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Year 10 Description
In Year 10, Drama students will be given opportunities to develop their knowledge and skills to present drama for purposes and wider external audiences, safely using processes, techniques and conventions of drama. Students develop drama based on devised drama processes and taken from appropriate, published script excerpts (e.g. Australian drama post-1960 or world drama), using selected drama forms and styles. Students will have opportunities to research devised drama and read in selected script excerpts in context. Student work in devised and scripted drama is the focus of reflective and responsive processes. Students are encouraged to develop their use of extended answer forms and interviews, using drama terminology, language and different forms of communication, based on their own drama and the drama of others.
Drama forms and styles for Year 10: Grotowski's Poor Theatre, Stanislavski and Realist acting, Theatre of the Absurd and Devised drama.
Term 1Week
Objective Teaching Focus Content Addressed
1-2 To get to know each other as a class unit
For students to be introduced to the techniques used in creating a believable character
Students to work on making a character realistic
Introduction to Course: Class bonding/ warm ups Discuss Unit of work
Information/discussion: Role creation (worksheet given). Practical workshops
based on this. Introduce Stanislavski techniques; imagination,
character analysis, emotion
Practical Activities: Character walks Child/parent relationships (including
reflection/debrief) Conflict scripts Script Extract Blackrock by Nick Enright Silent communication rounds
VOICE AND MOVEMENT
Voice and movement techniques for selected drama forms and styles
Preparation techniques for voice and movement for selected drama forms and styles
Mime techniques (choosing the level of precision of movement needed when telling a story) in drama
DRAMA PROCESSES AND THE ELEMENTS OF DRAMA
Drama processes through combining the elements of drama (role, character and relationships; voice and movement; time, space and situation; mood, atmosphere and dramatic tension) used by selected drama practitioners such as Rudolf Laban, Augusto Boal or Cecily O'Neill to manipulate dramatic meaning and audience relationships
Approaches to characterisation suited to the selected drama forms and styles, texts and themes
DRAMA FORMS AND STYLES
Script interpretation, based on a reading of the complete text, of an extended scene or section to manipulate mood and interpret themes for audience
3 To continue learning about creating a believable character by manipulating vocal and non verbal
Practical Activities: Body Language ‘signals’ Body messages Snapshots Tableaux (linking to given stimulus) Vacuum breathing Tongue Twisters
communicationTo understand the elements of body language and how this helps to create character
To continue using Stanislavski’s methods to help create a believable character
To offer students a case study on creating a believable character
Information/discussion: Body language Using your voice safely Modulation
Information/discussion: Analysing an actor’s choices Physical attributes Vocal attributes Stanislavski’s methods/system
Devised drama exploring international or global themes based on research and selected drama forms and styles
DRAMA CONVENTIONS
Drama structures based on cyclical structures and numerous plotlines
Drama conventions manipulated for selected drama forms and styles
Improvisation conventions (dénouement, creating an effective conclusion)
SPACES OF PERFORMANCE
Levels, status, proxemics, focus and balance in making drama
Stage geography, blocking notation and the impact of in-the-round and adapted stages
Imaginary spaces manipulated by stage components and properties, the elements of drama and audience
DESIGN AND TECHNOLOGY
Design and technology to manipulate focus and mood
Design principles (balance, contrast, repetition, pattern) selected to make meaning and add to the experience of theatre
4-5To understand the structure of a realistic play.
Read: After January Read play together as class Discuss characters and motivations Discuss – are we satisfied with the ending?
Characters:
To see examples of an aside.
For students to become more aware of their character’s motivations.
For students to extend their knowledge on the role of a designer.
