FILES TO DOWNLOAD
Complete Document
Letter of Information
Letter of Consent
Project Brief
Doctor of
Creative Industries
Towards the Practices and Poetics of Raw Theatre
DCI Candidate: Mr Martin Challis
DCI Project 1
Introduction and Timetable for Examiners
“By knowing and sharing myself through story enactment I may come to know
and
share more of the human story. To understand the other is to understand the
self.”
Martin Challis
(from “Raw Theatre Website – http://www.studioforactors.com.au/rawtheatre)
“…we, directors and actors, put into practice the practice –
we don’t practice the theory. I think that if there is no theory of acting,
at least there are theoretical laws that we may find, curiously enough, in all
traditions of acting. It is true that the term “theory of acting”
does not seem fundamentally wrong, but it seems always somewhat imperialistic
and pretentious. I prefer to use fundamental laws which we sometimes know but
then sometimes lose and forget. It is only practice that all of a sudden can
make law or tradition rise to the surface.”
Ariane Mnouchkine
(from “Building Up the Muscle” in Re: direction edited by Rebecca
Schneider and G.Cody, Routledge London, 2002.)
Project Mentors: Associate
Professor Brad Haseman
(Creative Industries Faculty, QUT)
Mr Tony Auckland
(Kubler Auckland Management)
Introduction
Raw Theatre is a form of interactive, participatory theatre, which will have
application in a number of fields. These include: actor training, corporate
education, role-play simulation, story devising and mass entertainment. In this
DCI project Raw Theatre is used as a tool for actor training.
For this project the genesis of Raw Theatre stems from a desire to create performance
based outcomes for actors training in the method-acting workshop. Actors working
with RT processes enhance their performance skills by investing in the stories
(enactments) which are played out. The material for the enacted stories comes
directly from students participating in the workshop. Raw Theatre seeks to create
story enactments, “performances – organically derived”, that
are authentic and deeply involving for players and observers. Deep learning
occurs through an emotional, physical and mental investment in the story and
its possible resolutions.
In Raw Theatre the organic performance occurs due to the resonating strength
of the body story of the ‘principal’ (player who provides the story
material) and the degree of emotional commitment of all involved. An organically
derived performance occurs as an intuitive process when an actor allows his
or her impulses to merge with an empathetic connection to the story material
of the enactment. An organic performance promotes the possibility for the spontaneous
and un-expected to occur within the enactment.
The organically derived performance leads to the goal of believability in acting
and story telling. Processes leading to the creation of a believable performance,
from an actors point of view, may be stated thus: if the actor/story-teller
makes an energetic and emotional commitment to the enactment this is likely
to lead to greater emotional truth which is most often experienced by an audience
as empathy and engagement with the performance.
Raw Theatre facilitates the enactment of a believable story in a spontaneous
and unrehearsed manner by providing a set of processes for players to follow
in the studio workshop.
The holistic nature of Raw Theatre provides student actors with an opportunity
to work on the actor’s instrument (faculties and abilities), the actor’s
craft, and the actor’s relationship with story structure and story construction.
AimsThe aims of this DCI
project have been to articulate a set of processes and enactments for Raw Theatre
as a tool for actor training.
Aims and intentions of Raw Theatre have been to:
1. Assemble a set of processes for the making of Raw Theatre
2. Identify the ethics of practice for Raw Theatre
3. Create a set of terminologies for Raw Theatre
4. Develop a set of interventions for creating and manipulating the narrative
of Raw Theatre enactments
5. Build a working ensemble of actors established in Raw Theatre processes
6. Within this ensemble, establish Raw Theatre as a site for creative practice
as research
7. Locate Raw Theatre within the field of Interactive TheatreFindings from these
aims and intentions will confirm a set of claims and identify potential growth
areas for Raw Theatre. These are likely to include commercial outcomes in the
corporate, education and entertainment sectors of the economy.
