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Unit 1 Devised Practical PerformanceDRAMA Eduqas WJEC

Name ……………………………………………..

Group members …………………………………………………….…………………………………………………….…………………………………………………….…………………………………………………….

2 actors 5-10 minutes




Plus up to 4 design candidates

Lighting design

Sound design

Set design (including props)

Costume and make up design

Week commencing ………………- mock exam

Week commencing ……………..- final practical exam

Week commencing ………………..controlled assessment- Evaluation

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You get marked on three separate elements in this unit

`1. Devised Performance 15 Marks

AO2- Apply theatrical skills to realise artistic intentions in live performance- PRACTICAL Assessed through the performance

Performance skills- voice, movement etc. and interaction with other performers, where appropriate,

An interpretation of the character/role using relevant aspects of the practitioner/genre style to realise intention.

Individual contribution to the performance sustaining audience interest throughout.

Learners devise a piece of theatre in response to the stimulus which demonstrates either the techniques of a theatre practitioner or the dramatic characteristics of a specific genre of the learner's choice.

2. Portfolio 30 MarksAO1- Create and develop ideas to communicate meaning for theatrical performance-WRITTEN Assessed through the portfolio of supporting evidence

Response to a stimulus; creating imaginative ideas Creating developing and refining ideas Incorporating a range of techniques/ characteristics of a practitioner or

genre Range of rehearsal techniques

Creating the portfolio of evidence (750-900 words) The evidence should focus on three stages which are significant to the development of the devised piece of theatre. The three stages should demonstrate:

1. How ideas have been researched, created and developed in response to the chosen stimulus2. How ideas from the chosen practitioner/genre have been incorporated in the piece to communicate meaning3. How ideas have been developed, amended and refined during the development of the devised piece.For each stage, candidates must provide illustrative material (as listed below) and a commentary, which may include annotations on the illustrative material.

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Candidates may also produce their portfolio as a suitably edited blog (between 750 and 900 words), as an audio-visual recording, including the illustrative material, or an audio commentary on the illustrative material.Audio and audio-visual portfolios should be between six and nine minutes.Illustrative material may include any of the following:

sketches photographs ground plans diagrams storyboards mood boards sections of script digital media, including brief recordings of sections of a rehearsal or material

appropriate to the skill area, e.g., sound clips. These should be no longer than one minute.

SUPER IMPORTANT!!!Choose just 3 moments to write about- do not write about the whole process!

3. Evaluating the performance 15 Marks

You will evaluate the final performance or design under supervised conditions. You will indicate their chosen stimulus and chosen practitioner or genre. There will be three main sections to the evaluation in which learners:1. Analyse and evaluate either their interpretation of character/role or their realisation of design in the final performance.2. Analyse and evaluate how either their own performance skills or their own design skills contributed to the effectiveness of the final performance3. Analyse and evaluate their individual contribution to the final performance, including how effectively they fulfilled their initial aims and objectives (referring back to stimulus and practitioner/genre).

Learners will have 1 hour 30 minutes to complete the evaluation. Learners may have access to two sides of A4 in bullet point notes when writing the evaluation. The notes must be handed in with the evaluation

Practitioner or Genre

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You must include between 4 and 6 performance techniques in your piece and use the rehearsal techniques of your chosen style in the

process of creating the drama

Stanislavski- Naturalism, The Given Circumstances, Circles of Attention, The Magic If, Tempo Rhythm, Units and Objectives, psychologically real characters, no stylisation, ‘real’ dialogue, detailed mis-en-scene, clear structure- (Freytag’s Pyramid).

Brecht - Political/social message, didactic (teaching), Gestus, placards, Spass, Distancing effect, music, chorus, direct address to the audience, audience participation, montage, episodic scenes.

Berkoff- Exaggerated & stylised mime, Exaggerated facial expressions, Externalising emotions, Physicalisation of objects, Third person address, Rhythm through voice and body, Abstract use of voice and ensemble playing.

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Physical Theatre-Frantic Assembly, Complicite, DV8, Commedia Dell’Arte, communication through movement, lifts, integrated music, use of projection and media, mime, gesture, dance, simplified movement, naturalistic dialogue, chorus, monologue, puppetry, masks

Theatre in Education- Clear target audience, social issue theme/message, audience interaction, clear dialogue, stylised movement, simple narrative, minimal set.

