drama reflections · web viewyear 10 description in year 10, drama students will be given...

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


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





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.





DRAMA CONVENTIONS








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.







Responding

DRAMA REFLECTIONS


DRAMA RESPONSES


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


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






Approaches to characterisation suited to the selected

drama forms and styles, texts and themes




DRAMA CONVENTIONS









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.






DRAMA REFLECTIONS


DRAMA RESPONSES


ORAL COMMUNICATION


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


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








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


DRAMA CONVENTIONS









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.


Responding

DRAMA REFLECTIONS


DRAMA RESPONSES


ORAL COMMUNICATION


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

drama reflections · web viewyear 10 description in year 10, drama students will be given...

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