BTEC Drama

The Reid Technique: Some argue that this technique is useful for gaining information from unwilling subjects. However, this technique is also criticised as manipulating people into false confessions. In fact, a confession in 1955 which originally popularised this method was later proved to be false. This technique has three phases. It begins with Fact Analysis, followed by a Behaviour Analysis( non-accusatory) and finishes with the Reid Nine Steps of Interrogation. 1.        Confrontation. Show that evidence has led to the belief that the individual is the suspect. Offer them an early opportunity to explain why the offense happened- Tupolski does not do this, however Katurian is giving time where he denies his understanding of the situation. 2.        Theme development. Develop possible reasons that would physiologically justify, excuse the crime. 3.        Stopping Denials. Min...

One of the most difficult things for me in regards to Tupolski’s role is that as the “No 1” he tends to lead the direction of the play. This means that all major shifts of content, particularly in the first act, rely on me knowing exactly what will happen next. However, I have been struggling to do this because of the random nature of some of the shifts. It was suggested that I should try to make connections for Tupolski’s train of thought between one section of the play and another. End of Katurian’s speech to the introduction of the form Tupolski is hinting to Katurian that he was unconvinced by his speech and that he won’t be able to untangle himself from the investigation so easily Ripping up the form to the Little Apple Men Katurian is confused. Tupolski can use this confusion to aid his investigation as it is perhaps more likely that Katurian will give away information in this state. The stories could be a part of “Theme Development”- REID “I give you my word” ...

One thing that it is important to look at is the over reaching arc of the character throughout the play. This is to answer the question of "How was Tupolski effected by the events?" Or "How is he different at the end of the story?" I think, that with all the characters, the audience expects to see some obvious change in the characters between the start and the end of the play.  In some ways this is true- Katurian becomes accepting of her death, Ariel makes a connection with Katurian and does not burn his stories. But mostly for the characters left alive, in particular Tupolski, the change is not so clear. I believe that in order to get a true sense of the character change you have to understand the super objective of the character and analyse how this is disrupted or impacted upon by others. Throughout my study of the play, I've come to the decision that Tupolski's super objective is to stay in control. This is why he acts in the way he does. Tupolski fl...