List of Drama Terms- Conventions, forms, strategies, techniques ActionAlter egoBack storyChorus/chorus workCollageCommunal voiceConscience corridor (also known as 'conscience alley' or 'thought tunnel')FlashbackForum theatreFrame distancingFreeze-frameHot-seatingImprovisationNarrationNarratorPacePausePitchRankingRehearsal techniques (a full range of rehearsal techniques, in addition to techniques notedin this list, is included in the teachers' guide)Role reversalRole transferSculptingSoundscapeSplit screenTableau(x)TempoThoughts in the head or thought tracking

Transporting a character.

Analytical, structural and theatrical termsAlienationAnti-climaxArena stagingAsideAudienceAuditoriumCaricatureCharacterClimaxComposite settingDance dramaDevising/devised workDramatic ironyDramatic tensionEnd on stagingEpic theatreFourth wallGenreMonologueNaturalismPhysical theatrePromenade stagingProsceniumRealismStyleSubtextTheatre in the Round

Stimulus One 'Youth is wasted on the young ' Oscar Wilde

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Oscar Wilde (16 October 1854 – 30 November 1900) was an Irish poet and playwright. He became one of London's most popular playwrights in the early 1890s. He is best remembered for his epigrams and plays, as well as the circumstances of his imprisonment and early death. He went to prison because he was a homosexual and he lost his wife and children. After his release, Wilde was shunned by society and never wrote again.

Initial Thoughts

Research and discussion

Ideas to take forward

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https://en.wikipedia.org/wiki/Epigrams

Stimulus Two 'Everybody's Free to Wear Sunscreen' – Baz Luhrmann

Ladies and Gentlemen of the class of '99Wear SunscreenIf I could offer you only one tip for the future,Sunscreen would be itThe long term benefits of sunscreen have been proved by scientistswhereas the rest of my advice has no basis more reliable than my own meandering experience...I will dispense this advice now...

Enjoy the power and beauty of your youthoh nevermind;you will not understand the power and beauty of your youth until they have fadedBut trust me, in 20 years you'll look back at photos of yourselfand recall in a way you can't grasp now how much possibility lay beforeyou and how fabulous you really looked...

You are not as fat as you imagineDon't worry about the future; or worry, but know that worrying is aseffective as trying to solve an algebra equation by chewing bubblegumThe real troubles in your life are apt to be things thatnever crossed your worried mind

the kind that blindside you at 4pm on some idle Tuesday

Do one thing everyday that scares you

SingDon't be reckless with other people's hearts

don't put up with people who are reckless with yours

FlossDon't waste your time on jealousy; sometimes you're ahead, sometimes you're behind...

the race is long, and in the end, it's only with yourselfRemember the compliments you receive, forget the insults

if you succeed in doing this, tell me how

Keep your old love letters, throw away your old bank statements

StretchDon't feel guilty if you don't know what you want to do with your life...the most interesting people I know didn't know at 22 what they wanted to do with their livessome of the most interesting 40 year olds I know still don't

Get plenty of calciumBe kind to your knees, you'll miss them when they're goneMaybe you'll marry, maybe you won't

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maybe you'll have children, maybe you won'tmaybe you'll divorce at 40, maybe you'll dance the funky chicken on your 75th weddinganniversary...what ever you do, don't congratulate yourself too much or berate yourself eitheryour choices are half chance, so are everybody else's

Enjoy your body

use it every way you can...

don't be afraid of it, or what other people think of it

it's the greatest instrument you'll ever own

Dance...even if you have nowhere to do it but in your own living roomRead the directions, even if you don't follow themDo NOT read beauty magazines, they will only make you feel ugly

Get to know your parents, you never know when they'll be gone for goodBe nice to your siblingsthey are the best link to your pastand the people most likely to stick with you in the future

Understand that friends come and go, but for the precious few you should hold onWork hard to bridge the gaps in geography and lifestyle

because the older you getthe more you need the people you knew when you were youngLive in New York City once, but leave before it makes you hardlive in Northern California once, but leave before it makes you softTravelAccept certain inalienable truthsprices will risepoliticians will philanderyou too will get old, and when you do you'll fantasize that when you were youngprices were reasonablepoliticians were nobleand children respected their eldersRespect your eldersDon't expect anyone else to support youMaybe you have a trust fundmaybe you have a wealthy spousebut you never know when either one might run outDon't mess too much with your hairor by the time you're 40, it will look 85Be careful whose advice you buy, butbe patient with those who supply itAdvice is a form of nostalgiadispensing it is a way of fishing the past from the disposal, wiping it offpainting over the ugly parts and recycling it for more than it's worthBut trust me on the sunscreen

