theatre arts syllabus - success africa · pdf filetheatre arts syllabus curriculum development...

MINISTRY OF PRIMARY AND SECONDARY EDUCATION

FORMS 1 - 4

2015 - 2022

ZIMBABWE

THEATRE ARTS SYLLABUS

Curriculum Development and Technical Services P.O. Box MP 133 Mount Pleasant

Harare© All Rights Reserved

2015

Theatre Arts Syllabus Forms 1 - 4

ACKNOWLEDGEMENTS

The Ministry of Primary and Secondary Education would like to acknowledge the following:

• The National Theatre Arts Syllabus Panel• National Arts Council of Zimbabwe (NACZ)• Zimbabwe School Examinations Council (ZIMSEC)• Universities Representatives • Vuka Afrika Performing Arts• Cerea Performing Arts • UnitedNationsEducationalScientificandCulturalOrganisation(UNESCO)• United Nations Children’s Fund (UNICEF)

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ii

TABLE OF CONTENTS

ACKNOWLEDGEMENTS ..............................................................................................................i

TABLE OF CONTENTS ................................................................................................................ii

1.0 PREAMBLE ...........................................................................................................................1

2.0 PRESENTATION OF SYLLABUS .........................................................................................1

3.0 AIMS .......................................................................................................................................1

4.0 SYLLABUS OBJECTIVES ....................................................................................................2

5.0 METHODOLOGY AND TIME ALLOCATION .........................................................................2

6.0 TOPICS ...................................................................................................................................2

7.0 SCOPE AND SEQUENCE .....................................................................................................3

8.1 FORM 1 SYLLABUS ..............................................................................................................5

8.2 FORM 2 SYLLABUS ............................................................................................................11

8.3 FORM 3 SYLLABUS ............................................................................................................17

8.4 FORM 4 SYLLABUS ............................................................................................................23

9.0 ASSESSMENT .....................................................................................................................28

10 THEATRE ARTS TERMS ......................................................................................................32


1

1.0 PREAMBLE

1.1 Introduction

Theatre Arts is a learning area that stimulates creativity, innovation and originality through performance which leads to entrepreneurship. The syllabus intends to help learners gain understanding and appreciation of Theatre Arts.Thespecificationsofthissyllabusaimtomotivatelearners to become independent problem solvers within their communities. Theatre Artsenable learners to understand and appreciate the historical, socio-economic, political and cultural context of their society. Through theatre activities that foster creative expression, discipline, collaboration, self-awareness and personal transformation, learners from diverse backgrounds and abilities channel their energies into inspiring artistic endeavours. Learners engaged in Theatre Arts learn to value the literary, oral and cultural traditions of societies. Through understanding universal themes, learners develop the means to express their own visions and ideas.Learningintheatredevelopsconfidentlearnerswho are better prepared to participate actively in their education, community and social lives.

1.2 Rationale

Theatre Arts is one of the most effective forms of commu-nication which contributes to economic, religious, political and social development of the learner. Therefore, Theatre Arts education will provide an opportunity for learners to explore and express their feelings, stimulate creative imagination and develop competencies essential for employment creation, entrepreneurship, problem solving, critical thinking and self-discipline.

1.3 Summary of Content (Knowledge, Skills and Attitudes)

The learning area content details the knowledge, under-standing and competencies that learners are expected to develop throughout the course of study in the following areas; History of Theatre and Cultural Dimensions, Creative Processes and Performance, Aesthetic Values and Performance Criticism, Theatre Technology and Arts Management. This enables learners to be exposed to a wide diversity of Theatre Arts programmes which develop excellence,originality,confidence,self-identity,abilitytocommunicateandidentificationoftalents.

1.4 Assumption

The syllabus assumes that learners have practical abilities to:

• usetheirvoices,gesturesandsignlanguagetoartistically express themselves

• expressthemselvesthroughmovement• explorethefoundationalelementsandprinciplesof

design • respondtostimulithroughfacialexpressions,body

language and voice.• appreciatetheatreandperformance• manipulateavailableresourcesintheenvironment

1.5 Cross cutting themes

The Theatre Arts learning area will encompass the follow-

ing cross cutting themes:

• Children’srights• Disasterriskmanagement• Financialliteracy• Sexuality,HIVandAIDS• Childprotection• Heritagestudies• HumanRights• Gender• Collaboration• Environmentalissues

2.0 PRESENTATION OF SYLLABUS

The syllabus is presented as a single document catering for Forms 1 – 4 Secondary Level.

