DRAMA

NOTES
THIRD TERM

JS1
 JSS1 DRAMA TERM 3
Name of teacher: Jijingi Joshua Ngutor
E-mail: [email protected]
Phone.
Week Period Topic Contents By the end of the lesson, you Texts (Before cla
should be able to: text of each bolde
1 Terminologies in 1. features of drama 1. state the features of drama Studies in Drama
Drama 2. examples of 2. explain the features of drama
features of drama 3. provide examples of the features
discussed. of drama explained.
2 1 Types of Dance 1. Definition of 1. define dance Fundamentals of
dance 2. list and explain the basic
2. importance of importance of dance
dance 3. explain the types of dance
3. The types of 4. state the body movements
dance necessary for dance
4. elements of 5. explain the tips on dance
dance performance
5. body movement 6. explain the elements of dance
s necessary for
dance
6. tips on dance
performance
2 4. Dance 4. to perform dance in groups
performance
practical.

3 3 Introduction to 1. define 1. define choreography Printed lesson no

Choreography choreography 2. state the principle of choreography
2. State and explain 3. State the meaning of
the principles of choreographer
choreography 4. explain the qualities of a good
3. process of choreographer
choreography

4 4. process of 5. explain the process of

choreography choreography.
 5. Qualities of a
good
choreographer

4 5&6 Contemporary 1. Define contemporary dance Fundamentals of

Dance 2. state the features of contemporary
1. Definition of dance
contemporary 3. explain the features of
dance contemporary dance
2. Features of 4. explain the choreographer of a
contemporary contemporary dance
dance 5. perform contemporary dances
3. Performing
contemporar
y dances
4. the
choreographer in a
contemporary
dance

5 7&8 Performing 1.Definition of 1. Define contemporary dance Fundamentals of

contemporary contemporary 2. state the features of contemporary
dance dance dance
2.Features of 3. perform contemporary dances
contemporary
dance

3.Performing
contemporary
dances

6 9 Work Ethics: 1. definition of team 1. define team work and sense of Printed lesson
Team work and work and sense of no
sense of belonging belonging
belonging 2. How to promote 2. State how to promote sense of
sense of belonging belonging
3.How to maintain 3. Explain how to maintain team
team work work
4.The importance 4. Explain the importance of team
of team work and work and sense of belonging
 sense of belonging
10

7 11 & Fundamentals of
12
Play Adaptation 1. meaning of play 1. define play Adaptation
adaptation 2. give the types of play adaptation
2. Types of play 3.explain tips on how to adapt older
Adaptation plays
-full adaptation 4. provide examples of notable
-partial adaptation adapted plays by Nigerian
3.Tips on how to playwrights
adapt older plays 5. Explain the relevance of play
4.examples of adaptation to the growth of drama
adapted plays by
Nigerian
Playwrights
8 13 Play Production 1. Meaning of play 1. define play production process Studies in Dramat
Process production
2. proess of play
production 2. Explain the process of play
-choosing the play production
-auditioning and
casting
-rehearsal
-production
-post production
discussion

14 3.factors promoting 3. explain the factors promoting the

the choice of play choice of play for production
for production 4. state the tips for actors in
4. How to get in internalizing their lines
your lines during
play production
9 15 Casting in Drama 1. Meaning of 1. define Printed lesson no
casting casting
2. Types of casting 2. state the types of casting
3. The role of 3. explain the role of casting in play
casting to play production
production
16
References:
Adams klopers Kande: The fundamentals of African Drama and Theatre, Makurdi Aboki
Publishers, 1998.
Emeka Nwabueze: Studies in Dramatic Literature, Enugu, ABIC Books&Equip. Ltd, 2011.
Aga Shimsenge & Gbilekaa Richard: Fundamentals of Dance and Music, Katsina-ala,Emmasson
Publishers, 2013.
TERMINOLOGIES IN DRAMA
The following are terminologies often used in drama:
(i) Playwright/dramatist
(ii) Dramatis personae
(iii) Cast
(iv) Plot
(v) Flashback
(vi) Projection
(vii) Prologue
(viii) Epilogue
(ix) Chorus
(x) Aside
(xi) Soliloquy
(xii) Dramatic monologue
(xiii) Dramatic irony
(xiv) Comic relief
(xv) Dialogue/lines
(xvi) Stage directions
(xvii) Interlude
(xviii)Suspense
(xix) Climax
(xx) Surprise ending
(xxi) Tragic flaw
(xxii) Tragic hero
(xxiii)Dramatic/Classical unities
(xxiv) Prompter
(xxv) Protagonist
(xxvi) Antagonist
(xxvii) Trilogy
(xxviii) Tetralogy
(xxix) Anti-Hero
(xxx) Poetic Drama
(xxxi) Mime
(xxxii) Stream of Consciousness
(xxxiii) Deus Ex Machina
The Terminologies defined.
 Dramatis Personae: this refers to the characters in a play, novel, or poem.
 Cast: this refers to all the actors and actresses playing different characters in a play
 Plot: this is the storyline showing the series of events that form the story in the play.
The characters through their speech and movement reveal the outline of the action.
 Flashback: this is the device used by playwrights to recall a previous action in
order to give more information on the present action.
 Projection: this is the opposite of flashback. It refers to the technique whereby the
playwright goes into the future in order to make the audience see the consequences
of current actions.
 Prologue: it is the formal introduction to a play, the content is relevant to the
unfolding events in the play.
 Epilogue: is the closing comment in a play which justifies an earlier course of
action or fills an untreated gap in a play.
 Chorus: a group of characters in a play whose role is to give additional information
to an audience about the play and give important comment about the play. The term
and practice originated from ancient Greek theatre