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Stimulus Two 'Everybody's Free to Wear Sunscreen' – Baz Luhrmann

Initial Thoughts



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Stimulus Three 'Tonight in NYC' - Kim Cogan

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Stimulus Three 'Tonight in NYC' - Kim Cogan

Initial Thoughts



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Stimulus Four 'There is no greater agony than bearing an untold story inside you' Maya Angelou, (I Know Why the Caged Bird Sings). Maya Angelou April 4, 1928 – May 28, 2014) was an American poet, singer, memoirist, and civil rights activist. Angelou is best known for her series of seven autobiographies, which focus on her childhood and early adult experiences. The first, I Know Why the Caged Bird Sings (1969), tells of her life up to the age of 17. At the age of eight, while living with her mother, Angelou was sexually abused and raped by her mother's boyfriend. She told her brother, who told the rest of their family. Freeman was found guilty but was jailed for only one day. Four days after his release, he was murdered, probably by Angelou's uncles. Angelou became mute for almost five years, believing, "I thought, my voice killed him; I killed that man, because I told his name. And then I thought I would never speak again, because my voice would kill anyone..."

Initial Thoughts



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https://en.wikipedia.org/wiki/I_Know_Why_the_Caged_Bird_Sings

https://en.wikipedia.org/wiki/Civil_and_political_rights

https://en.wikipedia.org/wiki/Civil_and_political_rights

My Final Ideas for the Devised Piece

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Stimulus

Narrative

Characters

Practitioner/Genre/Techniques

DateToday my group

DateToday my group

StimuliResearchIdeas

Rehearsal techniques of practitioner/genre

Techniques/ devices of practitioner/genre in performance

Individual contribution

Record of Work

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DateToday my group

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Writing the Portfolio

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Three Significant Stages

Introduction to the portfolio;Which practitioner/genre/style

The evidence should focus on three stages which are significant to the development of the devised piece of theatre.

Stage 1

How ideas have been researched, created and developed in response to the chosen stimulus

Explain why this stage is important. What research did you do? Internet, verbatim, books?

Give an example of how you practically developed an idea from research. Did this add to the theme or plot?ExemplarThe first thing we did was mind map all our ideas. We found a poem which dealt with someone questioning their identity. We decided to base our TIE project on a 14 year old girl who was being bullied at school and as a result had lost her identity. After thinking about this we decided although an important TIE topic, it was quite stereotypical. In PSE lessons we had studied refugees and because of the Syrian crisis which was on the news, we decided that the protagonist would be a Syrian teenager. I went on the internet and found an interesting article called 'Diary of a Teenage Refugee'. By changing the identity of the victim the focus of the piece also changed. We have lots of students from different countries so we felt it was an important message to challenge pupils and to make them think how they treat them. I loved the opening of the article which tells us that Amira is a pretty normal 16 year old who likes music, boys and her mobile phone. It made me realise that sometimes I forget that wherever we are from we are all the same and I wanted to put this across in my performance. We decided that like Amira in the article, music would be important and researched Syrian music that would be key to her identity and be a reminder of her home. The character would be lost and lonely in her new environment and asking 'Who am I?'

My First Stage

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Stage 2

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How ideas from the chosen practitioner/genre have been incorporated

Perhaps it was when you created characters or the narrative. Maybe when dialogue was created and polished.

Maybe it is a characteristic of Brecht’s work or Physical Theatre that you are focusing on?

Give an example of how an idea was created. How did this change during development lessons? Maybe you changed the structure or added some design (lighting, costume etc.) How was it refined into a final idea through rehearsal?

Ensure you say what effect you wanted- I wanted to show that my character was vulnerable and upset

How you explored this practically- I improvised a scene where we created a back story for my character. I used the Frantic Assembly technique ‘It Snows’ and wrote lines of dialogue.