3.0 AIMSThe syllabus aims to enable learners to:

3.1 Develop a range of competencies, knowledge and understanding in Theatre Arts, embracing historical, cultural, creative, interpretative, and analytical aspects of the learning area.

3.2 Foster an understanding of Theatre Arts, thereby promoting and stimulating work ethics, self-discipline, Unhu/ Ubuntu, critical thinking, emotional responses, socio - cultural and envi-ronmental awareness.


2

tems.3.6 Cultivate capacity to set up and run a business

in TheatreArts industry.3.7 Cultivate capacity for further specialized train-

ing in Theatre Arts.

4.0 SYLLABUS OBJECTIVESBy the end of the course, learners should be able:

4.1 appreciate the nature of theatre arts as a his-torical, social, cultural, indigenous and ritualis-tic art;

4.2 recognise societies’ social, cultural and histori-calinfluencesonTheatreArts;

4.3 understand the relationship between self and others through Theatre Arts;

4.4 use Theatre Arts vocabulary to evaluate theatri-cal experiences;

4.5 acquire enterprise skills in Theatre Arts man-agement;

4.6 develop competencies in Theatre Arts technol-ogy;

4.7 attain skills of creating theatre performances;4.8 demonstrate an ability to work independently

and collaboratively in research and theatre production;

4.9 develop competencies and creative skills in problem solving, critical thinking, communica-tion and time management that contribute to lifelong learning through Theatre Arts;

4.10 appreciate the relationship between Theatre Artsandotherfieldsofknowledge.

5.0 METHODOLOGY AND TIME ALLOCATION

5.1 Methodology

In this syllabus, some of the Learner centered methods

and approaches that can be used to learn Theatre Arts at

Form 1 – 4 Secondary Level are as follows;

• Experimentation• Research• Songanddance• Storytelling• Groupwork• Games

• Integratedlearning• Simulation• Resourcemethod• Educationaltrips• Gallerywalk• Discussion• Surveymethod• Casestudy• Problemsolving• Practicaldemonstration• PoemsandRhymes• Puppetry• Workshops/Improvisation• Hotsitting

5.2 Time Allocation

In order to cover the content adequately Form 1 to 4 Theatre Arts should be allocated 6 forty minute lessons per week.

6.0 TOPICSThe syllabus topics are as follows:

6.1 History of Theatre and Cultural Dimensions 6.2 The Creative Processes and Performance6.3 Aesthetic Values and Performance Criticism6.4 Theatre Technology 6.5 Arts Management (Enterprise Skills)


3

7.0

SC

OPE

AN

D S

EQU

ENC

E

7.1

TO

PIC

:1 H

ISTO

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ND

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PIC

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HE

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VE P

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7.3

TO

PIC

: 3 A

ESTH

ETIC

VA

LUES

AN

D P

ERFO

RM

AN

CE

CR

ITIC

ISM

FOR

M 1

FOR

M 2

FOR

M 3

FOR

M 4

•HistoryofTheatreinZimbabw

eand

Sout

hern

Afri

ca.

