare did not seem destined for greatness. He was not born into a family of nobility or significant wealth. He did not continue his formal education at university, nor did he come under the mentorship of a senior artist, nor did he marry into wealth or prestige. His talent as an actor seems to have been modest, since he is not known for starring roles. His success as a playwright depended in part upon royal patronage. Yet in spite of these limitations, Shakespeare is now the most performed and read playwright in the world.Born to John Shakespeare, a glove maker and tradesman, and Mary Arden, the daughter of an affluent farmer, William Shakespeare was baptized on April 26, 1564, in Stratford-upon-Avon. At that time, infants were baptized three days after their birth, thus scholars believe that Shakespeare was born on April 23, the same day on which he died at age 52. As the third of eight children, young William grew up in this small town 100 miles northwest of London, far from the cultural and courtly center of England.Shakespeare attended the local grammar school, King's New School, where the curriculum would have stressed a classical education of Greek mythology, Roman comedy, ancient history, rhetoric, grammar, Latin, and possibly Greek. Throughout his childhood, Shakespeare's father struggled with serious financial debt. Therefore, unlike his fellow playwright Christopher Marlowe, he did not attend university. Rather, in 1582 at age 18, he married Anne Hathaway, a woman eight years his senior and three months pregnant. Their first child, Susanna, was born in 1583, and twins, Hamnet and Judith, came in 1585. In the seven years following their birth, the historical record concerning Shakespeare is incomplete, contradictory, and unreliable; scholars refer to this period as his lost years.In 1616, with his health declining, Shakespeare revised his will. Since his only son Hamnet had died in 1596, Shakespeare left the bulk of his estate to his two daughters, with monetary gifts set aside for his sister, theater partners, friends, and the poor of Stratford. A fascinating detail of his will is that he bequeathed the family's second best bed to his wife Anne. He died one month later, on April 23, 1616. To the world, he left a lasting legacy in the form of 38 plays, 154 sonnets, and two narrative poems.

Shakespeares Historical PlayIn theFirst Folio, the plays ofWilliam Shakespearewere grouped into three categories:comedies, histories, andtragedies. The histories help define the genre ofhistory plays, along with other contemporary renaissance playwrights.The histories might be more accurately called the "English historyplays" and include the outliersKing JohnandHenry VIIIas well as a continuous sequence of eight plays covering theWars of the Roses. These last areconsidered to have been composedin two cycles. The so-called first tetralogy, apparently written in the early 1590s, deals with the later part of the struggle and includesHenry VI, parts one,two&threeandRichard III. The second tetralogy, finished in 1599 and includingRichard II,Henry IV, Part 1,Henry IV, Part 2andHenry V, is frequently called theHenriadafter its protagonistPrince Hal, the futureHenry V.The folio's classifications are not unproblematic. Besides proposing other categories such asromancesandproblem plays, many modern studies treat the histories together with those tragedies that feature historical characters. These includeMacbeth, set in the mid-11th century during the reigns ofDuncan I of ScotlandandEdward the Confessor, and also the Roman playsCoriolanus,Julius Caesar,Antony and Cleopatraand the legendaryKing Lear.The source for most of the English history plays, as well as forMacbethandKing Lear, is the well knownRaphael Holinshed'sChronicleof English history. The source for the Roman history plays isPlutarch'sLives of the Noble Grecians and Romans Compared Together, in the translation made by SirThomas Northin 1579. Shakespeare's history plays focus on only a small part of the characters' lives, and also frequently omit significant events for dramatic purposes.

Shakespeares Tragedy PlaysWilliam Shakespeare started writing tragedies because he thought the tragic plots used by other English writers were lacking artistic purpose and form. He used the fall of a notable person as the main focus in his tragedies. Suspense and climax were an added attraction for the audience. His work was extraordinary in that it was not of the norm for the time. A reader with even little knowledge of his work would recognize one of the tragedies as a work of Shakespeare.Shakespearean tragedyis the classification of drama written byWilliam Shakespearewhich has a nobleprotagonist, who is flawed in some way,placed in a stressful heightened situation and ends with a fatal conclusion.The plots of Shakespearean tragedy focus on the reversal of fortune of the central character(s) which leads to their ruin and ultimately, death.Shakespeare wrote several different classifications of plays throughout his career and the labeling of his plays into categories is disputed amongst different sources and scholars.There are 10 Shakespeare plays which are always classified astragediesand several others which are disputed; there are also Shakespeare plays which fall into the classifications ofcomedy,history, or romance/tragicomedythat share fundamental attributes of a Shakespeare tragedy but do not wholly fit in to the category.The plays which provide the strongest fundamental examples of the genre of Shakespearean tragedy areHamlet,Othello,King Lear,MacbethandAntony and Cleopatra

