d International 6/Tproposal(HL) Baccalaureate Theatre coversheet: practical performance proposal HL only Wrive legibly using black ink and retain a copy of this form. Complete ane copy of this form to accompany each practical performance proposal submitted. Subject: _Theatre Level: _Higher Instructions to candidates (Check that your candidate session number is on each sheet of paper used in your practical performance proposal and attach this coversheet to the front of your work, Complete the following information ‘What is the prescribed performance stimulus you have used? ARES PHAR paps OF ATLANTIC Section 1 approximate number of words: _ 24 Section 3 (HL only) approximate number of words: (74S Candidate declaration: | contirm that this work is my own work and is the final version. Ihave acknowledged each use of the words or ideas of another petson, whether written, oral or visual Candidate's signature: = : Date: 20..0¢204.. For completion by the teacher: | confirm that to the best of my knowledge, the material submitted is the authentic work of the candidate Teacher"s name: =... Teacher's signature: ote Date: zelulor Total For completion by the examiners os Examiner's name and code: Examiner's total mark Senior examiner's Senior examiner's name and code: total mark © International Baccalaureate Organization 2008Pitch The enormous scale of the events documented in the Theosophical Maps of Atlantis forced me to consider the size of external forces, and man’s insignificance within this context. “A History of the Future” seeks to distance its audience from the onstage action through anti-naturalism, so they are aware of the pervasive power of external influences on the three characters, Heir, Historian and Her. The audience will then watch them, in foreshadowing and action itself, move towards their individual inevitable fates of death, age and responsibility, reaching these ends despite all personal efforts. This formulates the basic theme of the piece - a sense of fate being set in motion by overwhelming and unstoppable forces that reduce the efforts of the individual to a complete unimportance. The focus therefore is a crushing sense of futility imbued by the incarnation of fate onstage - with every outcome predicted in the world around the characters. The piece targets an adult audience, preferably between 25 and 55, willing or better still desiring to critically analyse rather than lazily receive. They should leave the performance space almost unfulfilled, as they realize the true significance of events lost on the two surviving characters. The piece would bring its viewer to terms with the individual's inability to determine fate; and the resultantly increased importance of the pointless and futile action in showing ‘true personality’. This idea refers to how when an action means nothing, its performance despite futility demonstrates the underlying moral principles of its creator.Philosophical Rationale Dating back to a very early stage in its conception, the formulation of the idea itself, “A History of the Future” has been overwhelmingly influenced by Brecht and his theories of “Epic Theatre”, The play follows Brecht's politicized and anti- naturalistic model for theatre, in which the performance is designed to “interest”? the audience, to provoke them intellectually rather than emotionally. ‘Through achieving this, every part of the production has been harnessed fo: singular aim of discussing the feeble human impact on fate and resultant personal importance of individual action. This has led me to take up and study the work of other practitioners that follow a Brechtian pattern, including Sarah Kane and Edward Albee, in order to successfully implement Brechtian theory ina performance context. Therefore, the philosophical and theoretical rationale for “A History of the Future” is borne of the theories of Brecht, and as a subset of this, Kane and Theatre of the Absurd. Bertold Brecht's theories on the purpose of theatre, culminating in his Epic Theatre, were the primary stylistic influence for “A History of the Future”. The purpose of Epic Theatre is to encourage a “active intellectual engagement" towards what happens on stage; borne of a “relaxed” state of mind in which the audience does not empathise with the action onstage and instead considers it intellectually®. For a piece that was from the beginning concentrated on its. thematic purpose, this was an effective stylistic choice. Besides which, the conceptual rather than “psychologically driven"® action was to show the individual “less as the agent of events then the focus of external forces”? The theoretical reasons for this is because external forces - societal, historical and so forth ~ are Brecht’s interest as a political and polemical writer®, a remarkable parallel with my work that'd be very helpful. Given this, | adopted Epic Theatre as the theoretical basis for my production, and this demanded I employ Brechtian methodology. Specific techniques are necessary for successful Epic Theatre, as the “closed cycle of naturalism” where action onstage is merely observed rather than engaged with is insufficient for this message-based theatre, Perhaps the most important of these is, “Verfremdungseffekt” *, or the distancing effect which seperates actor from audience by revealing the “artistic armature” of the play. The piece should | Benjamin,, Bostock and Mitchell,, Understanding Brecht, pg 15 2 ibid, pg 15 3 Allain and Harvie, The Routledge companion to theatre and performance, pg 29 * Benjamin, Bostock and Mitchell., Understanding Brecht, pg 15 5 Allain and Harvie, The Routledge companion to theatre and performance, pg 29 ® Counsell and Wolf, Performance Analysis, pg 43 ibid, 43 # Allain and Harvie, The Routledge companion to theatre and performance, pg 29 * ibid, pg 29 Wibid., pg 29 11 Benjamin, Bostock and Mitchell, Understanding Brecht, pg 16make no attempt to hide its nature as intellectual theatre and not emotional reality, allowing it to be “addressed critically”, This governed my heavy employment throughout of anti-naturalistic principles that highlight the artifice of theatre. The lighting, for example, is strongly representational; helping to draw focus to points of my message - especially true of the anti-naturalistic ‘advertisements’ that foreshadow fate. Within this example there's also the use of. “gestus"!