1

Year 10 Drama Programme of Study

W E E K S

DATE ACTIVITIES DETAILS

FRI 9 Sep

STANISLAVSKI 1 (S1)

A: The birth of naturalistic acting Technique

B: General overview training of the actor: 1. The need to annotate 2. A psychological approach 3. Being truthful on stage 4. Listening and responding to the characters 5. Not pre-empting a response 6. Concentration and relaxation 7. Being natural 8. Naturalistic costumes 9. Intense character examination 10. Script examination 11. Lighting to echo real life 12. Audience concealed behind a “fourth wall” 13. Very reliant on emotional memory 14. Set is realistic 15. Knowing what motivates 16. Knowing and using the social, cultural and political

background to your play 17. Research

FRI 9 S2 1. What if? 2. Belief 3. Imagination 4. Improvisations 5. Leaving yourself alone

6. An actor/human is effected by their emotions and reactions

2 MON 12 SEP

S3

1. Social/cultural/political world 2. Research 3. Evidence/written/recorded

FRI 16 S4 1. Character objectives I want…. (Make it very simple!) 2. Super objectives

2

FRI 16 S5 1. Actions (doing verbs/transitive verbs)

3

MON 19 SEP

S6 1. Uniting/splitting up a play/script 2. Giving the units a title

FI 23 S7 1. Subtext (thoughts aloud/internal dramatic dialogue)

FR 23 S8 Finding the Given Circumstances (in an extract)

1. The story of the play 2. The events within it 3. The epoch 4. The time and place of action 5. Condition of life 6. The costumes 7. The props 8. The lighting and sound effects 9. The period and place in which it is set 10. The director’s and Designers’ interpretation

4

MON 26 SEP

S9 Creating a realistic character

1. Observing life/family/friends/character 2. Basing the character on someone 3. Using your own emotions and experiences (there a

millions of Hamlets!)

FRI 30 S10 Being in your own space

1. The fourth wall 2. Focus of attention 3. Being affected by what’s around

(sight/hearing/smell/the way you feel)

FRI 30 S11

1. Preparation exercises 2. Creating a physical life (costume/props/set) 3. Site specific rehearsal

5.

MON 3 OCT

S12 1. Emotional memory 2. Tempo Rhythm

FRI 7 Frantic Assembly Physical theatre Works hop

6

MON 10

OCT

Movement and Physical Skills Movement/Physical Skills

Developing a range of physical skills and techniques e.g.

1. Body language 2. Posture 3. Centre of weight 4. Strength and tension 5. Gesture

3

6. Mannerism 7. Gait 8. Co-ordination 9. Stillness 10. Timing 11. Control 12. Facial expression 13. Levels 14. Eye contact 15. Listening 16. Expression of mood 17. Emotions 18. Attitudes 19. Status 20. Stereotypical movements 21. Spatial awareness 22. Interaction with other performers 23. Dance and choral movement 24. What part of the feet do they move from? 25. What weight do they move with? 26. What direction do they move? 27. Which way do they lean? 28. What animal do they move like? 29. What family member/friend/character could you base

the movement on?

D1

FRI 14 Movement/Physical Skills

Movement/Physical Skills

Developing a range of physical skills and techniques e.g.

1. Body language 2. Posture 3. Centre of weight 4. Strength and tension 5. Gesture 6. Mannerism 7. Gait 8. Co-ordination 9. Stillness 10. Timing 11. Control 12. Facial expression 13. Levels 14. Eye contact 15. Listening 16. Expression of mood 17. Emotions 18. Attitudes 19. Status 20. Stereotypical movements 21. Spatial awareness 22. Interaction with other performers

4

23. Dance and choral movement 24. What part of the feet do they move from? 25. What weight do they move with? 26. What direction do they move? 27. Which way do they lean? 28. What animal do they move like? 29. What family member/friend/character could you base

the movement on?

D1

FRI 14 BRECHT (B1) 1. Brecht a short biography 2. General overview of Brecht and his political beliefs

(Marxism) 3. Social, Cultural and Political background to his world

7

MON 17

OCT

B2 1. Verfremdungseffekt – Making Strange/Alienation effect

2. Montage

FRI 21 B3 Epic Theatre techniques in Practise: 1. Narration 2. Direct Address 3. Coming out of role/3rs Person Narration 4. Speaking the stage directions 5. Multi-roling 6. Split-role 7. Banners/Placards 8. Minimal Set/Costume/Props 9. Symbolic Props 10. Lighting 11. Song and Dance

FRI 21 B4

Epic Theatre techniques in Practise: 1. Narration 2. Direct Address 3. Coming out of role/3rs Person Narration 4. Speaking the stage directions 5. Multi-roling 6. Split-role 7. Banners/Placards 8. Minimal Set/Costume/Props 9. Symbolic Props 10. Lighting 11. Song and Dance

8 MON 7 NOV

B5 Putting over a message – GEST

FRI 11 Voice The Voice Developing a range of vocal skills and techniques e.g.