•TheatreperformancestylesinZim

-ba

bwe

and

Sout

hern

Afri

ca•

Researchportfolio

•HistoryofTheatreinAfrica

•Researchportfolio

•HistoryofAfrican-AmericanandCarib

-be

an T

heat

re


•HistoryofW

orldTheatre


FOR

M 1

FOR

M 2

FOR

M 3

FOR

M 4

•Scriptw

riting

•Acting

•Directing

•Pe

rformance

•Creativeportfolio

•Scriptw

riting

•Acting

•Directing

•Pe

rformance


•Scriptw

riting

•Acting

•Directing

•StageM

anagem

ent

•Pe

rformance


•Scriptw

riting

•Acting

•Directing

•StageM

anagem

ent

•Pe

rformance


FOR

M 1

FOR

M 2

FOR

M 3

FOR

M 4

•Pe

rformancecriticism

- At

tach

men

t of m

eani

ng

•Pe

rformancecriticismportfolio

•Pe

rformancecriticism

- C

hara

cter

izat

ion

and

dial

ogue

•Pe


•Symbolicim

pressions

•Pe


•Pe

rformanceandaesthet

-ic

crit

icis

m•

Elem

entsofproduction

•Pe

rformancecriticism

portf

olio


4

FOR

M 1

FOR

M 2

FOR

M 3

FOR

M 4

•Theatretechnology

•Conceptualdesign:-Sketches

•Designportfolio


•Conceptualdevelopment:-Models

•Designportfolio

•Technicaldesign

•Designportfolio

•TechnicaldesignProjects

•Designportfolio

FOR

M 1

FOR

M 2

FOR

M 3

FOR

M 4

•TheatreAdm

inistration

•Structuresandstylesofmanagem

ent

•En

terpriseskills

•Artsmanagem

entportfolio

•ArtsProjectPlanningandManagem

ent

•En

terpriseskills

•Artsmanagem

entportfolio

•ArtsProjectPlanningandManagem

ent

•En

terpriseskills

•Bu

sinessModels

•ProjectP

roposal

•Artsmanagem

entportfolio

•ArtsProjectPlanningand

Man

agem

ent:-

Impl

emen

-ta

tion

•En

terpriseskills

•MonitoringandEvaluation

•Artsmanagem

entportfolio

7.4

TO

PIC

: 4

THEA

TRE

TEC

HN

OLO

GY

7.5

TO

PIC

: 5 A

RTS

MA

NA

GEM

ENT

(EN

TER

PRIS

E SK

ILLS

)


5

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•HistoryofTheatre

in Z

imba

bwe

and

Sout

hern

Afri

ca

•Theatreperformance

styl

es in

Zim

babw

e an

d So

uthe

rn A

frica

•ResearchPo

rtfolio

•identifyTheatreperformances

from

Zim

babw

e an

d So

uthe

rn

Afric

a•

tracethedevelopm

entofThe-

atre

in Z

imba

bwe

and

Sou

th-

ern

Afric

a•

analysetheroleofTheatrein

Zim

babw

e an

d So

uthe

rn A

frica

•identifystylesoftheatreinZim

-ba

bwe

and

Sout

hern

Afri

ca•

describestylesoftheatrein

Zim

babw

e an

d So

uthe

rn A

frica

•Com

pileaResearchPo

rtfolio

•Storytellin

g•

Ritualcerem

onies

•Dancedramas

•So

cialdramas

•PraisePoetry

•RevolutionaryTheatre

•Historicalplays

•Musicaldrama

•Theatrefordevelopment(TF

D)

•Revolutionarytheatre

•So

ngs

•Dances

•Cerem

onies

•ResearchPo

rtfolio

Thea

tre p

erfo

rman

ces

in

Zim

babw

e an

d So

uthe

rn

Afric

a •

StatingTheatreperfor-

man

ces

from

Zim

babw

e an

d So

uthe

rn A

frica

•Pe

rforming-children’s

play

s, ri

tual

, soc

ial d

ra-

ma,

revo

lutio

nary

dra

ma,

hi

stor

ical

dra

ma

(chi

l-dr

en’s

righ

ts a

nd c

hild

pr

otec

tion)

•Ed

ucationaltrips

•Tellin

gstories

•Recitingpraisepoem

s•

Performingmusicaldra

-m

as•

researchingonstylesof

thea

tre•

compilingaResearch

Portf

olio

•Referencebooks

•Nationalarchives

•VideoclipswithCaptions

•Electronicmedia

•Braillemachine

•Au

diotaperecorder

•Talkingbook

•Largeprintbooks

•Jawssoftw

are

•Braillebooks

•Ram

ps

8.1

FO

RM

1 S

YLLA

BU

S

CO

MPE

TEN

CY

MAT

RIX

8.1.

1 H

ISTO

RY O

F TH

EATR

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ND

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LTU

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L D

IMEN

SIO

NS


6

8.1.