Stage 2 How ideas from the chosen practitioner/genre have

been incorporated

ExemplarOur chosen style was TIE. Theatre Iolo came into school and their play Lost was about as individuals we can lose our identity in today society. From watching this piece we realised that choosing your target audience was key to the success of the piece and decided to focus on year 9. An important message of the piece is how some people find it difficult to accept others and as there were only 3 people in the group we decided we would multi-role. Although the bullies were stereotypical it was a quick device to get the message across. We simply used hats to show the difference but Ursula and Rebecca also changed their voices and movement. We also thought about language of the role and used different words and slang to create

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characters e.g. when Amira leaves them they shout "OMG loser" with appropriate gestures. I wanted the audience to understand and feel empathy for Amira as this was our main message. I decided to use direct address at key moments e.g. at the beginning to explain her situation and to give an insight into her previous life. Because we were using a variety of locations we kept the staging simple. The top level was bare but through music and projections it resembled Amira's space and the school hall. The desks represented the class room but we put a single desk for Amira on its own to symbolise her isolation. We emphasised the difference between the two characters by how they used them. The bullies sprawled on the tables but the contrasting characters sat on the chairs. We ended the piece by using a PowerPoint and flashcards to give the audience some key facts about refugees but because they knew Amira's story they would be more meaningful.

My Second Stage

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Stage 3.

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How ideas have been developed, amended and refinedWhat was a third stage you think was significant?

Make sure your individual contribution has been noted.

Have you clearly shown how ideas have been developed?

Have you explained how ideas have been refined?

Have you explained the meaning you wanted and how is has been communicated?

Have you detailed the rehearsal techniques used?ExemplarWhen we originally devised the piece Amira did not speak because of the language barrier, we just focused on her dancing to express her isolation. During rehearsals we realised that this made quite boring and didn't allow the audience to get to know her and therefore to empathise with her. We decided to use monologues at key moments e.g. at the beginning so the audience knew her thoughts and feelings. We also incorporated the phrase 'Who am I?' to emphasise her questioning her identity and also to strengthen our message. Originally we used 'What Makes You' by One Direction as our target audience could relate to this and it links Amira to a typical British teenager. When I did the dance moves it didn't seem right so we changed it to a piece of traditional Syrian music. This helped to create a backstory for the character and helped her to remember who she was. Another significant moment came when we changed the structure of the piece. At the beginning we had the bullies/friends going off stage to change character. This spoilt the flow of the piece and would have lost the audiences' interest so we just put the hats on the desks this made the pace much tighter. It was also important to show the difference in behaviour between the characters in the class. The friends sat properly doing work but we had the bullies messing about. At one point Rebecca made a paper plane and threw it. We thought this was a strong image to remind Amira about the bombing raids of Syria and tie in with the awful situation she still finds herself in. Our final refinement came towards the end, we wanted Amira to say sorry and originally we had her miming the movements but it wasn't very clear and looked quite funny. I had recently watched 'Love Actually' and thought the moment when the man apologises to the girl using placards was a quick and effective way to get the message across. We used this and it worked well and was a strong visual symbol.

My Third Stage

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Significant StagesStarter sentences and useful vocab

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The Stimulus we chose- Give details of the stimulus)

Vocab: image, poem, speech, appeal, news article, extract etc.

Our Initial Exploration exercises/ techniques

Vocab: still images / freeze frames, short scenes, narration, titles, captions, improvise, create dialogue, monologue

The topics/issues/themes were...

(Give brief details about what ideas your group had in relation to the topic/theme/issue)

Vocab: scenario, atmosphere, characters, roles, etc.

My first task was to...

(Give details about what you did, what strategies and elements you used and your intentions)

Vocab: characters, split stage, action/plot/content, contrasts, levels, movement/mime/gesture, conventions, spoken language etc.

Our chosen practitioner was...(see page 4&5)

Vocab: style, structure, naturalism, episodic

We Developed our ideas by….

Vocab: development of our work into... scene(s), character (characterisation), using symbols, cross-cutting, contrasts, lighting, marking the moment etc.

We felt, at this point, that...

(Give details of what decisions were taken, and why)

Vocab: plot (storyline), setting/situation, natural, naturalistic, narrator/narration, mime, voice-over, split-stage, levels, close or distant, sound and silence, freeze, flashback, costume, props, set, staying in role, focus, thought track, dialogue. monologue, structure

A difficult aspect of the work was...

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(Give details of difficulties such as timing, maintaining characterisation, changing roles, staging certain sequences etc)

My role was communicated by...

