Performing Theatre Theory
The Solo Theatre Piece
Lana Abou Karam
The Solo Theatre Piece (SP)
Students at HL research a theatre theorist they have not previously studied, identify an aspect(s) of theory and create and present a solo theatre piece (lasting 4–7 minutes maximum) that demonstrates the practical application of this theory to a theatre piece for an audience. Each student submits the following.
-
A report (2,500 words maximum) plus a list of all primary and secondary sources cited.
-
A continuous unedited video recording of the whole solo theatre piece (4–7 minutes maximum).
​
Selecting the theatre theorist and theory
Students at HL identify a theatre theorist they have not previously studied who has developed and contributed to theatre theory. Published or recorded material of the theorist’s actual words (primary sources) communicating their theatre theory must exist, along with published materials by others (secondary sources) writing about the theorist’s work.
Students should have little or no previous experience of researching or practically engaging in depth with the theatre theorist or aspect(s) of theory they select for study. Students must ensure that the theory they select is related to theatrical theory, rather than to social, psychological, literary, historical or cultural theory.
In some cases, it may be necessary to consider other theories alongside the theatre theory, with theorists such as Augusto Boal, for example, whose theatre theory cannot be considered without exploring the wider political components of his work. However, such an approach must be clearly justified in the report.
Formulating theatre-maker intentions
Students are required to formulate their own theatre-maker intentions that are aligned with the theatre theorist’s overarching intentions, in order to create, stage and present a solo theatre piece (lasting 4–7 minutes) that demonstrates the practical application of this aspect(s) of theory.
​
Performance material
For their solo theatre piece, students may choose to use or adapt existing text, create new text or not use any text, as appropriate to the selected theorist and nature of the aspect(s) of theory being explored. If using a play text, this does not necessarily need to be from a play written specifically to put that theatre theorist’s theories into practice. For example, a student would not need to choose a play by Bertolt Brecht in order to explore an aspect of epic theatre. They could, perhaps, choose to adapt a naturalistic play text instead as long as this is appropriate and fulfills their intentions. If using a play text, this does not need to be one continuous speech but may be a number of sections of text edited and woven together by the student. Any creative choices made by the student will depend on their theatre-maker intentions and should be appropriate to the chosen theatre theorist, the nature of the aspect(s) of theory being explored and the theorist’s intended effect on an audience.
Inquiring
• Each student carries out research on a theatre theorist they have not previously studied, a specific theory presented by that theorist, with a focus on the theorist’s overarching intentions (which may be theatrical, social, political, philosophical and so on).
• Each student formulates their theatre-maker intentions for the practical application of the aspect(s) of theatre theory they have selected and the creation of a piece of solo theatre. These should be aligned with the theatre theorist’s overarching intentions.
Developing
• Each student undertakes a process of developing the solo theatre piece, led by their theatre–maker intentions. They practically apply the selected aspect(s) of their chosen theory and incorporate performance and/or production elements to create, design and rehearse their solo theatre piece in order to fulfill their stated intentions.
​
Presenting
• Each student performs the final solo theatre piece (lasting 4–7 minutes) to a live audience.
Evaluating
• Each student gathers feedback from the audience to assess the extent to which the piece fulfilled the student’s theatre-maker intentions.
• Each student evaluates the effectiveness of the presented solo theatre piece in terms of their theatre maker intentions and the extent to which these have been met or not.
Sample Solo Theatre Piece (SP)