Shakespeares Comedy Plays"Comedy", in itsElizabethanusage, had a very different meaning from modern comedy. A Shakespearean comedy is one that has a happy ending, usually involving marriages between the unmarried characters, and a tone and style that is more light-hearted than Shakespeare's other plays. Patterns in the comedies include movement to a "green world",both internal and external conflicts, and a tension betweenApollonian and Dionysianvalues. Shakespearean comedies tend to also include: A greater emphasis on situations than characters (this numbs the audience's connection to the characters, so that when characters experience misfortune, the audience still finds it laughable) A struggle of young lovers to may overcome difficulty, often presented by elders Separation and re-unification Deception of characters (especially mistaken identity) A clever servant Disputes between characters, often within a family Interesting climax often with an unexpected twist Multiple, intertwining plots Use of all styles of comedy (slapstick, puns, dry humour, earthy humour, witty banter, practical) Pastoral element (courtly people living an idealized, rural life), originally an element of Pastoral Romance, exploited by Shakespeare for his comic plots and often parodied therein for humorous effects) Happy endingSeveral of Shakespeare's comedies, such asMeasure for MeasureandAll's Well That Ends Well,have an unusual tone with a difficult mix of humour and tragedy which has led them to be classified asproblem plays. It is not clear whether the uneven nature of these dramas is due to an imperfect understanding ofElizabethanhumour and society, a fault on Shakespeare's part, or a deliberate attempt by him to blend styles and subvert the audience's expectations. By the end of Shakespeare's life, he had written seventeen comedies.Cymbeline, listed in this article with the comedies, was, in the First Folio, included among the tragedies, even though it has many of the features of the so-called "late romances" (including a happy ending).

Twelve Point Recipe for Plotting a Play1. Who is the main character?2. Who or what is the antagonist or obstacle?3. Who are the other characters?4. What important things or goals does the protagonist want?5. How is he temporarily prevented from reaching his goals?6. What does the main character do about the obstacle(s)?7. What complications flow from his actions?8. What is the crisis or moment of decision?9. What is the climax of the play?10. Does the main character reach his goal/ get his desire or not?11. How is the main problem solved or resolved?12. What is the plays theme message and what truths about life have been illustrated?

What is Literature, and why do we study it?We use the word literature, in a broad sense, to mean the compositions that tell stories, dramatize situations, express emotions, and analyze and advocate ideas. Before the invention of writing, literary works were necessarily spoken or song and were retained only as long as living people performed them. In some societies, the oral tradition of literature still exists, with many poems and stories designed exclusively for spoken delivery. Even in our modern age of printing and writing, much literature is still heard a loud rather than read silently. Parents delight their children with stories and poems; poets and story writers read their works directly before live audiences; and plays and scripts are interpreted on stage and before cameras for the benefit of a vast public.No matter how we assimilate literature, we gain much from it. In truth readers often cannot explain why they enjoy reading, for goal and ideals are not easily articulated. There are, however, areas of general agreement about the value of systematic and extensive reading.Literature helps us grow, both personally and intellectually. It provides and objective base for knowledge and understanding. It links us with the broader cultural, philosophic and religious world of which we are a part. It enables us to recognize human dreams and struggles in different places and times we would never otherwise know existed. It helps to develop mature sensibility and compassion for the condition of all living things humans, animals and vegetable. It gives us the knowledge and perception to appreciate the beauty of order and arrangement, just as well-structured song or a beautifully painted canvas can. It provides the comparative basis from which we can see worthiness in the aims of all people, and it therefore helps us see beauty in the world around us. It exercises our emotions through interests, concern, tensions, excitement, hope, far, regret, laughter and sympathy. Through our cumulative experience in reading, literature shapes our goals and values by clarifying our own identities both positively, through acceptance of the admirable in human beings, and negatively through rejection of the sinister. It enables us to develop a perspective on events occurring locally and globally, and thereby it gives us understanding and control. It encourages us to assist creative, talented people who need recognition and support. It is one of shaping influences of life. Literature makes us human.

Why study Drama1. It provides an objective base for knowledge and understanding.2. It links us with a broader culture, philosophic and religious world of which we are a part of.3. It enables us to recognize human dreams and struggles in different places and times we would never otherwise know existed.4. It helps us develop a mature sensibility and compassion for the conditions of all living things humans, animals and vegetables.5. It gives us the knowledge and perception to appreciate the beauty of order and arrangement, just as a well structured song or a beautifully painted canvas can.6. It provides the comparative basis from which we can see worthiness in the aims of all people and it therefore helps us to see beauty around us.7. It exercises our emotions through interest, concern, tension, excitement, hope, fear, regret, laughter and sympathy.8. It enables us to develop a perspective on events occurring locally and thereby it gives us understanding and control.9. It encourages us to assist creatively, talented people who need recognition and support.10. It is one of the shaping influences of life.11. Literature makes us human the different feeling we get from it.12. Through our experience in reading literature shapes our goals and values.13. It helps us grow, both personally and in intellectually.14. It can show us how we are similar to other culture.15. We can link real life experience.