(i) Trilogy
(ii) Tetralogy
(iii) Anti-Hero
(iv) Poetic Drama
(v) Mime
(vi) Stream of Consciousn
 practice. It serves to prepare the audience for what is yet to happen.
 Dramatic Monologue: this is a long speech in a drama spoken by a character, its
primary aim is to enable the character express his inner feelings to the audience
without other characters identifying those feelings. The two types of dramatic
monologue are Aside and Soliloquy.
 Aside: this refers to a speech by the character directed to the audience to the
exclusion of fellow characters or actors in the drama.
 Soliloquy: it is a device in drama or novel which allows a character to engage in
loud self-talk for the reader/audience to have access to what is in his/her mind. At
such times, the character reveals certain parts of his character that the audience
otherwise would not know.
(vii) Dramatic irony
(viii) Comic relief
(ix) Dialogue/lines
(x) Stage directions
(xi) Interlude
(xii) Suspense
(xiii) Climax
(xiv) Surprise ending
(xv) Tragic flaw
(xvi) Tragic hero
(xvii) Dramatic/Classical unities
(xviii)Prompter
(xix) Protagonist
(XX) Antagonist

 Dramatic irony: this is a device in which the audience understands better the
implications of an actor’s words or action than the characters do themselves.
 Dialogue/Line
 Comic Relief: in tragic plays, comic relief is usually applied to relieve the tension
that has built up. It helps to soften the mood of seriousness that often characterizes
such plays.
 Deus Ex Machina (god from machine): this involves the introduction of a person,
thing or supernatural force into a play to provide artificial solution to very difficult
conflict.
  Stage Direction: these are the playwright’s written instructions about how the
director, crew, actors and readers are to stage, perform or imagine the play. They
are often printed in italics and not spoken aloud and may appear at the beginning of
a play, before any scene, or attached to a line of dialogue. They are used to describe
sets, lighting, sound effects, and the appearance, personalities and movements of
characters as well as what facial expressions they should assume and so on.
 Interlude: is a short interval to a main performance. It could be a brief music or
dance separating the part of play.
 Trilogy: is a Greek word meaning set of three. Is a group of three tragedies
presented by individual authors at the drama festival in Athens in the 5th century
BC.
 Tetralogy: Greek (set of four) four plays comprising of three tragedies and a satyr
play. It was submitted in drama competitions in Athens in the 5th century but now
may be applied to any four connected works.
 Dramatic/Classical Unities: this refers to the classical unities in drama i.e.
i. The unity of time,
ii. The unity of place and
iii. The unity of action
It requires that a play should be a uniform whole, each part is interdependent.
Prompter: this refers to “the actor-off-the-stage” whose role is to assist the actual
actors in carrying out their assigned performance roles. He reminds the
actors/actresses of their lines, guides them when they stray off and generally assists
them to make the performance a success
 Protagonist: a character that plays the most prominent role in a play or novel, often
referred to as hero/heroine or the chief character.
 Antagonist: it refers to a character in a play or novel who opposes the protagonist
rightly or wrongly. Often he/she contradicts the protagonist.
 Tragic flaw: A costly mistake made by the protagonist in a play or drama. It could
also mean an in-built or inherited weakness, say pride, which aids the downfall of
the protagonist.
 Tragic Hero: is a good man, though not without stain. In Greek drama, he is an
elevated figure, a ‘big’ man whose fall from grace causes others sorrow. His tragic
decline may be traced to his own fault (flaw), even if not out of any guilt. His
situation draws people’s pity and sorrow because the misfortune that befalls him is
underserved.
  Anti-Hero: it is a central character in a play who lacks the qualities expected of the
hero of the regular Aristotelian drama.
 Poetic Drama: this term refers to a play wholly written in verse which can be
performed or simply read as in closet drama e.g. T.S Eliot’s “Murder in the
Cathedral”
 Suspense: it is the state of anxiety and expectation in the reader/audience of a play
or novel as to how an event is likely to unfold. It raises a reader’s interest and keeps
him/her guessing as to what will happen next. It usually achieved by withholding
the resolution until the end of the play.
 Climax: this refers to a point in dramatic presentation when the progression of
events reaches a moment of completion. It is marked by the peak mounting tension
in the unfolding action.
 Surprise Ending: this is an ending that presents an unexpected turn of event.
Stream of Consciousness: it refers to that technique which seeks to depict the
multitudinous (countless, infinite) thoughts and feelings which pass through the
mind. Another phrase for it is “interior monologue). Through this the
subconscious mind of the character is explored to give more insight into his
personality and his emotional disposition to the present situation