2 T

HE

CR

EATI

VE P

RO

CES

S A

ND

PER

FOR

MA

NC

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TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Scriptw

riting

•Acting

•Directing

•Pe

rformance

•outlinetheprocessofscript

writ

ing

•outlineactingapproachesand

philo

soph

ies

•explorethephysical,vocal,

char

acte

rizat

ion,

men

tal a

nd

stag

ing

com

pone

nts

of a

ctin

g•

readthescript

•analysescript

•definerolesofadirector

•performamonologueinfrontof

a liv

e au

dien

ce

•Scriptw

riting

- Id

ea-

Them

e-

Res

earc

h -

Stor

y lin

e-

Scen

ario

-

Scen

e br

eak

dow

n-

Scen

e de

velo

pmen

t: m

onol

ogue

•MethodActing

•Pe

rsonaacting

•Alienationeffect

•Mime

•Theatreexercises

•Voice

•Storytellin

g•

Stage

•Au

ditions

•Rehearsal

•Scriptanalysis

•Identifyinganidea

•Brainstormingonideas

•Se

lectingathem

e•

Researchingongiven

them

es•

Writingastoryline

•Breakingthestorylineinto

scen

es

•Writingamonologue

•Playingtheatregam

es•

Discussingmethodacting

•Dem

onstratingdifferent

met

hods

of a

ctin

g•

Doingtheatreexercises

•Trainingthevoice

•Developingscenes

•Au

ditioningforroles

•Readingthescript

•An

alysingthescriptand

char

acte

rs•

Exploringstageareas/

mob

ility

and

orie

ntat

ion

•Rehearsingtheplay

•Evaluatingtherehearsals

•New

spaperarticles/M

ag-

azin

es•

Referencebooks

•Resourcepersons

•Internet

•Studio

•Video/filmclipswithcap

-tio

ns•

Props

•Costume

•Script,Braillescript

•Ram

ps•

Talkingbook

•Visualcuemedia

•Actingspace


7

8.1.

2 T

HE

CR

EATI

VE P

RO

CES

S A

ND

PER

FOR

MA

NC

E

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•CreativePo

rtfolio

•createaCreativePo

rtfolio

•CreativePo

rtfolio

•D

iscussingrolesofa

dire

ctor

•Identifyingstagepositions

•Dem

onstratingknow

l-ed

ge o

f sta

ge a

reas

•Se

ttingthestage

•Wearingappropriatecos

-tu

mes

•Ap

plyingmakeup

•Pe

rformingamonologue

•DevelopingaCreative

Portf

olio

•New

spaperarticles/M

ag-

azin

es•

Referencebooks

•Resourcepersons

•Internet

•Studio


-tio

ns•

Props

•Costume

•Script,Braillescript

•Ram

ps•

Talkingbook

•Visualcuemedia

•Actingspace


8

8.1.

3 A

ESTH

ETIC

VA

LUES

AN

D P

ERFO

RM

AN

CE

CR

ITIC

ISM

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Pe

rformanceCriti-

cism

: Atta

chm

ent o

f m

eani

ng

•Pe

rformancecriti-

cism

por

tfolio

•identifytheelem

entsoftheatre

perfo

rman

ce

•analyseaperformancefocus-

ing

on th

e el

emen

ts th

at fu

rther

th

e de

velo

pmen

t of p

lot,

char

-acter,setting,conflict,m

ood

and

dial

ogue

•describehowTheatreperfor-

man

ce is

a re

pres

enta

tion

of

life

•developobservation,critical

thin

king

ski

lls fo

r the

eva

luat

ion

of T

heat

re p

erfo

rman

ces

•writeaformalreview

ofatheat-

rical

per

form

ance

•createaperformancecriticism

portf

olio

•Liveperformances

•Elem

entsofTheatreperfor-

man

ce: p

lot,

char

acte

r, se

tting

, conflict,moodanddialogue

•Theatrestyleusedinperfor-

man

ce•

Reviews:

- pr

e-pe

rform

ance

, -

post

per

form

ance

- m

edia

revi

ews

•Theatreandsociety

- Se

xual

ity

HIV

/AID

S-

Chi

ld p

rote

ctio

n•

TheatrePerformancecriticism

•Po

rtfolio

•Watchingliveandrecord

-ed

thea

tre p

erfo

rman

ces

•An

alyzingliveandrecord

-ed

thea

tre p

erfo

rman

ces

•Identifyingtheatrestyles

used

in p

erfo

rman

ces

•Writingcriticalreviews

•Creatingaperformance

criti

cism

por

tfolio

•Resourcepersons

•CD,D

VD,TV

•Com

puters

•Sm

artphones

•Folders

•New

spaperarticles/M

ag-

azin

es•

Referencebooks

•Internet

•Studio


-tio

ns•

Script,Braillescript

•Talkingbook


9

8.1.

