EXAM STYLE QUESTION – BERKOVIAN STYLE

This is a typical question:

Explain and justify how you would direct the performers, in the 1st minute of this production of ‘THE TRIAL’, in order to create a Berkovian style of performance.

  • Identify the Command words – what do they mean?
  • What is the focus of the question (the key words or target).
  • Watch the clip – take notes. [Imagine this is your production – claim the ideas as your own] – watch again.
  1. Identify elements that are Berkovian.

Start from 0:52 to 2:06

Create a paragraph. (about ‘the city came to life’ section.)

Opening statement -what will you focus on? (your directorial aim)

“My directorial aim for ‘the city came to life’ is…”

“One of the main elements of a Berkovian style is…”

“I would direct the ensemble to…”

Explain the idea/ moment / skill

Justify it! [Pearls of Wisdom – relating to your understanding of Berkoff’s ideas, influences, the nature of the material, what you want the audience to understand.]

What / How / Why structure

The Mark Scheme –

Indicative content (what you could focus on)

EXAMPLE (Mr Jones)

My directorial aim for ‘the city came to life’ section would be to use an ensemble of 8 actors to create a moving cityscape of commuters moving via train to work.

The first Berkovian element I would direct would be heightened and precise action mime. Each actor would need to develop the role of a commuter with individualised movements like listening to music through headphones or reading a newspaper. I would direct the actors to create 2-3 clearly mimed actions that are sharp and can be repeated as a motif. Each action would be exaggerated either in size or rhythmically (e.g., sharper, robotic movements for writing on a note pad). In addition, I would have each actor create the sound effects for their mime (the beat of the music) or aspects of the journey like the train noise or screeching breaks or doors hissing open. [Explain]

{Make a list of drama terminology}

Berkoff’s total theatre style showcases the ‘genius of the body’ and is a theatre of ‘the imagination’. Without any need for costumes or set, the ensemble will create the effect of a busy crowd. This will be enhanced by forcing them to perform in a restricted space on stage, shoulder to shoulder, in order to create the effect of a larger crowd. The more robotic moves will have the effect of making this commute seem boringly routine and mindless. {Justificaion}

OR try a more sophisticated structure.

Justification sandwich (Justify – Explain – Justify)

Justification: Berkoff has talked about the ‘genius of the body’ and his own mime training with Lecoq has informed his highly physical style where the actors need little else to convey characters and setting.

Point: My directorial aim for ‘the city came to life’ section would be to use the ensemble of 8 actors to create a moving cityscape of commuters moving via train to work.

Explain: The first Berkovian element I would direct would be heightened and precise action mime. Each actor would need to develop a role of a commuter with individualised movements like listening to music through headphones or reading a newspaper. I would direct the actors to create 2-3 clearly mimed actions that are sharp and can be repeated as a motif. Each action would be exaggerated either in size or rhythmically (sharper, robotic movements for writing on a note pad). In addition, I would have each actor vocalise the sound of their mime (the beat of the music) or aspects of the journey like the train noise or screeching breaks or doors hissing open.

Justification: Berkoff’s total theatre style is a theatre of ‘the imagination’ where the audience and actors create the effects together. Without any need for costumes or set, the ensemble will be able to create the effect of a busy crowd. This will be enhanced by forcing them to perform in a restricted space on stage, shoulder to shoulder, in order to create the effect of a larger crowd. The more robotic moves will have the effect of making this commute seem boringly routine and mindless.

Where to next>>>

Body as prop (2 actors being the door / the clocks ticking)

Choral movement in unison – (all the commuters lean back as the train comes to an abrupt halt – provide the screech sound of breaks themselves.)

Dynamic changes – the regular mechanic click of clocks in unison followed by the chaos and irregular movement of the commuters – contrast – moving locations without need for set changes.

Further Reading:

http://www.iainfisher.com/berkoff/berkoff-study-a1.html

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