} - where appearance represents a “group of traits peculiar to the individual” - the foundations of representation and symbolism, and this can be clearly seen in the advertisement lighting. It is possible to see here how the techniques of Brechtian Epic Theatre interrelate and aid its, and therefore my, political purposes. However within these basic representational principles, there is a lot of scope for different expression, and this is why my use of Sarah Kane's “Crave” as a secondary influence was vital. Tying into a huge amount of Brechtian anti- naturalistic technique - characters that titled rather than named A, B, C and M'# that give only one repeated emotional response - using “Crave" allowed me to further my Brechtian theoretical basis but within the wider context of its practice and expansion over time. Kane's characterization and set design, both “minimal"5 to preserve her preferred interest in language, are unmistakably Brechtian - language to “Crave” is as fate is to “A History of the Future”. This minimalism | used in my own characterization and set design - appreciating how alack of ostentation in both could aid my expression. It forced me to work with the essence of the two elements, and solely in terms of my message. My characters followed her work, in terms of their inhuman ‘labels’ and also the gestus I devised for them; picking traits on the basis of purpose in the overall message. The set design of "A History of the Future” as well had its grounding in Kane's minimal set in “Crave” ~ minimal to the point of non-existence, in her “rejection of stage directions relating to specifics”»- to achieve the distancing effect. | identified the essential parts of set for making my point on inevitability, for example the television that foreshadowed fated events, and then put these alone onstage. This meant that, amongst other things discarded, there was no partition between onstage and offstage, so the audience was constantly aware of the movements of the ‘crew’ that helped suggest a vast unstoppable machinery behind fate. The influence of Kane's "Crave" thus allowed me to distill the broad concepts of Brechtian theory into specific and practical applications that would aid my politicized theatre. My involvement of Theatre of the Absurd in“A History of the Future” was for similar but slightly more conceptual reasons. ‘The latter of my two secondary influences to Brecht, were the anti-naturalistic and political works of “The Theatre of the Absurd”? as defined by Martin Esslin in his book of the same name, and specifically Edward Albee’s “The Zoo Story”. 22 Counsell and Wolf, Performance Analysis, pg 43 5 Pavis., Shantz and Carlson,, Dictionary of the theatre, pg 164 + crave wikipedia 45 Saunders, ‘Love me or kill me’: Sarah Kane and the Theatre of Extremes, pg SbeN 26 ibid, pg 111 17 Esslin, The Theatre of the AbsurdThis style of theatre, symptomatic of playwrights such as Beckett and Genet*® but with a vast array of writers falling to the category, is defined as plays where “broadly speaking” the absurdity of the human condition is the central theme. This refers to a "sense of the senselessness of life"®", an awareness of the futility of human action and a descent into irrationality as a result’. There were two central areas in which this connected with my work. Firstly in terms of the Heir, whose reaction to a steady realization that his actions could change only himself and not fate is a rejection of etiquette and social norms - finding the absurdity in being human, pretending importance when knowing insignificance. This “abandonment of rational devices", so alien to the audience, is a very powerful vessel for political messages, and I've used it as such. Secondly in terms of the costume, in which I followed the ideas of Albee’s “Who's Afraid of Virginia Woolf?” - building up a naturalistic reality in acts one and two to destroy it as illusion with ‘true futility’ in the third act®’. This was the basis for my costume ~ providing emphasis for the anti-naturalism of the characterization and dialogue through a naturalistic appearance. In this way the use of Theatre of the Absurd as an influence to support my Brechtian theoretical centre was highly beneficial. Epic Theatre is a form in which there's very little room for absconding the central theoretical principles of Brecht. It demands that a performance be carefully constructed in every aspect to convey a political message, to invite an audience into intellectual reflection, and as an influence this is both a source of aid and difficulty. Certainly it gives a strong conceptual backbone which ties the piece together, seen in "A History of the Future” in its commitment to its message. However this process of such total commitment is very demanding, hence my use of secondary influences Albee and Kane to supplement my Brechtian stylistic source with subsidiary theory and practical information. ‘Through the combination of all three, | was able to make certain that the theme of fate and human actions futility in changing it - and significance in defining us ~ remained strong throughout. W ibid, pg? 8 op. cit,, pg 24 2” ibid,, pg 24 2 ibid,, pg 24 2 ibid,, pg 24 23 Horn., Edward Albee, pg 70Bibliography Benjamin, Walter, Anna Bostock and Stanley Mitchell. Understanding Brecht Verso, 2003 Allain, Paul, and Jen Harvie. The Routledge companion to Theatre and Performance. Taylor and Francis, 2006 Pavis, Patrice, Christine Shantz and Marvin A. Carlson. Dictionary of the theatre. University of Toronto Press, 1998 Counsell, Colin, and Laurie Wolf. Performance analysis. Routledge, 2001 Saunders, Graham. ‘Love me or kill me’: Sarah Kane a . Manchester University Press, 2002 lin, Martin. The Theatre of the Absurd. Taylor and Francis, 1980 Horn, Barbara Lee. Edward Albee. Greenwood Publishing Group, 2003 EsTabb of Contents QOPPEODHOOOOOO PREP Re Section A= Seatin = B- 4 ety oe A Seckion D -23 € 7 : Sein EOF : Sedion FF ~ 2 : Secien G ~ 38 seg “| | e |fe ean | Te ey (Gieats 22) ESechon Aqs i ae a ad oe z : = o | Aer carefoloxwinatlin of all the sources, ib have chosen the pil Maps ok Matic Ho Sind br any wk, Te ph at o ec e information aah global Sele oF Ye soaps tnly ctu, me with, — Hight ok We messages I _pereived j chiely on the oner of externa) frees, TT cman oF Ab a ep | “ope we TT haw ale of Gee sopptig Atlas le 16 age z te oie wrt! eS ers: seats oe imagination; Hating argthing fo ‘fowe’ Atot ing Yea Atlantis ak its prime CAE oo ae “eal ao = ¥ ~ petaring fo moos or fe natn? 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