INTRODUCTION TO DANCE
Dance is the rhythmic movement of the body in time and space. Dance can also be
defined as the rhythmic movement of the body to the orchestration of music in time and
space.
To Africans, dance is music and music is dance, they are inseparable.
ELEMENTS OF DANCE
1. Body: the act of dance takes place in and through the human body. In dance, the
body is the mobile figure or shape, felt by the dancer and seen by others. The
body might be still or changing as the dancer moves in place or travels through
the dance area. Specific parts or whole body of the dancer might be emphasized.
2. Action: action is any human movement included in the act of dancing, it can
include dance step, facial movements, lifts, carries and catches and even
everyday movements such as walking. Dancers may choose movements done
before or they may add their own original movements to the existing dance
movement.
 3. Space: there are countless variations and combinations of ways that movement
can occur in space. Dancers interact with space in numerous ways. They may
stay in one place, move parts of their body or their whole body or they may
travel from one place to another.
4. Time: the keyword for the element of time is when. There is repeated patterns.
Time can be arranged in clockwise (seconds etc), sensed time and event
sequence (before, after, unison etc) timing relationship.
5. Energy: is about how. It refers to the force of an action and can mean both
physical and psychic energy that drives and characterizes movement. Choices
about energy include variations in movement flow and use of force, tension and
weight.

USES/IMPORTANCE OF DANCE.

1. It is used for entertainment, competition

2. As a form of communication: passes important information and messages
like unity, love. Tolerance etc.
3. It is used to enliven the mood of an occasion
4. It is used to express emotions, feelings especially of love
5. It is used for exercise
6. It is used as a form of social interaction
7. It is used to pass stories from one generation to another (especially before
invention of writing till date)
8. It is used during rituals as a precursor to ecstatic healing
9. It is used for money making-professional dancers

TYPES OF DANCE
1. Pure dance
2. Dance drama
3. Dramatic dance
4. Comic dance

STYLES/GENRES OF DANCE
There are many styles and genres of dance
1. African dance which is interpretative
2. Ballet, ballroom and tango are classical dance styles
 3. Square dance and electric slide are forms of step dance
4. Breakdancing is a type of street dance.
Dance can be participatory, social or performed for an audience.
Steps and body movement
Basic body movements necessary for dance:
1. Bob your head: start by bobbing your head to the music to get the beat.
2. Shift your weight: shift all your weight to one foot. You can shift your weight to
every single count (count 1 to 3), but starting out slowly will help you get
comfortable before you begin dancing fast.
3. Move your feet: once you are shifting your weight to the rhythm, begin moving
your feet.
4. Add some hip action: when you put your weight on a foot, move your hip (and
your body) slightly in the direction of that foot.
5. Move your arms: if you are uncomfortable, do not keep your arms close or let
them hang. Instead, move your arms around. Keep your hands open, whatever
you do, do not get stuck on just one move, keep switching it up. For example:

Roll the dice: make a loose fist and shake your arm and hand as though you are shaking a
pair of dice for a roll.
Mow the lawn: Bend forward and with one hand grasp starter of an imaginary lawn
mower, pull your hand back as though you are pulling on the string to start the mower.
Once you get it going, you can take a few steps while you mow the lawn.
Swing an air lasso: grab an imaginary lasso and swing it above your head as though you
are about to rope a cow. Shift your weight to the foot opposite your “lasso hand” and
thrust your hips in that direction.
Pump your fist: make a fist and then make a pumping motion overhead in a celebratory
fashion
Some tips/hints required in dancing
1. Smile and look like you are having fun
2. You sing along to the lyrics
3. Remember to keep your dancing speed with the tempo of the song you
are dancing to.
4. You have to enjoy the music when dancing to make it more extravagant.
It involves feeling the beat, feeling the music. Feel the rhythm, love the
rhythm and enjoy it.
LIVE IT, LOVE IT, LEARN IT
5. Watch other dancers
6. Practice often

CHOREOGRAPHY
Choreography is the art of composing dances. It involves the movements and patterns of a
dance composition. Most choreography refers to specially composed theatrical dance.

A choreographer must accommodate the requirements of music, costume, decor,

and sometimes the choice of dancers. Newly commissioned music or preexisting
music can be used.

Choreographers vary widely in their specific procedures. Some formulate the

dance fairly completely before working with the dancers; others create most of the
dance by guiding and observing dancers' improvisations while trying out ideas.
Some people even develop a general structure and then decide on specific
combinations of steps by working them out using the dancers' bodies.

Often the physique and skills of a particular dancer suggest certain movements.
Once the dance composition has been formulated, the choreographer must then
teach it to the dancers, demonstrating and then watching as the dancers imitate.

Choreographers must know the technique and movements of their dance idiom.
Familiarity with other dance styles is useful; for example, a ballet choreographer is
aided by having a knowledge of various folk dances, historical dance, and elements
of modern dance and jazz dance.
Knowing other kinds of body movement is also helpful, such as acrobatics,
pantomime and gesture, motions of fighting, and athletics.

PROCESS OF CHOREOGRAPHY

i. Conception of the dance idea

ii. Gathering of the movement
iii. Putting and arranging the movement by teaching the dancers
iv. Creating the final structure and polishing it for performance.
v. Production
vi. Post production discussion

The principles of Choreography

The principles of choreography include order, beauty, and variety. They are better
demonstrated as follows:
1. Dynamics: How it moves?
Time - Fast/Slow
Weight - Strong/Gentle
Flow - Bound/free
Tempo – rhythm
Words which describe the qualities of the actions.

2. Space :Where in space?

Personal, General, Upstage, Downstage, Stage right, Stage left, Centre stage

3. Relationship: What are the relationships?

Near or far from other dancers
Near of far from audience
Solo, Duet, Trio, Group
With/without music

4. Actions: Which actions are used?

Jump, fall, balance, gestures, stillness, pirouette, catch, counterbalance

5. Body Part/Body Shape: Which body part is used?

 Each part is like a jigsaw piece and which join to create an effective dance.
The parts include head, neck, face, chest, stomach, arms, hands, feet, legs,
fingers, toes, hips etc.
QUALITIES OF A GOOD CHOREOGRAPHER

1.A good choreographer should be a good teacher. He should acquire the technique
of imparting knowledge. He should device a way of putting across what the dancer
should do.

2. The choreographer is a psychologist. The nature of his job demands that he

knows how to handle people without killing their morale.

3. In handling his dancers, a good choreographer should see himself as a leader

rather than a boss, a facilitator rather than a director, a helper rather than an
instructor. At the same time, he should be strict and firm.

4.A good choreographer should care about the wellbeing of his dancers.

5.A good choreographer needs to exude confidence as he handles his artists.

6.A good choreographer should be a good observer of things, situations and people.

CONTEMPORARY DANCE
Contemporary dance is a form of dance that is a clear departure from the
traditional and ballet dance forms but draws inspiration from them. It
involves integrating the mind, body, spirit in a connection with the dance
movement.
Techniques: it is a popular form of dance that tends to utilize both the strong
and controlled legwork of ballet and modern dance’s stress on the torso, and
also employs contact release, floor work, fall and recovery and improvisation.
Features/Characteristics of contemporary dance
1. Contemporary dance allows for freedom of creative expression through the rhythmic
control of the body and movement. Thus, people have their own individual stages.
2. Movement, through the body is the focus of the dance, as the body is regarded as the
most important instrument of contemporary dance.
3. Contemporary dance often abstract, that is, it is not based on ideas.
4. The style of contemporary dance is not rigid in terms of style and movements, that is, it
does not have any fixed movements.
5. Contemporary dance does not usually narrate any story.
6. The choreography of contemporary dance may seem disorderly at times, but this does
not mean that its conception has disregarded technique. It is often perceived as being
closely related to modern dance, ballet, and other classical concert dance styles because of
its borrowing from classical, modern, and jazz styles.