Theatre Stage Floor Plan

UP STAGE RIGHT UP STAGEUP STAGE LEFTSTAGE RIGHT CENTRE STAGE STAGE LEFTDOWN STAGE RIGHT DOWN STAGE DOWN STAGE LEFTLEFT

AUDIENCE

Structure of a Play

Components of a Play Character Story Setting Problem Conflict Solution/resolution Dialogue Climax Theme Suspense SituationCharacter have as few as possible except for church or school productions.Story A narrative of events told as they happenSetting make as visually interesting as possibleProblem No problem, no drama. The play starts when the problem starts, and ends when the problem is solved or resolved.Conflict There are six (6) types of conflict:a) Man against manb) Man against naturec) Man against himselfd) Man against technology/machinee) Man against God/Super naturalSolution The three sections of a play are problem, complication and solution/resolution. When the problem is solved it no longer exists. When a problem is resolved you have learned to live with the problem.

Elements of a Production Set (furniture) Props (what is in the actors hand) Costumes Sound effects (SFX) (technical theatre) Lighting Actors/acting Programs Producer Playwright

Jamaican Playwrights

Dahlia Harris

Patrick Brown

Oliver Samuels

Basil Dawkins

Barbara Gloudon

Andrea (Delcita) Wright

David Tulloch

Aston Cooke

Jamaican Playwright Basil DawkinsCelebrating over 30 years in theatre as actor, producer and multi award winning playwright his latest offering Divorce Papers follows a long tradition of issue oriented plays rooted in the Jamaican experience which theatre goers all over the world continue to find relevant current engaging and entertaining.His list of successfully written and produced plays include For Better or For Worse, Flat mate, Parson and Mrs Jones, Couples, Champagne and Sky Juice, Same Song , Different Tune, / God Bless, Power Play, Toy Boy, Feminine Justice, What The Hell Is Happening To Us, Dear?, Forbidden, No Dirty Money, A Gift For Mom, No Disrespect, Hot Spot, Uptown Bangarang, Uptown Bangarang 2. and Which Way Is Out?Basil has through the years served his community and his industry well. He has been President of The Jamaica Association of Dramatic Artists, he has served on the Government of Jamaica Advisory Board on Arts Culture and Entertainment, The Ward Theatre Foundation and currently serves as a member of the Advisory Board of the CHASE fund set up by the government of Jamaica to fund projects in Arts and Culture.His plays have continued to be selected by amateur and professional theatre groups for performances in Canada, USA, Great Britain and the West Indies. In his country he was recognized for his contribution to the development of theatre when he was awarded the prestigious Musgrave Medal. He has been awarded Keys to several USA cities and for his plays he has been awarded numerous Actor Boy Awards by the International Theatre Institute Jamaican Chapter, in the categories, for Best Script, Best Production, Best Drama, and Best Comedy.

Jamaican Producers Stages Production RBT Productions JamBiz International DMH Productions (Dahlia Harris) OSME Productions (Oliver Samuels Marketing Entertainment Probe Master Productions (David Tulloch) University Players (Phillip Sherlock Centre) by UWI Dramatic Arts Society ( U.D.A.S) by Mona Little Theatre Movement (L.T.M) Ashe Productions Basil Dawkins Productions