4 T

HEA

TRE

TEC

HN

OLO

GY

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES


•Conceptualdesign:

Sket

ches

•TheatreTechnology

Portf

olio

•identifytechnicalstagecrew

•describetechnicalstagecrew

•identifystageareas,light-

ing

equi

pmen

t, co

stum

e an

d m

ake-

up e

quip

men

t and

sou

nd

equi

pmen

t. •

describestageareas,light-

ing

equi

pmen

t, co

stum

e an

d m

ake-

up e

quip

men

t and

sou

nd

equi

pmen

t. •

demonstratetheconceptual

desi

gn p

roce

ss•

designsketchesusingtheatre

tech

nolo

gy.

•createaTheatreTechnology

Portf

olio

•stagecrew

•Theatrespace

•Theatreequipment

•ConceptualD

esignProcess

•CostumeTechnology:

- Ba

tik

-Java

- Ti

e an

d dy

e•

SetTechnology

•TheatreTechnologyPortfolio

•WatchinglivePe

rfor-

man

ces

•Visitingtheatreresource

cent

res

•Ap

plyingConceptual

Des

ign

•Drawingdesignsketches

•GalleryW

alk

•CreatingaTheatreTech-

nolo

gy P

ortfo

lio

•TheatreSpace

•Costumes

•Make-upKits

•CD/DVD

players

•Projectorandscreen

•ReferenceBooks

•ResourcePe

rsons

•DesignStudios


10

8.1.

5 A

RTS

MA

NA

GEM

ENT

(EN

TER

PRIS

E SK

ILLS

)

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•TheatreAdm

inistra

-tio

n

•Structuresandstyles

of m

anag

emen

t

•En

terpriseskills

- M

arke

ting

•TheatreArtsMan

-ag

emen

t Por

tfolio

•statedifferentrolesandfunc

-tio

ns o

f per

sonn

el in

thea

tre

com

pani

es.

•profiledifferentm

anagem

ent

styl

es•

outlinetheatrecom

panies

orga

nogr

ams.

•Se

tupatheatreclubwithinthe

scho

ol.

•

Createaportfoliooftheirroles

in a

thea

tre c

lub

•explainmarketingprocess

•marketaperformance

•createaTheatreArtsManage-

men

t Por

tfolio

•RolesandFunctionsoftheatre

pers

onne

l•

PrinciplesandElementsofThe

-at

re M

anag

emen

t

•Theatreclubstructure

•Projectsetup

•Marketingplan

•Marketingresearch

•Marketingmaterials

•TheatreArtsManagem

entP

ortfo

-lio

•Identifyingdifferentposi-

tions

in th

eatre

com

pa-

nies

•Discussinghowdifferent

role

s re

late

and

com

ple-

men

t eac

h ot

her.

•Outliningdifferentman

-ag

emen

t sty

les

•Drawingcompanyorgan

-og

ram

s

•Formingatheatreclub

•Definingmarketing

•Writingmarketingplanfor

the

perfo

rman

ce•

Carryingoutm

arket

rese

arch

for

the

perfo

r-m

ance

•Designingposters,tick-

ets,

vid

eo a

nd a

udio

clip

s•

Sellin

gticketsforthe

perfo

rman

ce

•DevelopingTheatreArts

Man

agem

ent P

ortfo

lios

of

thei

r the

atre

com

pany

•Relevantreferencebooks

•Internet

•Videoclipswithcaptions

•CD/DVD

Player

•Resourcepersons

•Artsmanagem

enttoolkit

•Electronicmedia

•Cam

eras

•Recorders

•Cam

corders


11

8.2.