Alex (see Pg. 91 of teacher notes)
Practical activities: Re-create scenes (Pg. 14-16 and Pg. 98-100) Moment of truth (Pg. 102 of teacher notes) Inner monologues Lifecycles (Pg. 103-104 of teacher notes) Alternate ending
Assessment: Introduce students to Assessment Task:1B Designer Assessment due week 7
Information/discussion: Analysing a character Physical attributes Context of the play Role of the costume designer: Nelson Drama for
Secondary students: Pg 90-91
Relationships exercise: Nelson Drama for Secondary students: Pg 62
Designing: One character’s costume and writing a reflection on
choices
SELF-MANAGEMENT AND GROUP MANAGEMENT SKILLS AND PROCESSES
Effective group work processes (strategic planning and evaluation processes) in drama
Safe practices in drama (performing arts safety primers)
DRAMA REFLECTIONS
Reflective writing, on their own and others’ work, analysing choices in drama making and using precise drama terminology and language
DRAMA RESPONSES
Analytical writing using different forms of communication on viewed live performances (live or digital copies of live performances), focusing on the elements of drama and design and technology to make meaning
ORAL COMMUNICATION
Oral communication (explaining in an interview, the reasons behind choices in drama making)
6-8 Students will rehearse scene/s from their set text while using a realist acting style.
Students are to utilise and apply Stanislavski’ methods.
Students will be assessed on their ability to apply realist acting methods.
Assessment: Performance Task 1A Introduce students to assessment task (Performance:
Scripted Performance) Performance Assessment Due week 8/9
Rehearsal Scene selected (from After January) Rehearsals commence Memorisation Costumes/props
Process Answering the Fundamental Questions Hot seat
Performance and Reflection (Week 8/9)
9-11 Students will learn how to structure an extended response.
Students will use graphic
Structuring an extended response: - Review terminology- Explore use of graphic organisers- Look at practise questions- Look at good response answers
Task 1C: Extended response will be done in class under test conditions.
organisers and drama terminology in response.
Hand back extended response and go through with students- Students will need to re-write and correct work.
Review Term 2 assessments and begin looking for monologues.
Term 2Week
Objective Teaching Focus Content Addressed
1-2 Students begin to stage monologues
Studenst get feedback on performances
Students Incorporate Grotowskis transformation theatre into scripts
Exploring structure of exam.
Showing of monologues- Focus on blocking choices - How to incorporate Grotowski
Recap on Grotowksi and his methods- Practical workshops- Using scripts and incorporating methods- Transferring to monologues
Structure of exam: - Timing- Marking criteria- Interview questions
VOICE AND MOVEMENT
Voice and movement techniques for selected drama forms and styles
Preparation techniques for voice and movement for selected drama forms and styles
Mime techniques (choosing the level of precision of movement needed when telling a story) in drama
DRAMA PROCESSES AND THE ELEMENTS OF DRAMA
Drama processes through combining the elements of drama (role, character and relationships; voice and movement; time, space and situation; mood, atmosphere and dramatic tension) used by selected drama practitioners such as Rudolf Laban, Augusto Boal or Cecily O'Neill to manipulate dramatic meaning and audience relationships3 To continue
learning about Focus on using voice in performance
- Practical voice workshops
creating a believable character by manipulating vocal and non verbal communication
To understand the elements of body language and how this helps to create character
To offer students a case study on creating a believable character
- How to write about voice
Focus on using body in performance- Practical workshops on movement: look into Laban
Information/discussion: Analysing an actor’s choices Physical attributes Vocal attributes Grotowski’s methods/system
Students do dramaturgical research on monologues.
Approaches to characterisation suited to the selected drama forms and styles, texts and themes
DRAMA FORMS AND STYLES
Script interpretation, based on a reading of the complete text, of an extended scene or section to manipulate mood and interpret themes for audience
Devised drama exploring international or global themes based on research and selected drama forms and styles
DRAMA CONVENTIONS
Drama structures based on cyclical structures and numerous plotlines
Drama conventions manipulated for selected drama forms and styles
Improvisation conventions (dénouement, creating an effective conclusion)
SPACES OF PERFORMANCE
Levels, status, proxemics, focus and balance in making drama
Stage geography, blocking notation and the impact of in-the-round and adapted stages
Imaginary spaces manipulated by stage components and properties, the elements of drama and audience
4 For students to further develop their techniques in creating a believable character
For students to give peers
Students will run workshops on Grotowski and present to the class
Showing:Students will have a showing of their Monologues and will get feedback.
constructive criticism using correct drama terminology.