Jambiz International Production CompanyJambiz International Limitedis a registered production company in Jamaica. For unless you do your own acting and write your own plays, your theatre will be of no use; it will in fact vulgarize and degrade you. (George Bernard Shaw famous British Playwright)Shaws comments on Jamaican theatre made almost one hundred years ago have served as authoritative motivation forJambiz Internationalscore business and mission in the entertainment industry the production and exposition of professional theatre in Jamaica, the USA,England, Canada and the Caribbean.Jambizhas been producing theatre and cultural events since its inception in 1996, but the experience of its principals in main-stream theatre production and allied event production date back some 30 years. The business ofJambizis carried out by a team of dedicated directors:Lenford Salmon,Patrick Brown, andTrevor Nairne.Their combined skills include:CreativeWriting, Design, Artistic Production for stage and television, Event Production and Management, Marketing, Business & Financial Management.Jambizhasearnedthe respect of audiences throughout Jamaica, artistic colleagues, corporatesponsors, business associates and promoters in West Indian communities overseas. The companys consistently high standard of presentation has been rewarded with several industry awards such as the Jami and Actor Boy Awards, the latter presented by the International Theatre Institute (ITI) Jamaica Center. Critical acclaim in the Jamaican press and several ethnic magazines accompany most of Jambiz productions. In July (1998) the company openedThe Centerstage Theatrein the heart of New Kingston. The facility has beenrecognizedas one of the most patron friendly venues.Jambizalso hosted well known actor and movie starJohn Amos, who presented his one- man show,Halleys Cometat the inaugural Theatrefest exposition, which marked the opening of the venue.JAMBIZ ACHIEVEMENT AWARDJambiz Achievement Awardis to mark the opening of the Centerstage Theatre in July 98,Jambizrecognizedthe work of celebrated Jamaican actor,Oliver Samuels. In 1999JambizLife Achievement Award to Actress Leonie Forbes.Mr. Wycliffe Bennett Jambizcalendar. The Life Achievement Award is presented to a theatre artist who, in the opinion of theJambizdirectors, is responsible for a distinguished body of work in the theatre.Jambiz production services include: TheatreProduction VideoProduction (entertainmentpackagesdrama, sitcoms, soap operas) Event Production (cultural presentations, exhibitions, fairs, concerts, etc) Event Management & Co-ordination Event Marketing presented the received the award in 2000.

Glen Campbell, Lenford Salmon and Trevor Nairne, principals of Jambiz.Collectively, they are known as the team which offers some of Jamaica's most outstanding theatrical productions, while individually, they are among the most talented artistes in Jamaica today. They are the Jambiz International four-man team of Patrick Brown, Lenford Salmon, Trevor Nairne and Glen Campbell who, from theirbaseat Centerstage Theatre, New Kingston, have written, produced, directed and starred in no fewer than 20originalJamaican productions overthepast11years,including:River Bottom, Cutie and the Freak,AssistantThief, Ras Noah and the Hawk, Cindy-Relisha and the DJ Prince, Breadfruit Kingdom, Saving Alligator High and Baby Scam

Virtually all the productions have achieved blockbuster status - playing throughout Jamaica and the wider Caribbean, as well as the United States of America,Englandand Canada - as Jambiz International fulfills its mission of producing and exposing professional Jamaican theatre across the globe. What may be less well known, however, is the skills set which the Jambiz team possesses that has allowed them to offer a broad suite of other production services to the marketplace.

Components of a Play Critique

Name of Play Where the production took place When the production was viewed (date) The producer, director and writer of the play Characters Summary of the storyline of the play Reviewers reflection and thoughts on the overall production Recommendations to others about the play (optional)

Critique of Play Baby ScamOn Saturday, October 24, 2015 I had the pleasure of seeing the play The Baby Scam, written by Patrick Brown and co-directed by renowned Jamaican playwrights Patrick Brown and Trevor Nairne at the Centerstage theatre in New Kingston. This play was produced by popular Jamaican theatre production company JamBiz Productions. Though small in size the stage was appropriately designed, also by the multi talented Patrick Brown. The stage was set in what appeared to be a top of the line room in a north coast hotel. Along with expected furniture such as a bed it included a red sofa set, bar area and luxurious balcony, the door way to the bathroom could also be seen clearly.The Plays storyline/plot revolves around ace pharmaceutical salesman Rocky (Courtney Wilson) who has again received the coveted prize of top salesman for the year. His prize includes a luxury penthouse room at the companys annual retreat on the north coast. While in his room, Rocky received an unexpected and uninvited visit from a skimpily attired French maid Trixie (Sakina Deer) claiming to be a gift from Rockys boss. Rocky being newly married is not interested and politely tries to explain that his new marital status would not allow him to accept the gift. Not taking no for an answer Trixie later return with Rockys friend and confirmed bachelor Scrappy (Glen Campbell). Later the room gets even more crowded when Trixies sister and accomplice Lilah (Camille Davis) joins the cast. Together they reveal their true intent and related the story of them being strippers who were present at Rockys bachelor party, where while under the influence of alcohol Rocky and Trixie engaged in sexual intercourse, which they claimed resulted in Trixie becoming pregnant. A gullible Rocky believed their story but Scrappy was having none of it. Just as the news of Trixies pregnancy was sinking in Rockys wife Bree (Sharee Elise) then drops by, having decided to pay her husband a surprise visit at his company retreat. Rocky and Scrappy panic and try unsuccessfully to hide the two uncooperative young ladies. When this fails Scrappy concocts an unlikely story about the women being hobos who broke into Rockys hotel room and refuse to leave, while rocky came clean and revealed the truth to his wife much to Scrappys annoyance. Eventually all the lies were revealed and the true scam was uncovered.The acting skill of each actor is noteworthy and enhanced the excellent story writing skills of Mr. Patrick Brown. Their potrayal of each character was both believable and extremely entertaining. However, actors, Camille Davis as Lilah and Glen Campbell as Scrappy stood out in their roles, though the main characters were Rocky and Trixie. The comedic timing of both is flawless, and their ability to act, get and keep the audiences attention and entertain is undeniable. The emotions shown were appropriate and believable in each scene (especially when Camille Davis character cried in one scene). No actor pulled focus when they shouldnt. Co-directors Patrick Brown and Trevor Nairne have put together an amazing show with smooth and clearly noticed scene changes, a clear focus, and a cohesiveness that is both extraordinary and unparalleled. In addition, the lighting and sound operation of Orvel Harrison was excellent and appropriate for each scene. The costume design enhanced the show in its own ways and was apt for each characters role in the play. Noticeable were the alluring and skimpy costumes worn by Trixie and Lilah. The smooth costume change showed a level of professionalism and enhanced the experience as there was no long period of waiting from one to the other.I would encourage anyone who has not yet seen this show to make arrangements to do so soon. It provided an excellent evening of comedic relief, releasing the stresses of everyday life by providing plenty of opportunity to laugh uncontrollably. I believe that this play was an excellent portrayal of the reality of todays Jamaican society and the impact that our various socio-economic backgrounds can and will have on people of all walks of life, whether they are single or they are involved in committed relationships. It shows that our actions can have far reaching effects on others and that we sometimes and dont think about how it leaves burden for others to bare. While some people really dont care about the trouble they cause because they feel that certain privilege is owed to them, so it neither here nor there to them whom they hurt. They think that once the person they set out to get is wealthier than them or lives a certain life they should pay because of past experience hence the term the good must suffer for the bad. This play would appeal to many both men and women, rich and poor because this so called games played goes both ways and are seen uptown and downtown, some men do stuff for fun hoping the it wont affect them later while women do the same but hoping for something to happen that will force the man will pay dearly.My only recommendation to the staff and crew is that they need to start making arrangements to move to a larger theatre, which would be able to accommodate more patrons in a single showing. I give this play two thumbs up.