1 H

ISTO

RY O

F TH

EATR

E A

ND

CU

LTU

RA

L D

IMEN

SIO

NS

8.2

FO

RM

2 S

YLLA

BU

S

CO

MPE

TEN

CY

MAT

RIX

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Historyoftheatrein

Afric

a•

tracetheatredevelopmentin

Afric

a•

analysetheroleandinfluence

of c

ultu

re a

nd h

isto

rical

eve

nts

in th

e de

velo

pmen

t of t

heat

re in

Af

rica

•TheatredevelopmentinAfrica–

pre-

colo

nial

to th

e pr

esen

t per

iod

•Masquerades

•Historicalevents

•Sa

tires

•Travellingtheatre

•Praiseperformances–singers,

poet

s, g

riots

etc

. •

Shadow

theatre

•Pu

ppetry

•Ritualisticarts

•R

olesandinfluenceofculture

and

hist

oric

al e

vent

s in

the

deve

l-op

men

t of t

heat

re:

- En

terta

inm

ent V

alue

- Pe

dago

gica

l val

ue-

Conflictresolutionandpeace

build

ing

- St

ages

of r

ites

of p

assa

ge-

Nat

iona

l le

ader

inst

alla

tion

•ResearchingonTheatre

form

s in

diff

eren

t his

tori-

cal a

nd c

ultu

ral c

onte

xt in

Af

rica

•Pe

rformingoneofthe

vario

us fo

rms

of th

eatre

in

Afri

ca s

uch

as k

upem

-ha

, izi

bong

o za

mak

hosi

•Recitegriots/bardpoem

s•

Educationaltrips

•Resourcepersons

•Referencebooks

•Nationalarchives


•Electronicmedia

•Braillemachine

•Au

diotaperecorder

•Talkingbook

•Largeprintbooks

•Jawssoftw

are

•Braillebooks


12

8.2.

1 H

ISTO

RY O

F TH

EATR

E A

ND

CU

LTU

RA

L D

IMEN

SIO

NS

8.2.

2 T

HE

CR

EATI

VE P

RO

CES

S A

ND

PER

FOR

MA

NC

E

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•ResearchPo

rtfolio

•createaresearchportfolio

•Com

pilingaresearch

portf

olio

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Scriptw

riting:-

Scen

e•

describetheprocessofscript

writ

ing

•writeastoryline

•writeascene

•Scriptw

ritingoutline

- Id

ea-

Them

e-

Res

earc

h -

Stor

y lin

e-

Characterprofile

- Sc

enar

io

- Sc

ene

brea

k do

wn

- Sc

ene

deve

lopm

ent

- st

ruct

ure

- sc

ript

•Identifyinganidea

•Thoughtshoweringon

idea

s•

Selectingathem

e•

Researchingongiven

them

es•

Writingastoryline

•Profilingcharacters


scen

es

•Writingascene

•Ed

itingascene

•New

spaperarticles/M

ag-

azin

es•

Referencebooks

•Resourcepersons

•Internet

•Studio


-tio

ns

Cos

tum

e •



13

8.2.

2 T

HE

CR

EATI

VE P

RO

CES

S A

ND

PER

FOR

MA

NC

E

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Acting

•Directing

•developactingskillsthrough

impr

ovis

atio

n ex

erci

ses

•demonstrateactingmethodsin

rehe

arsa

ls•

applythecomponentsofacting

•analysescript

•definedirecting

•identifydifferentstylesofdirect

-in

g•

comparedirectingstyles

•definethegroundplanofeach

actin

g ar

ea.

•ImprovisationExercises

-Givensituations

-Givenprops

-Givenspace

•Voicetraining:

-Projection

- D

ictio

n-

Res

onan

ce

•CharacterProfile

•Motivationandbehaviour

•Directing

•Stylesofdirecting:

- Au

tocr

atic

- D

emoc

ratic

-Groupdirecting

•Stagecomposition

•Au

ditioningforroles

•Miming/Realism

•Dem

onstratingdifferent

styl

es o

f act

ing

•Playingtheatregam

es•

Trainingthevoice

•Readingthescript

•An

alysingthescriptand

char

acte

rs•

Rehearsingscenes

•Practisinguseofstage

area

s/ m

obilit

y an

d or

ien-

tatio

n•

Rehearsingtheplay

•Evaluatingrehearsal

proc

ess

•Researchingondefinition

of d

irect

ing

and

styl

es•

Contrastingstylesof

dire

ctin

g•

Dem

onstratingdifferent

styl

es o

f dire

ctin

g th

roug

h ro

le p

lay

•Placingscenery,furniture

and

prop

s w

here

act

ors

can

mov

e ar

ound

them

in

inte

rest

ing

path

and

stil

l be

see

n an

d w

here

they

w

ill no

t int

erfe

re w

ith e

xits

an

d en

tranc

es

•Ram

ps•

Talkingbook

•Visualcues

•Actingspace

•props


14

8.2.