(Give details of posture, expression, body language, voice etc with reference to a dramatic sequence in the work)

Staging our work we...

(Give details of acting area, proxemics, sightlines for audience, use of objects / set in performance)

Vocab: upstage, downstage, centre stage, language register, pace, timing, tension, structure, movement, stillness.

We discussed what technical elements we should use

(Give details of set/props, lighting, music/sound, costume/makeup)

Vocab: period, colour, fabric, garments, projected image, spot, black-out, fade-up/down, symbolic, intensity, atmosphere, location.

Here are some examples of written Documentary Response which show excellent or outstanding understanding and engagement.

Proxemically, it was evident that the police officer was in a position of power. We used proxemics (a raised platform at the centre of the stage) to emphasize the

status of the character. The audience was drawn into the argument when Jim asked the rhetorical question. Juxtaposing the chase scene and the telephone conversation created dramatic

contrast. Overlapping the dialogue created pace and excitement. Jim's body language was closed and hopeless; short sentences and lack of vocal

expression further enhanced this. We decided the scene needed an extra dimension, which is why we introduced the

mime sequence. In begging members of the audience to hide our religious artefacts we hoped to

further engage their understanding and empathy for the persecuted congregation. Members of the cast, adding items of shabby costume to the immobile Thomas while

narrating the main events of the following year, symbolised his descent into relative helplessness.

Exemplar

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“In scene 3 it was important I had vocal control, especially at the pivotal moment when Catherine steals my diary and I break her phone. This leads into an argument and it’s important that I showed vocal variation, particularly in my pitch and volume. I wanted to create a tense atmosphere and I achieved this by accentuating my pace on key words and phrases eg “put it down now”. As Stanislavski was my chosen practitioner it was also important that I achieved a realistic expression to my voice as I didn't want to sound too melodramatic. I also thought about the subtext behind the words. Even though it’s quite a simple phrase, I wanted the audience and Catherine to sense the terrible events which were about to develop.”

The what? why? how? technique

The technique works like this:

1. first ask yourself what this has been suggested as a task2. then you ask why 3. and then you ask how you're going to do it

You may ask "What? Why? How?" many times through this process. Here's an example of how one student did it.

What?I wanted to create a sequence showing the moments when the boy, Stephen, confronted the girl, Louise, who was spreading the rumours about him.

Why?I wanted to be able to show how Stephen found his own inner strength, allowing him to do something about the rumours.

How?We decided that we needed to show clearly the impact of his anger on the girl, and that she should suddenly realise that Stephen can't be pushed around any longer. However, we also wanted to communicate this in a stylised manner to give the audience a different insight into his anger. By using the Frantic Assembly technique ‘Round By Through’ we were able to explore the space between the two and signify the rising tension between the two characters.

Why?I also realised that we had elicited the sympathy of the audience in the previous scene and felt that we should now capitalise on their support in contrasting his previous behaviour with a new found strength.

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How?The actor playing the role of the girl, Louise, showed in her body language and expression that she was shocked that he'd found out it was her who was spreading the rumours. In order to heighten this response I felt we needed to add a further element to the scene.

What?We knew that Stephen had been subjected to his father's emotional cruelty in the past, which had resulted in his timidity, and I felt that through his presence in the scene, perhaps as a figment of his imagination as Banquo's ghost appears to Duncan, we could create more dramatic impact.

How?I suggested we create a scene where his cruel father mimes his emotional cruelty to his son and placed him behind the bullying girl on a slightly higher level, with the proxemics of his height and closeness seeming to hold her there, Stephen would not just be responding to the behaviour of Louise but also, finally, challenging the tyranny of his father and communicating his triumph to the audience through the father's eventual frozen posture of shock, similar to that of Louise.

Evaluating the Performance42

1.5 hour exam. You can take 2 sides of A4 notes in bullet point form into the exam.

Part 1 Analyse and evaluate your interpretation of character/role in the final performance.

Written a short introduction that specifies the choice of skill (acting or design)

What type of character they were interpreting?

Part 2: Analyse and evaluate how your own performance skills contributed to the effectiveness of the final performance.