Program for Play Baby Scam

Script based on a JokeTitle: Courtroom DramaBy: Taneisha MalcolmCharacters: Judge McNamarah Mr. Kabacka (The Rastaman) - 35Mrs. Kabacka (The wife) 29Scene OneSetting: Inside a court room in Kingston, Jamaica. A rastaman and his wife are seeking to finalize their divorce; however, there is a custody battle over their 1o year old son.Judge McNamarah: How can I help you young people today?Mrs. Kabacka (The wife): Your onour sar, mi want a divorce. Mi give mi life to the lord an mia go church and try fi live di right way, but every turn mi turn diman a mek mi sin, wid im heathen ways.(Mr. Kabacka jumps to his feet in anger.)Mr. Kabacka (The Rastaman): Sar yu tink it right seh I and I wed a Empress and she change like lizard into a bible touting shrew. Judge McNamarah: Sit down and wait your turn Mr. Kabacka. (Judge McNamarah turns andnods to Mrs. Kabacka) Continue mam.Mrs. Kabacka (The wife): As I was saying your onour. I want to live a simple Christian life andim not into dat so I believe we are unevenly yoked. All mi want isfi mi and mi likkle bwoy Zion live by wi self wid out im tyrant of apupa.Mr. Kabacka (The rastaman): Oman yu mad! Yu naw tek weh di I yute. Yu can gwaan, di bwoy a stay wid mi.(The courtroom gets nosy. Judge McNamarah knocks his gavel)Judge McNamarah: Order, order in the court. The court will take a 10 minute recess.(Lights down)Scene Two(Lights up on the courtroom)Judge McNamarah: So Mrs. Kabacka, tell me, why should you be granted full custody ofyoung Zion?Mrs, Kabacka (The wife): Your onour sar, A mi carry di picney fi nine whole months and bear di torture fi push im out. So, I believe its only just dat Zion live wid mi. (Those in the courtroom murmured and nodded their agreement)Judge McNamarah: Ok point taken. What about you Mr. Kabacka, Why should sole custody ofZion be given to you?(The rastaman stands and stares)Judge McNamarah: The court is waiting Mr. Kabacka.Mr. Kabacka (The rastaman): Your onour if I and I put money in a vending machine and a soda come out. Is whose di soda? I and I, or di machine?(The court room erupts in laughter)End of Play

Questions to be asked about a story outline1. Who is your main character?2. What is his/her problem?3. How is it complicated?4. How is it solved or resolved?5. What does the protagonist (main character) learn or how does he grow?