Date Description Documentation
October 2004 Establish Marketing Website TBC
September 2004 Examination and Performance:
RT launch Project Plan
September 2004 Online forum with RT Ensemble Forum website **
September 2004 Rehearsal Process for RT Ensemble
rehearse a team of actors proficient in improvisation develop the processes
and practices of RT to a level of expertise
September –
Feb 2004 Establish archival website – website acts as the main archival
document outlining background, codes, terminologies, processes of RT. referencing
autobiographical development, application and impact of RT on site and relationship
to field of practice Website *
July 2004 Casting RT Ensemble Website *
July 2004 Feedback from volunteer participants and supervisors documented -
recommended changes trialled in September rehearsals Website – downloadable
file transcript
June 2004 Data Review – emerging codes and processes of RT become clear
through process of review - feedback sessions transcribed and action taken from
feedback sessions leading to re-implementation in future workshops All sessions
recorded either using video camera or audio recorder (viewed repeatedly)
May 2004 Experimental Raw Theatre Class:
account of process used in acting class Website * – text file
March 2004 Breakthrough Monologue Website * – quicktime file
March 2004 Fourth Rehearsal:
Collective creative state and Stimuli Website * – text file
February 2004 Third Rehearsal:
More trials and discussion Website * – downloadable file transcript
November 2003 Discussion Forum
“What is Raw Theatre” Website * – text file transcript
September 2003 Draft Document
“Building Blocks and Processes” Website * – downloadable file
April 2003 Trial Workshop Performance: Pilot
TAFE Qld Website * – downloadable files quicktime files
April 2003 Second Rehearsal:
building the model Website * – text file
March 2003 First Rehearsal:
laying the foundations Website * – text file
October 2002 Pilot Planning Meeting:
forming ideas for Raw Theatre Website * – text file
Sep 2004 –
Feb 2003 Documentation Document reflective practice – using journal entry
– recording sessions of RT as journal entries and/or recording with audio
visual means - transcribing feedback and recording discussions - review audio
and visual recordings of rehearsal and participant feedback
Sep 2004 –
Feb 2003 Literature Review Website * - bibliography
* www.studioforactors.com.au/rawtheatre ** www.studioforactors.com.au/bboard
Examinable Outputs
1. Website
Raw Theatre Website The website provides a comprehensive overview of the forms
and processes of Raw Theatre. The website discusses the development of Raw Theatre,
its relationship to the field of practice and the site of inquiry – namely
the actors workshop. The website details the chronological development of RT
and lays out codifications, terminologies and practices.
http://www.studioforactors.com.au/rawtheatre examiners may access the website
with the username – examiner and password examiner
Website
Front Page
2. Presentation and Workshop
Workshop The workshop will present Raw Theatre as an actor’s class working
with a team of actors who have been instrumental in developing Raw Theatre’s
processes and practices. The actors have developed a degree of expertise in
the forms of Raw Theatre. The story material will be totally unprepared. Following
the presentation of a workshop, time will be set aside for a question and answer
session with the facilitator, actors and any invited audience.
Timetable
Time Stage Location People
11.15am DCI Project Briefing: Intro to Raw Theatre Conference Room – Enterprise
Centre QUT - CIP Examiners, Candidate and Co-ordinator & Project Mentors
11.45am Refreshment Conference Room Examiners & co-ordinator
12.00am Workshop Demonstration The Hall Lecture Theatre – Z2 Examiners,
Candidate, Mentors, Ensemble & Invited Guests
1.30pm Question & Answer The Hall Lecture Theatre – Z2 As above
2.00pm Viva with Examiners The Hall Lecture Theatre – Z2 Examiners &
Candidate
3. Viva
Examiners will have the opportunity to discuss the DCI Project further with
the candidate.
Ethics Statement for Raw Theatre Our ethics govern our attitudes and actions.
In Raw Theatre our ethics must reflect our desire to portray roles, situations
and relationships with integrity, empathy and compassion in a non-judgemental
framework.