7. Contemporary dance could be unpredictable in changes in rhythm, tempo, pace and

resolution.
8. Contemporary dance sometimes encourages independence between dance and music.
9. Contemporary dance is composed to be danced and not to be analyzed.
10. contemporary dance does not require heavy costumes but highly innovative costumes.

The Choreographer's role

There is usually a choreographer who makes the creative decisions and decides
whether the piece is an abstract or a narrative one. Dancers are selected based on
their skill and training. The choreography is determined based on its relation to the
music or sounds that is danced to. The role of music in contemporary dance is
different from in other genres because it can serve as a backdrop to the piece. The
choreographer has control over the costumes and their aesthetic value for the
overall composition of the performance and also in regards to how they influence
dancers’ movements.
Modern dance, the other major genre of Western theatre dance, developed in the
early 20th century as a series of reactions against what detractors saw as the
limited, artificial style of movement of ballet and its frivolous subject matter.
Perhaps the greatest pioneer in modern dance was Isadora Duncan. She believed
that ballet technique distorted the natural movement of the body, that it “separated
the gymnastic movements of the body completely from the mind,” and that it made
dancers move like “articulated puppets” from the base of the spine. Duncan
worked with simple movements and natural rhythms, finding her inspiration in the
movements of nature—particularly the wind and waves—as well as in the dance
forms that she had studied in antique sculpture. Elements that were most
characteristic of her dancing included lifted, far-flung arm positions, an ecstatically
lifted head, unconstrained leaps, strides, and skips, and, above all, strong, flowing
rhythms in which one movement melted into the next. Her costumes, too, were
unconstrained; she danced barefoot and uncorseted in simple, flowing tunics, with
only the simplest props and lighting effects to frame her movements.

Pioneers of contemporary dance (the offspring of modern and postmodern)

include Ruth St. Denis, Doris Humphrey, Mary Wigman, Pina Bausch, Francois
Delsarte, Émile Jaques-Dalcroze, Paul Taylor, Rudolph von Laban, Loie
Fuller, José Limón and Marie Rambert.

TEAM WORK AND SENSE OF BELONGING

Team work is the process of working collaboratively with a group of people in

order to achieve a goal which means that people will try to cooperate, using their
individual skills and providing constructive feedback, despite any personal conflict
between them.
Importance of team Work
Importance may vary depending on the purpose and size of the team but may
include some of the following, a team can:
 Apply a mix of skills that go beyond the scope of any individual (synergy)
 Solve complex problems that take more than one mind
 Generate new ideas
 Enhance communication
 Help people to learn from one another and develop
  Generate commitment
 Provide support and help to team members
 Coordinate individual activities towards a common bigger goal
 Give people sense of belonging.

Sense of Belonging

Meaning of Sense of Belonging

Belonging means acceptance as a member or part.

A Sense of Belonging is a human need, just like the need for food and shelter.
Feeling that one belong is most important in seeing value in life and in coping with
intensely painful emotions.
A sense of belonging to a greater community improves motivation, health and
happiness. When one is connected to others, he/she becomes aware that all people
struggle and have difficult time and is comforted with the knowledge of not being
alone.

How to Achieve Sense of Belonging

Building a sense of belonging requires active effort and practice.
 One way to work on increasing sense of belonging is to look for ways one is
similar with others instead of focusing on ways they are different
 Another way to build a sense of belonging is to work on acceptance of
others. To accept others and views that are not same as yours may require
that you open your thoughts to the idea that there is value in everyone’s
thinking.
 Try saying yes to opportunities to be with others and then throw yourself in
to whatever the activity is. Let go of your judgements because judgements
build walls.
 Watch your words and your ways of thinking. Some words create
separateness and others promote togetherness.
PLAY ADAPTATION

Adaptation is the transposition (adapting) of a literary source to another genre or

medium, which may also involve adapting the same literary work in the same
genre or medium just for different purposes. In theatrical Adaptation, material from
another artistic medium, such as film or novel can also be re-written according to
the needs and requirements of the theatre and turned into a play.

In a theatrical adaptation, material from another artistic medium, such as

a novel or a film is re-written according to the needs and requirements of
the theatre and turned into a play or musical.