1. Clarity of diction 2. Inflection 3. Accent 4. Dialect

5

5. Intonation (tone) and phrasing 6. Pace 7. Pause and timing 8. Projection 9. Pitch 10. Emotional range 11. Song and/or choral speaking 12. Volume 13. Speed 14. Stutter 15. Sibilance 16. Lisp 17. Glottal Stop 18. Rhythm

FRI 11 Voice +

Stage Positions

The Voice Developing a range of vocal skills and techniques e.g.

1. Clarity of diction 2. Inflection 3. Accent 4. Dialect 5. Intonation (tone) and phrasing 6. Pace 7. Pause and timing 8. Projection 9. Pitch 10. Emotional range 11. Song and/or choral speaking 12. Volume 13. Speed 14. Stutter 15. Sibilance 16. Lisp 17. Glottal Stop 18. Rhythm

Stage Positions/Blocking

6

(*All positions are from the actor’s point of view looking out towards the audience)

USR Up Stage Right

USC Up Stage Centre

USL Up Stage Left

CSR Centre Stage Right

CS Centre Stage

CSL Centre Stage Left

DSR Down stage Right

DSC Down Stage Centre

DSL Down Stage Left

00000000000AUDIENCE000000000000 0000000000000000000000000000000

Other vocabulary:

Off stage left Off stage right

Upstage Downstage

In the wings

Stage positioning & configuration starter games

The Placement Game The aim of the game is to encourage students to use the stage abbreviations and also to become familiar with the different stage configurations Either in groups or as a class define a stage configuration use the students, chairs or tape to mark this out. Only the students who correctly identify the configuration are allowed into the performance space. Once in the space either the teacher or a student names someone in the space and calls out a specific stage position which they have to move to. This game does become more difficult when, for example, the traverse or thrust configurations are used.

9

MON 14

NOV

Devising Stimulus 1

STIMULI

1) Visual (such as a photograph, painting or sculpture) 2) Printed or spoken word (such as a poem, news article,

story or novel) 3) Musical (such as a song, melody or instrumental piece) 4) Fact-based (such as a current, political or historical event) 5) Theme or issue-based (such as conflict, relationships,

justice or freedom) 6) Myths (such as folklore or urban myth) 7) Cultural (such as traditions or festivals).

7

FRI 18 Devising Stimulus 2

READ DEVISING LOG REQUIRMENTS +

PREPARE QUESTIONS

FRI 18 Devising Stimulus 3

10

MON 21

NOV

DEVISING 4 (D4)

DEVISING LOG INTRODUCTION

DEVISING LOG INTRODUCTION

FRI 25 D 5

FRI 25 D 6

11

MON 28

NOV

D7

FR 2 D9

12

MON 5 DEC

D10

FRI 9 PERFORMANCE SPACES PERFORMANCE SPACE HOMEWORK

FRI 9 D11

DEVISING LOG REVIEW 1

HAND IN DEVISING LOG ON MON 12 JAN

13 MON 12

DEC

SET DESIGN

COLLECT DEVISING LOG h/w learn set designer vocabulary

+ REVISE FOR large test – Friday 6 January

AMADEUS &

NT BACKSTAGE TOUR

14 FRI 6 D14 FRI 6 D15 Character work; Animals/basing character on friend, family or

actor/Character traits

15

MON 9 JAN

D16

FRI 13 D17

8

FRI 13 How meaning is communicated

16

MON 16 JAN

D18

FRI 20 D 20 HAND IN DEVISING LOG ON MON 23 JAN

FRI 20 CHARACTERISTICS OF PERFORMANCE TEXTS &

DRAMATIC WORKS

17

MON 23 JAN

D 22 COLLECT DEVISING LOG

FRI 27 D 23

FRI 27 COSTUME DESIGN

18

MON 30 JAN

D 25

FRI 3 D 26

FRI 3 LIGHTING DESIGN

19

MON 6 FEB

D 27

FRI 10 D 28

HAND IN DEVISING LOG ON MON 20 FEB (*Handout Blood Brothers/Neville’s Island)