Within such a framework practitioners of Raw Theatre are committed to scholarly
inquiry and creative practice as research through critical self-reflection and
reflective practice. We hold a mirror up to life to explore more closely, more
of what is only seen in glimpses.
In Raw Theatre the Facilitator is guided by a deep conviction to the value of
the advancement of human understanding through role-play, story telling and
the sharing of story. The primary responsibility to the participants of Raw
Theatre is to seek out relevant stories and examine these stories in ways that
are most beneficial to the participant’s personal desire, learning and
enjoyment.
As a teacher, the facilitator demonstrates respect for each participant’s
right to participate at any level they deem most beneficial. The facilitator
respects the confidential nature of the relationship and will always protect
participant’s freedom to choose to share or not to share personal material.
Participants of The Raw Theatre Workshop have a responsibility to one another
for the respect, interpretation and presentation of story material derived within
the workshop. Participants affirm their commitment to be respectful and sensitive
to one another's stories and are committed to an ethical portrayal of characters
named within the role-play.
LETTER OF INFORMATION
Title of Research: Towards the Poetics and Practices of Raw Theatre - a form
of interactive, participatory theatre, which will have application in a number
of fields. These include: actor training, corporate education, role-play simulation,
story devising and mass entertainment
Name of Researcher: Martin Challis
Contact Phone: 0410 314 740
E-mail: m.challis@qut.edu.au
About the Program of Research
The purpose of the study is to clearly articulate a set of processes and enactments
for RT as a tool for actor training. In later stages of development further
aims of the project envisage the possibility of creating commercial outcomes
in the corporate and education sectors and to establish a base of enquiry towards
the entertainment values inherent in RT.
Rehearsals and Workshops will be conducted with an invited ensemble of actors
to assist and develop the processes of Raw Theatre. The ensemble is invited
to practice and assist the refinement of RT and to participate in potential
future commercial engagements that may arise from possible commercial applications
of the research. Participation in the rehearsal process and practical examination
on the 25th of September 2004 will be remunerated at a rate nominated by the
conveners of the research project – CIRAC.
If you agree to participate your contributions will support the development
of RT. You are therefore asked to give your permission for the researcher to
refer to any responses you may discuss or describe during the study.
Please note:
• As information collected during the study may be published, you assign
Intellectual Property rights for Raw Theatre to the chief investigator but wish
to be acknowledged for your contribution to this process in any publication
about Raw Theatre.
• If you are recorded you will be asked to give your permission for your
name to be used in this analysis and in future studies relating to this project.
However, you can choose to remain anonymous by ticking the appropriate box on
the consent form provided.
• The return of the consent form is required to indicate your voluntary
consent to participate in this research project. If you agree to participate
in this study, you should:
1. Sign both copies of the consent form
2. Keep a copy for your records and
3. Return the other copy to the researcher (Martin Challis)
• All competed forms and information produced by this study will remain
confidential and will be securely stored at the Queensland University of Technology
Any questions regarding this project and or its procedures can be directed to:
Name of Researcher: Martin Challis
Contact Phone: 0410 314 740
E-mail: m.challis@qut.edu.au
LETTER OF CONSENT
(For participants over the age of 18)
Title of Research: Towards the Poetics and Practices of Raw Theatre - a form
of interactive, participatory theatre, which will have application in a number
of fields. These include: actor training, corporate education, role-play simulation,
story devising and mass entertainment.
Name of Researcher: Martin Challis
Contact Phone: 0410 314 740
E-mail: m.challis@qut.edu.auStatement by ParticipantI …………………………………………….
(the participant) have read and understand the information on the Letter of
Information provided and any questions I have asked have been answered to my
satisfaction. I agree to participate in this activity.
I agree that the research data collected for the study may be published or shared
with other researchers in a form that:
(please tick a box)
Identifies me.
Does NOT identify me.
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NAME OF PARTICIPANT
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SIGNATURE
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DATE
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NAME OF WITNESS
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