Story OutlineTitle: Batten Down the RoofSusan a primary school aged student has just learnt about hurricane preparedness in school. It is announced that a hurricane is bearing down on Jamaica. This being Susans first experience of a hurricane she is quite afraid but tries to tell her mother that they need to be prepared. The hurricane is very fierce and frightening and mass destruction occurs as a result. Even Susans neighbour has lost the roof of her home and all her things have been destroyed. She has to seek refuse in Susan and her mothers modest one room dwelling.After the hurricane has ended Susan realizes in further how unprepared her mother was as they soon run out of food and water. Then the hurricane is given human characteristics when it calls Susans mother, Joyce to boast about its power and how it has destroyed the island, as well as it plan to do the same in the large American continent. Susans mother showing where Susan gets the sauciness she displayed at school proceeds to tell off Hurricane Gilbert.Later having cleaned up their yard Susan and her mother sit laughing and making jokes about the Hurricane until they decide to check on the rest of the neighbours and purchase some food.

Scene by Scene BreakdownScene 1The story begins in a Jamaican school room, where the students are awaiting the arrival of their teacher. Susan and Dorothy are two students from this class. Both girl are quite talkative and presumptuous. They have little respect for the teacher and believe everything is a joke. The teacher finally arrives and immediately is embroiled in controversy with the two girls. Final she is able to being her first lesson, which is about hurricane preparedness as they were in the middle of the hurricane season. Just as they had reached the end of the lesson the principal made an announcement over the intercom that school was being dismissed as Hurricane Gilbert was approaching the island.Scene 2 At home Susan tries to find out from her mother whether or not they were prepared for the storm as her teacher had taught them. Her mother brushed her concerns aside because she did not believe that the storm would be that serious.Scene 3The storm was now in full swing and both Susan and her mother were frightened. Suddenly the lights went and as Susan dashed under the bed the neighbour, Patsy came in crying that her roof was missing and all her things were wet. Mother tried to console Patsy.Scene 4The following morning Susan was very hungry but there was no food because mother had not taken the warnings of the storm seriously and did not prepare. Susan complained bitterly, telling her mother that even though she is a child she should listen to her. The phone rang and the hurricane was on line boasting about how he destroyed Jamaica and what he planned to do to America. Mother was not to be out done and gave hurricane Gilbert a fine cussing out.Scene 5Later that day Susan and her mother sat in the house as Susan read the Newspaper which gave a hilarious account of Hurricane Gilbert trying to return to the island but was turned back at the airport because of the high landing tax the Prime Minister placed on it.

Theatre SpacesNot every theater space is the same, and it pays to be aware of the types of spaces in which your play might be produced. Often, plays work better in some spaces than others. Keeping in mind that many theater spaces are hybrids, here are the basics:ProsceniumTheatre space whose primary feature is a large frame or arch (called the proscenium arch). Even though it is frequently nota rounded archway at all), which is located at or near the front of the stage. The audience directly faces the stage, which is typically raised several feet above front row audience level. Originally Roman Theatre. Popular in the West.

The proscenium arch evolved from theproscenium in Ancient Greek theatres. The main stage is thespace behind the proscenium arch, often marked by a curtain which can belowered ordrawn closed. The space in front of the curtain iscalled the "apron". The areas obscured by the proscenium arch and any curtains serving the same purpose (oftencalled legs ortormentors) are called the wings. Any space not viewable to the audiences is collectively referred to as offstage. Proscenium stages range in size fromsmall enclosures to several stories tall. Underneath and in front of the apron is sometimes an orchestra pit which is used by musicians during musicals and operas. Space above some proscenium stages may include afly loft where curtains, scenery, and battens supporting a variety of lighting instruments may hang. Many theatrical properties and scenery maybe utilized. Backdrops, curtains and lighting can be usedto greatereffect without risk of rigging being visible to the audience. Entrances and exits can bemade more gracefully.Thrust StageAlso known as a platform stage oropen stage. Extends into the audience on three sides and is connected to the backstage area by its upstage end. Many of the works ofShakespeare were first performed on the thrust stage ofthe Globe Theater and lend themselves to such a stage design in modern times as well.

Entrances onto a thrust are most readily made from backstage, although some theatres provide for performers to enter through the audience using vomitory entrances.Theatre in the RoundAlso known as arena theatre. Any theatre space in which the audience surrounds the stage area. In 1947, Margo Jones established America's first professional theatre-in-the-round company. Theatre-in-the-round was common in ancient theatre, particularly that of Greece and Rome but was not widely explored again until the latterhalf of the 20th century; it has continued as a creative alternative to the more common Proscenium format.

Requires no stage curtain, little scenery andallows the audience to sit on three sides of the stage. The stage itself in thisarrangement is typically round, diamond, or triangular, with actors entering and exiting through the audience from different directions orfrom below the stage.Black Box TheatreAlso known as experimental theatre. Consisting of a simple, somewhat unadorned performance space, usually a large square room with black walls and a flat floor. The concept of a building designed for flexible staging techniques can be attributed to Swiss designerAdolphe Appia, circa 1921, and instigated a half century ofinnovations in the relationship between audience and performers.