DESIGN AND TECHNOLOGY
Design and technology to manipulate focus and mood
Design principles (balance, contrast, repetition, pattern) selected to make meaning and add to the experience of theatre
SELF-MANAGEMENT AND GROUP MANAGEMENT SKILLS AND PROCESSES
Effective group work processes (strategic planning and evaluation processes) in drama
Safe practices in drama (performing arts safety primers)
Responding
DRAMA REFLECTIONS
Reflective writing, on their own and others’ work, analysing choices in drama making and using precise drama terminology and language
DRAMA RESPONSES
Analytical writing using different forms of communication on viewed live performances (live or digital copies of live performances), focusing on the elements of drama and design and technology to make meaning
5-7 Preparation for the practical exam
Preparation for the written exam
Exam preparation:
Run through practical exam- Students work in pairs and rotate to give feedback- Interview questions - Organisation of set, costumes and props
Structure of the written exam: - Unseen text - Actor / designer- Extended response
8-9 Students to get feedback on strengths and weaknesses
Students to apply feedback and correct work.
Go through practical examination results- What were the strengths?- What were the weaknesses?
Handback written examination - What were the strengths?- What were the weaknesses- Handback a good response – what makes this a
good response?- Students to fix up any errors/ mistakes that were
made
Look over scheme of assessments for Term 3: - Waiting for Godot
- Theatre of the AbsurdORAL COMMUNICATION
Oral communication (explaining in an interview, the reasons behind choices in drama making)
Term 3 Week
Objective Teaching Focus Content addressed
1 Students to learn about the conventions and style of Absurdist Theatre
Students gain an understanding about the context
Introduction to Absurdist Theatre
Exercises exploring the conventions and style of Absurdist theatre:
Re-arranging chairs Taking shoes off Pointless tasks
Discuss with students what they were doing and what was the point?There is no point = exactly
Introduce the Theatre of the Absurd, discuss prior knowledge.
Hand out Absurdist theatre worksheet PPT on Absurdist theatre: Exploring
existentialism, context and conventions
Information/discussion: Context of Absurdist Theatre - influences Conventions of Absurdist Theatre
VOICE AND MOVEMENT
Voice and movement techniques for selected drama forms and styles
Preparation techniques for voice and movement for selected drama forms and styles
Mime techniques (choosing the level of precision of movement needed when telling a story) in drama
DRAMA PROCESSES AND THE ELEMENTS OF DRAMA
Drama processes through combining the elements of drama (role, character and relationships; voice and movement; time, space and situation; mood, atmosphere and dramatic tension) used by selected drama practitioners such as Rudolf Laban, Augusto Boal or Cecily O'Neill to manipulate dramatic meaning and audience relationships
Approaches to characterisation suited to the selected
drama forms and styles, texts and themes
DRAMA FORMS AND STYLES
Script interpretation, based on a reading of the complete text, of an extended scene or section to manipulate mood and interpret themes for audience
Devised drama exploring international or global themes based on research and selected drama forms and styles
DRAMA CONVENTIONS
Drama structures based on cyclical structures and numerous plotlines
Drama conventions manipulated for selected drama forms and styles
Improvisation conventions (dénouement, creating an effective conclusion)
SPACES OF PERFORMANCE
Levels, status, proxemics, focus and balance in making drama
Stage geography, blocking notation and the impact of in-the-round and adapted stages
Imaginary spaces manipulated by stage components and properties, the elements of drama and audience
DESIGN AND TECHNOLOGY
2 Students use script excerpts to develop an understanding of how to incorporate the conventions of Absurdist Theatre.
Students examine how the elements of drama have been manipulated to fit into the style Absurdist theatre.
Students engage in conversations about dramatic meaning and audience response.
Students get an overview on the context, conventions and
Recap on Absurdist Theatre What are the conventions What do we know
Looking at absurdist scripts: Using extracts from End Game Students pair up and read the scripts out loud Students act out script with only movement no
voice Students act out scripts in gibberish Students can only use voice Students can use voice and movement but no
hand gestures Students can use voice and have to be constantly
moving. Students show their performances to the class.
- Discuss what happened in the excerpt: character, situation, relationship, dramatic tension?
- What performance worked best and why?- Relate back to the conventions of absurdist
theatre: Repetitive movements, long pauses and silences, movement contradicts with the spoken dialogue.