TYPES OF ADAPTATION
1. Partial Adaptation
2. Full Adaptation

Keys to adapting older plays

1. Create your own dialogue
2. Find a play with a theme that resonates now
3. Reduce the number of characters
4. Reduce the length of the play
Notable examples of Greek Adapted Plays
1. Sophocles’ Oedepus Rex adapted into The gods are not to Blame by Ola
Rotimi
2. Euripedes’ The Trojan Women adapted into Femi Osofisan’s Women of
Owu

CASTING IN DRAMA
Casting means the act of allocating a part to an actor/actress or allocating part to be acted
in a drama. To avoid any last minute disappointment as in illness or any misbehaviour,
the director may give two people the same role to play during rehearsals but only one of
them will eventually perform on the presentation, and it is called double casting.

Types of Casting in Drama Production

i. Table casting: is casting the experienced, popular and good
actors/actresses that the director has seen or heard of their quality in
 drama presentation. It is also called casting on experience or pre-
casting.
ii. Type casting: is the casting on fondness. It is a situation where a
particular role is given to an actor because the role suits the actor’s
character or he is fond of doing it either in real life or drama
production. The actor may be used to that particular role or he enjoys
doing the role either in real life or on stage. E.g given the role of an
old man to an old man or security to a security officer.
iii. Audition casting: this is casting by ability.it is a casting technique
where the director makes an open invitation to every interested
individuals, either professional or amateurs to come for drama
interview. The best are chosen based on the choice and theme of the
play. There are two types of auditioning technique:
a. Open audition: it is a situation where actors/actresses, even
amateurs are invited to come physically and try out roles in the
play by reading the proposed script, acting out already rehearsed
monologue or performing openly for the director to see.
b. Closed audition: in closed audition, the director has foreknowledge
of the actor/actress needed for the play and so he invited the
performers privately, interviews and auditions them separately for
roles he has in view for them.

PLAY PRODUCTION
PLAY PRODUCTION PROCESS.
Producing a play requires a process. This process of play production determines the final
outcome of a production. A play that undergoes the process is likely to come out as a
perfect production. The process of play production is as discussed below:
A. CHOOSING A PLAY: The choice of a play tells the outcome. If a wrong choice is
made, no matter how efficient and professional the actors might be, the production
will not come out as perfect as it should be. In choosing a play, certain factors are
considered:
i. The relevance of the play to the contemporary society
ii. The capital available
iii. The strength of the cast
 iv. The type of stage available
v. The nature of the audience
vi. The play must satisfy the academic and physical needs of the school if it is a
school drama
vii. The play should not offend the aesthetic sensibilities of any segment of the
school or community
B. AUDITION AND CASTING: Audition is a try-out process to pick the would-be
actors for the production, while casting is assigning roles to the actors to represent
characters. The choice of actors helps cement a good production.

C. REHEARSAL: this is the preparatory stage of a production. The essence of

rehearsal is to achieve perfection. Rehearsal comes in the following stages
i. Reading rehearsal
ii. Blocking rehearsal
iii. Polishing rehearsal
iv. Dress and technical rehearsal

D. PRODUCTION: This is the actual day of production when the audience gather to
watch a well packaged drama. Production is called only when the play reaches its
perfect stage during the time of rehearsal. The stage manager assumes leadership
on the day of production.

E. POST PRODUCTION DISCUSSION: This comes after production. At this point,

the group meets again to:
i. Discuss the production, the strength and the weakness, and to effect
corrections where necessary for better productions in subsequent times.
ii. Collect, gather, and return all borrowed items to the collection centres. The
costumes, props, make-up items, and everything belonging to the production
unit are collected and kept safe for subsequent productions.
iii. To pay the actor where necessary.

HOW TO KNOW YOUR LINES AS AN ACTOR DURING PLAY PRODUCTION

1. Read the lines through many times, not even with the intention to remember. Better
still, read the lines with other actors reading their parts. Read through a section either a
scene or part of scenes for about three times consecutively. By the fourth time, a large
number of statements would have been mastered if not all
2. Read the script several times to get a vague idea of what things happen and what the
other characters say about you, helping you with characterisation, and then decide how
long you have learnt a part
3. Count your lines, divide them by the number of days before the deadline the
director has set for dropping of script. Leave a little time for revision, and set about
learning your lines. Lines are to be internalized and not crammed.
4. Study the plot structure of the play. Read the play several times, concentrating on each
part of the play at each time.