Black box theaters became popular and widespread particularly in the 1960s and1970s, during which low-cost experimental theater was being actively practiced as never before. The seating is typically composed of loose chairs on platforms, which can be easily moved or removed to allow the entire space to be adapted to the artistic elements of aproduction. Common floorplans include thrust stage, modified thrust stage, and arena.Profile Theatres:Often used in "found space" theatres, i.e. theatres made by converted from other spaces.The Audience is often placed on risers to either side of the playing space, with little or no audience on either end of the "stage". Actors are staged in profile to the audience. It is often the most workable option for long, narrow spaces like "store fronts".Scenically, a profile theatre is most like an arena stage; some staging as background is possible at ends, which are essentially sides. A non-theatrical form of the profile stage is a basketball arena, if no-one is seated behind the hoops.

SportsArenas:Sports arenas often serve as venues for Music Concerts. In form they resemble very large arena stage (more accurately the arena stage resembles a sports arena), but with a rectangular floor plan. When used for concert, a temporary stage area often is set up as an end stage at one end of the floor, and the rest of the floor and the stands become the audience.

The Roles and Functions of the Playwright

The playwright or dramatist is the author of a production, the maker or adapter of the original play, often working alone, but sometimes collaboratively with director, cast and the creative team. The playwright writes the text, or script for the play. He or she creates the essentials of the play: the narrative, the characters, the language, the tone, and the milieu. It may be a work of fiction, however there are also stage productions based entirely on faithful rendition of real events. It is up to the director, cast and creative team to interpret the playwrights text. Although the play may be an original work, adaptation of a work of fiction is also common. Then the challenge is to find a theatrical equivalent to the novel. This may mean adding or more commonly subtracting characters or narrative elements. The demands of theatre are different from those of a book. The sets and staging, light and sound effects are substitutes for description. A playwright often finds it necessary to depart from the original book in order to make a story work as drama.

A playwrights tool kit needs to contain: a vivid imagination a gripping story to tell insight into what makes people tick a good ear for capturing the way people really speak working knowledge of the elements of dramatic structure an understanding of theatres non-verbal means of expressionsound, movement, setting, costume, lighting, music, pacing and stage picture.

Roles and Functions of a Stage ManagerAstage manageris one who has overall responsibility for stage management and the smooth execution of a production. Stage management may be performed by an individual in small productions, while larger productions typically employ a stage management team consisting of a head stage manager, or "Production Stage Manager", and one or more assistant stage managers.The responsibilities and duties of stage management vary depending on the setting of a production (i.e., rehearsal or performance) and the type of production (e.g., theatre, dance, music). Most broadly, it is the stage manager's responsibility to ensure that the director's artistic choices are realized in actual performance.As the lighting, sound, and set changecuesare developed, the stage manager records the timing of each as it relates to the script and other aspects of the performance. The stage manager maintains aprompt book, sometimes called "the book" or "the bible," which contains all cues, technical notes, blocking and other information pertinent to the show.During rehearsals, the stage manager typically serves as an adjunct to the director by recording theblockingand ensuring that cast members stay on script, have the requisite props, and follow the blocking. Stage managers are responsible for helping establish a show's rehearsal schedule and ensuring that rehearsals run on time. The stage manager typically documents each rehearsal in arehearsal report.Once the house opens for a performance, the stage manager controls all aspects of the performance by calling the cues for all transitions (this is known as "calling the show") and acting as communications hub for the cast and crew. Large productions may utilize a stage management team in which the manager is responsible for calling the show while other team members operate backstage to ensure actors and crew are ready to perform their duties. After a show opens, the stage manager is also responsible for calling brush-up, put in and understudy rehearsals to make sure that the show's quality is maintained.The stage manager ensures that lighting and sound cues are acted upon at the right time by issuing verbalstandbyandpromptcalls. Each cue call begins with the word "standby" to indicate that an action is imminent and, in response, the technician who will perform the action acknowledges readiness to perform the action. Occasionally, after a long pause or break in the production's action, the stage manager will give a "warning" cue. This warns the technicians that the next cue is approaching. At the appropriate time, the stage manager will prompt immediate execution of the action by saying "go".