Repeat same exercise with excerpts from Waiting for Godot. Are there any similarities between the two excerpts? Discuss and relate back to the elements of drama and the style. What is the audience left thinking after both performances?
themes from the studied text .
Students use role play to gain a deeper understanding of the context and themes.
Show PPT on Waiting for GodotDiscuss and students take notes.
Role play on context of Absurdist theatre Teacher takes students on a guided role play. Students imagine that they’re Paris and have to
flee due to Nazi regime. They’re in hiding and have to remain quiet as the
Nazis are approaching. They must leave soon before they get captured.
Discuss the role play and what they have imagined – what did you see, smell , hear and feel?What did you learn from this experience?Relate back to Samuel Beckette and how he had to flee from Paris to escape from the Nazi’s and how this links to the theme of Existentialism.
Design and technology to manipulate focus and mood
Design principles (balance, contrast, repetition, pattern) selected to make meaning and add to the experience of theatre
SELF-MANAGEMENT AND GROUP MANAGEMENT SKILLS AND PROCESSES
Effective group work processes (strategic planning and evaluation processes) in drama
Safe practices in drama (performing arts safety primers)
DRAMA REFLECTIONS
Reflective writing, on their own and others’ work, analysing choices in drama making and using precise drama terminology and language
DRAMA RESPONSES
Analytical writing using different forms of communication on viewed live performances (live or digital copies of live performances), focusing on the elements of drama and design and technology to make meaning
ORAL COMMUNICATION
Oral communication (explaining in an interview, the reasons behind choices in drama making)
3 Students read and understand the text in relation to the elements of drama:
- Space- Characters- Relationships- Time - Voice- Movement
Begin reading Waiting for Godot as a class (can take 2-3 lessons) Allocate student roles Discuss the set (space) Discuss the characters Discuss the relationships
Do tableaux activity on chosen scenes: - Students create 4/5 tableaux to block out scene - Transitions from one tableaux to the next - Students can use movement and sounds but no
words- Students can use movement and voice – including
dialogue
4 Students examine previous productions of set text and refer to what Principles of Design and Visual elements of design have been used.
Students to create their own designs with justification. Students draw and annotate designs using appropriate terminology.
Students begin rehearsing for scripted performance.
Look at previous productions of Waiting for Godot: - Take note of the set design: Link to principles of
design and visual element of design. - What would you do to make this contemporary
and appealing for audiences today? Students to discuss and write and draw ideas.
- Students show ideas to the class.
Hand out task sheet for Waiting for Godot Performance: Go through task and marking key Explain what a found space is: students will be
able to choose a space / area in the school to perform the scripted scene at.
Students get in pairs / groups and choose scenes Rehearsal process begins
5 Students continue to develop their ideas practically in rehearsals.
Rehearsing scenes:
- Staging scenes: looking at different ways you can incorporate movement and manipulate the elements of drama.
Students show work and reflect and record on the feedback they give and have been given by peers.
- Playing with movement: looking at partnered movement sequences with inspiration from physical theatre: Frantic Assembly etc.
Students do a showing at the end of the week to show progress:
Students record feedback using the marking criteria and give constructive criticism orally to their peers.
6/7 Students to take on a designer role and create a design for their performances. Students will need to use appropriate terminology and justification.
Students refine and polish their performances in preparation for being assessed in week 8.
Design: Set and Costume design task due in week 9/10
Students are to take on the roles of costume / set designers for their performances.
Students decide which role they would like to take on and begin to brain storm ideas.
Students will spend 1 lesson a week working on their designer role task. Students will spend 2 lessons a week rehearsing. Students to polish of performances
8 Students perform assessment.
Students watch back and reflect on their work and their peers.
Students prepare for extended response with a focus on structure and terminology.
Students perform Waiting for Godot to an outside audience
Students watch back performances and reflect on their work and the work of others using the marking criteria.
Discuss marks and give justification. What could be improved what worked well?
Practise Extended response:- Go over the structure of an extended response- Revise what has been learnt about Absurdist
theatre and Waiting for Godot- Go over terminology and graphic organisers.
Give practise dot points.
9 Students continue to refine their designer role task in preparation for being assessed in Week 10.
Students work on Task 1 B: Designer role which will be presented in Week 10.