Analysed and evaluated movement skills including eye contact and facial expression

Analysed and evaluated vocal skills

Analysed and evaluated use of space/proxemics

Given examples form the final performance

Written about their individual contribution to the performance

Said what worked and what didn’t work

Part 3: Analyse and evaluate your individual contribution to the final performance, including how effectively you fulfilled your initial aims and objectives (referring back to the stimulus and practitioner/genre)

Linked back to the stimulus

Linked to the practitioner/genre

Talked about individual contribution to fulfilling aims and objectives

Mentioned audience reaction or feedback

NOTES

To analyse is to examine methodically and in detail, typically in order to explain and interpret it. It is more than description- it is why something is done, not just what.

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To evaluate is a type of argument that provides evidence to justify a writer's opinions about a subject. If you are evaluating drama you must give examples to justify (back up/support) the comments you make

Controlled Assessment Evaluation 1HR 15 MINUTES

FOR EACH POINT USE EVALUATION ‘THIS WAS EFFECTIVE/ POWERFUL/INTERESTING BECAUSE…’

Part 1: 10 minutes Analyse and EVALUATE your interpretation of character/role in the final performance.

“My chosen skill for Component 1 was acting…” “I played…”; Chosen character – your main character and also

multi-role characters Character description “I wanted to show the audience that…” Type of character “NAME is a mother who is talking about the child

she misses; I wanted the audience to think/feel/understand/ask…” Development strategies for your character – how you built your

character for performance e.g. your research, rehearsal techniques writing of scripts/ narration/ monologues.

What was the journey of your character in the play? “in the beginning NAME is a gentle character and I wanted the audience to see this, later NAME becomes angry and I wanted the audience to understand why”

My Evaluation Part 1

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Part 2: Analyse and EVALUATE how your own performance skills contributed to the effectiveness of the final performance.

How did you use Drama skills and Dramatic Devices to communicate your character to the audience?

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15 MINUTES- EXAMPLES OF VOCALISATION- How did you use your voice? What part of the performance was it? Why- what effect did you want? How did your voice covey meaning? Did it work? Was it successful? What would you change?

Tone (shows emotion; sarcastic, pleading, whining, cold, angry, sympathetic etc.) tells an audience how the character feels, what relationships are like. How did you change the way you spoke to different characters? Pace, pause, accent, diction, enunciation, projection (volume)

15 MINUTES- EXAMPLES OF PHYSICALITY - How did you use your body? What part of the performance was it? Why- what effect did you want? Did it work? Was it successful? What would you change?

Gesture, Gestus, dynamics; flicking, stabbing, gliding, flowing, jerky, heavy. Use adjectives; slow, slight, moderate, gradual, steady, quick, rapid, significant, sharp, substantial, dramatic, sudden and adverbs; rapidly, quickly, suddenly, gradually, steadily, slowly. What sort of movement did you use? How did you use proxemics to signify events or relationships to the audience? What pace did you move at? When did the pace change and what did it signify?


10 MINUTES: SUCCESSFUL MOMENTS;

“One of the most effective/ memorable/exciting/important moments in our play was when…”

- Scene/moment- analyse what was happening and why- Context in the whole play- how did it help to tell the story??- Quotation- what was being said?- Drama skills and Dramatic Devices; flashback, monologue,


10 MINUTES: UNSUCCESSFUL MOMENTS;

- Scene/moment:

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- Context in the whole play:- Problem/Drama skills:- EVALUATION “this could have been more effective

because”…’”if I were to perform this again I would…””I was disappointed with”,” I was happy with “


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Part 3: 20 MINUTES Analyse and evaluate your individual contribution to the final performance, including how effectively you fulfilled your initial aims and objectives (referring back to the stimulus and practitioner/genre)

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What did you personally achieve? Stimulus – “My final performance showed the audience…” Themes you explored in your play; “our play was successful in the

way in which it showed the audience…” How you used Drama skills to effectively fulfil your initial aims for

your characterisation and the whole play; chorus, physical theatre, ensemble work, climax/anti-climax, role-play, use of symbols, flashback, narration, thought-tracking, monologue, duologue, subtext

How you used design to effectively fulfil your initial aims for the play; lighting, sound, music, stage type, props, costume, makeup, set. What did they all signify?

Conclusion: 10 MINUTES

A short paragraph that ties the piece together;

“in conclusion”, “overall, I believe”, I was extremely happy with the final performance”, “in hindsight”, “we fulfilled our initial aims of”

Read through and check you have ANALYSED and EVALUATED throughout


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Notes and Ideas

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