Roles and Functions of the ProducerProducers have overall control on every aspect of a film's production. They bring together and approve the whole production team. Their key responsibility is to create an environment where the talents of the cast and crew can flourish. Producers are accountable for the success of the finished film. They steer the film from beginning to completion and beyond.The Producer is often the first person to get involved in a project. Or they may be the agent-style Producer who focuses on the deal. The many responsibilities of the Producer span all four phases of production. In the Development stage, Producers are often responsible for coming up with the idea for a production, or selecting a screenplay. Producers secure the rights, choose the screenwriter and story editing team. They raise the development financing and supervise the development process. In pre-production, Producers bring together the key members of the creative team. This includes the Director, Cinematographer and Production Designer and key cast members. They help the Executive Producers to raise money for the production. Once the initial finance is in place, they select other key production office personnel and Heads of Departments.Producers also approve locations, studio hire, the final shooting script, production schedule and budget. More time and money spent in pre-production can reduce time and money wasting when the production gets underway.Once the film is in production, Producers are responsible for the day-to-day smooth operation of the team. Producers are also in constant communication and consultation with the Director and other key creatives, on and off set. Producers approve all script changes and cost reports. They are the first point of contact for all production partners, investors and distributors. During post production, Producers are expected to liaise with the Director and post production department. The Producer will deal with the finance and distribution companies in planning the marketing and distribution of the finished film.It is rare to find one Producer who has the expertise and vision to exercise personal decision-making authority across all four phases of production, but, the Producer is usually supported by a hand-picked production office team. Many of the key people will have worked with the Producer on several film projects. Producers have a legal responsibility, under the Health and Safety at Work Act 1974, to prepare health and safety procedures for the workplace. The Producer's ultimate responsibility is to the production company and the Executive Producers.

Roles and Functions of the Director The director has two basic responsibilities: (1) to bring about a unified vision within the finished production, and (2) to lead others toward its ultimate actualization. To meet these charges, the director must organize the realization of his or her vision. The director must decide upon the interpretation to be given the play; work with the playwright (if possible), designers, and technicians in planning the production; cast and rehearse the actors; and coordinate all elements into the finished production.To decide upon interpretation, the director must analyze the script to discover the plays structure and meanings. Without understanding, the director cannot make choices. He or she seeks to know what the play is about and to understand each character in terms of both the script and the demands that character places upon the actor. The director must be able to envision the plays atmosphere or mood and know how to actualize in terms of design and theatrical space. And, finally, the director must be able to see the play in terms of both physical and verbal action.Before rehearsals begin, the director meets with the designers. At this time, the director not onlygives his or her vision, but also listens to ideas. This highly creative intercourse results in a compromise which often is better than the original vision, for creative ideas interact with other creative ideas. Ultimately however, the director decides upon the interpretation to be used. The director may have specific requirements that would need to be presented to the designers before their work begins. The director must be aware of actor movement when viewing a design. Also, the director must have an idea of what kind of lighting would help enhance the mood of the production.When casting a play, the director is aware of the physical demands of a character. Physical appearance must fit the character and must also be seen in relation to other characters. The director also tries to discern acting potential. In his book,Theatre, Robert Cohen describes traits that a director often looks for:Directors tend to follow an established process during rehearsals. Initially, the director usually has the actors read through the script. The read-through allows the director to discuss his or her vision, character motivation, and interpretation which will help the actors begin to see their characters in terms of a unified understanding. The director then blocks the actors. Blocking are an actors basic broad movements which serve as the physical foundation of the actors performance. The director indicates movement such as entrances and exits and positions actors onstage. Often, this step takes preplanning. During this stage, interpretation begins to be worked out, for blocking is linked to a characters motivation to move or position.The next step would be to work on detail, which helps an actor discover his or her character. Detail includes working out stage business, which is an actors small-scale movement. For instance, making coffee, answering a phone, putting on shoes, or adjusting a tie are pieces of stage business. Hopefully, the actor will originate much of his or her own stage business.Motivation and detail continue while time is spent devoted to lines. Interpretation of dialogue must be connected to motivation and detail. During this time, the director is also concerned with pace and seeks a variation of tempo. If the overall pace is too slow, then the action becomes dull and dragging. If the overall pace is too fast, then the audience will not be able to understand what is going on, for they are being hit with too much information to process.Late in the rehearsal process, the director often has the actors run through the production. A run through gives the actors a sense of continuity from one scene to the next. At this stage, the director usually does not stop the actors but takes notes to give after the scene is finished.Nearly all elements of the production actors, scenery, lights, sound come together at the technical rehearsal. The stage manager, prop crew, running crew, light and sound board operators all rehearse their various parts to play. Hopefully, light and sound cues will be set before the first technical rehearsal begins. A dress rehearsal is a technical rehearsal with costumes and makeup. At this time, the director must give over the production to the actors and technicians. The final dress rehearsal should be the same as a performance.Nobody is more useless on opening night performance than the director. The directors job is over at this time and is often lost and feeling alone. The best the director can do is to wish people well, sit, watch the performance, know every flaw during that performance, and sweat it out.