10 Students will present their designer role to the class.
Students will use feedback and good answers to fix their responses.
Students present designer roles to the class
Review Term 4: OSP
Term 4Week
Objective Teaching Focus Content Addressed
1 Students us different texts to help shape OSP.
Students will use one of the stimulus provided to plan for their OSP
Introduction to Devising and Planning OSP
Discuss topic that interest youBegin brainstorming topics and ideas
Practical workshops for devising: Poems Short stories Music Pictures Objects
Students will participate in a range of workshops with different stimulus to help guide them in the devising process.
VOICE AND MOVEMENT
Voice and movement techniques for selected drama forms and styles
Preparation techniques for voice and movement for selected drama forms and styles
Mime techniques (choosing the level of precision of movement needed when telling a story) in drama
DRAMA PROCESSES AND THE ELEMENTS OF DRAMA
Drama processes through combining the elements of drama (role, character and relationships; voice and movement; time, space and situation; mood, atmosphere and dramatic tension) used by selected drama practitioners such as Rudolf Laban, Augusto Boal or Cecily O'Neill to manipulate dramatic meaning and audience relationships
Approaches to characterisation suited to the selected drama forms and styles, texts and themes
DRAMA FORMS AND STYLES
Script interpretation, based on a reading of the complete text, of an extended scene or section to
2 Students use improvisation and creative writing to help shape OSP
Students use visual texts to create vision boards for their OSP
Generating OSPCreative writing exercise to build on OSP
- Supercharge your brain exercise- Time students on ideas
Students to use one of the following sites and create a vision board: Pinterest, Evernote etc
Students will participate in a range of improvisation
activities to shape performances.
Students continue to work on OSP
manipulate mood and interpret themes for audience
Devised drama exploring international or global themes based on research and selected drama forms and styles
DRAMA CONVENTIONS
Drama structures based on cyclical structures and numerous plotlines
Drama conventions manipulated for selected drama forms and styles
Improvisation conventions (dénouement, creating an effective conclusion)
DESIGN AND TECHNOLOGY
Design and technology to manipulate focus and mood
Design principles (balance, contrast, repetition, pattern) selected to make meaning and add to the experience of theatre
SELF-MANAGEMENT AND GROUP MANAGEMENT SKILLS AND PROCESSES
Effective group work processes (strategic planning and evaluation processes) in drama
3 Students examine how the elements of drama have been manipulated to create dramatic meaning
Students engage in conversations about dramatic meaning and audience response.
Refining OSP
Building on character: Workshops to make the character 3D
Workshops focusing on the elements of Drama
Workshops looking at Style and Form
4-5 Students continue preparing for their practical examination performance.
Students to broaden their knowledge and skills on the techniques of improvisation
Rehearsing OSP
Written exam Preparation- Handout written exam revision booklet- Go through any questions- Same structure as Semester 1 exam- Review Semester 2 content – what have we
learnt.- Go through Semester 1 results – what are our
weaknesses?
OSP
Students prepare for their written exam and revise over content learnt in Semester 2.
Practise running through the whole examStudents to come up with 5 of their own improvisations. Teacher will choose one of them for the exam: Role- Situation – Action Costumes/ props and set pieces: What will enhance your performance?
Improvisation workshops based on students chosen situations.
Safe practices in drama (performing arts safety primers)
Responding
DRAMA REFLECTIONS
Reflective writing, on their own and others’ work, analysing choices in drama making and using precise drama terminology and language
DRAMA RESPONSES
Analytical writing using different forms of communication on viewed live performances (live or digital copies of live performances), focusing on the elements of drama and design and technology to make meaning
ORAL COMMUNICATION
Oral communication (explaining in an interview, the reasons behind choices in drama making)
6 Students continue and have been given by peers.
Practical Examination
Final questions on written exam
Study skills:
Note taking and annotating Highlighting important notes from handouts Use the planner to record homework / due dates for assessments Using graphic organisers
Review and revise materials before test Recording work-shops and activities done in class. Watching and reflecting on performance work. Asking for feedback from teacher and students
IT used in-class: PPT Presentations You-tube clips relevant to course material DVD’s for film study Live Theatre website Music for performances and workshops Sound effects for performance and workshops. Recording and reflecting on performances
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