FRI 10 SOUND DESIGN (*Handout Blood Brothers/Neville’s Island

20

MON 20 FEB

D 29 COLLECT DEVISING LOG

FRI 24 D 30

FRI 24 REVIEW DEVISING LOG

REVIEW DEVISING LOG

21

MON 27 FEB

D 31

FRI 3 MAR

D 32

FRI 3 MAR

Roles +

Responsibilities

22

MON 6 MAR

D 33

9

FRI 10 D 34

23

MON 13

MAR

D 35

FRI 17 D 36

FRI 17 D 37

Sat 18 March

D 38

MON 20

MAR

D 39

TUE 21 D 40

WED 22

D 41

THUR 23

D 42

25 MON 27

MAR

COMPLETE DEVISING LOG

FRI31 MAR

COMPLETE LOG

26

WED 19

APR START

Blood Brothers 1 (BB1)

Collect Devising Log

“Blood Brothers”: Ways into the text – performing

FRI 21 BB3 Devising Log Deadline

27

MON 24

APR

DRAFT 1 FEEDBACK AFTER SCHOOL

DRAFT 1 FEEDBACK AFTER SCHOOL

TUE 25 DRAFT 1 FEEDBACK AFTER SCHOOL

DRAFT 1 FEEDBACK AFTER SCHOOL

Wed 26

DRAFT 1 FEEDBACK AFTER SCHOOL

DRAFT 1 FEEDBACK AFTER SCHOOL

Thur 27

DRAFT 1 FEEDBACK AFTER SCHOOL

DRAFT 1 FEEDBACK AFTER SCHOOL

FRI 28 BB5 FINAL DEVISING LOG Friday 12 May period 1

10

No extra help allowed

FRI 28 BB6

28 FRI 5 Neville’s Island (NI1) Hand in devising log on Friday 12 May period 1

FRI 5 NI 2

29

MON 8 MAY

NI 3 Hand in devising log on Friday 12 May period 1

FRI12 NI 4 Collect devising Logs

FRI 12 NI 5

30

MON 15

MAY

NI 6 Collect devising Logs

FRI 19 BB 6

FRI 19 BB 7

31 MON 22

MAY

EXAM WEEK EXAM WEEK

33

MON 5 JUN

N 18

FRI 9 BB8

FRI 9 BB9

34

MON 12 JUN

N 19

FRI 16 BB 10

FRI 16 BB11

35

MON 19 JUN

NI 10

FRI 23 BB12

FRI 23 BB13

36

MON 26 JUN

NI 11

FRI 30 NI 12

FRI 30 NI13

11

Stanislavski

1. A: The birth of naturalistic acting Technique

B: General overview training of the actor: 18. The need to annotate 19. A psychological approach 20. Being truthful on stage 21. Listening and responding to the characters 22. Not pre-empting a response 23. Concentration and relaxation 24. Being natural 25. Naturalistic costumes 26. Intense character examination 27. Script examination 28. Lighting to echo real life 29. Audience concealed behind a “fourth wall” 30. Very reliant on emotional memory 31. Set is realistic 32. Knowing what motivates 33. Knowing and using the social, cultural and political background

to your play 34. Research

2. What if? Belief Imagination Improvisations Leaving yourself alone An actor/human is effected by their emotions and reactions

3. Social/cultural/political world Research Evidence/written/recorded

4. Character objectives I want…. (make it very simple!) Super objectives

5. Actions (doing verbs/transitive verbs)

6. Uniting/splitting up a play/script Giving the units a title

12

7. Subtext (thoughts aloud/internal dramatic dialogue)

8. Finding the Given Circumstances (in an extract)

11. The story of the play 12. The events within it 13. The epoch 14. The time and place of action 15. Condition of life 16. The costumes 17. The props 18. The lighting and sound effects 19. The period and place in which it is set 20. The director’s and Designers’ interpretation

9. Creating a realistic character Observing life/family/friends/character Basing the character on someone Using your own emotions and experiences (there a millions of Hamlets!)

10. Being in your own space The fourth wall Focus of attention Being affected by what’s around (sight/hearing/smell/the way you feel)

11. Preparation exercises Creating a physical life (costume/props/set) Site specific rehearsal

12. Emotional memory Tempo Rhythm

13. Movement choices Voice choices

13

BRECHT

LESSON CONTENT 1 Brecht a short biography

General overview of Brecht and his political beliefs (Marxism) Social, Cultural and Political background to his world

2 Verfremdungseffekt – Making Strange/Alienation effect Montage

3 Epic Theatre techniques in Practise: Narration Direct Address Coming out of role/3rs Person Narration Speaking the stage directions Multi-roling Split-role Banners/Placards Minimal Set/Costume/Props Symbolic Props Lighting Song and Dance

4 Putting over a message - GEST