2 T

HE

CR

EATI

VE P

RO

CES

S A

ND

PER

FOR

MA

NC

E

8.2.

3 A

ESTH

ETIC

VA

LUES

AN

D P

ERFO

RM

AN

CE

CR

ITIC

ISM

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

• •CreativePo

rtfolio

•watchrecordedperformances

•createaCreativePo

rtfolio

•Recordedperformance

•CreativePo

rtfolioDevelopment:

- D

ocum

enta

tion

- Fi

ling

•W

atchingarecorded

perfo

rman

ce

•DevelopingaCreative

Portf

olio

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Ae

stheticValuesand

Perfo

rman

ce C

riti-

cism

:- -

Cha

ract

eris

atio

n-

Dia

logu

e

•useappropriatevocabulary

whe

n an

alys

ing

perfo

rman

ce•

identifytypesofcharactersand

thei

r rol

es•

createcharacterprofilesina

perfo

rman

ce

•critiquecharactersinaperfor-

man

ce•

analysetherelationship

betw

een

char

acte

rs a

nd th

eir

dial

ogue

•developaestheticcriteriato

form

ulat

e pe

rson

al re

spon

ses

to a

per

form

ance

•Pe

rformancecriticismvocabulary

•Typesofcharacters

- an

tago

nist

ver

sus

prot

agon

ist

-static/flatversusround

- fo

lios

-

cam

eos

- fu

nctio

narie

s •

Characterprofiles

•Charactersanddialogueinper

-fo

rman

ce•

Performances

•Watchingliveandrecord

-ed

per

form

ance

s•

Readingdifferentformsof

liter

atur

e•

Classifyingcharacters

•Writingcharacterprofiles

•Ae

stheticcriteria

•Writingperformance

criti

que

•Resourcepersons

•CD,D

VD,TV

•Com

puters

•Sm

artphones

•Folders

•New

spaperarticles/M

ag-

azin

es•

Referencebooks

•Internet

•Studio


-tio

ns•


•Talkingbook


15

8.2.

3 A

ESTH

ETIC

VA

LUES

AN

D P

ERFO

RM

AN

CE

CR

ITIC

ISM

8.2.

4 T

HEA

TRE

TEC

HN

OLO

GY

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•P

erformance

C

ritic

ism

Por

tfolio

•compareandcontrastworksof

thea

tre•

createaPerformanceCriticism

Portf

olio

•PerformanceCriticismPortfolio

•C

reatingaPerformance

Crit

icis

m P

ortfo

lio

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Theatretechnolo

-gy

:-Con

cept

ual d

e-ve

lopm

ent:

Mod

els

•DesignPo

rtfolio

•interpretsketchplansinto

crea

tive

tech

nica

l mod

els

•applytheconceptualprocessto

deve

lop

mod

els

•producedesignmodels

•developDesignPo

rtfolios

•Sketchplans

- sta

ging

pla

n- l

ight

ing

plan

- aud

io-v

isua

l pla

n- c

ostu

me

sket

ches

- mak

e-up

des

igns

•TheatreSpace/S

tagingplace

•Models

•DesignPo

rtfolios

•Readingsketchplans

•An

alysingsketchplans

•Constructingmodels

•Visitingtheatreresource

cent

res

•Recording,editingpack

-ag

ing

vide

os, p

hoto

s

•DevelopingaDesign

Portf

olio

•TheatreSpace

•Lights

•So

undandAu

dioEq

uip-

men

t•

Cam

eras/S

martphones/

Ipad

s•

CD/DVD

players


•VideoClipswithcaptions

•Graphics

•Com

puters


16

8.2.

5 A

RTS

MA

NA

GEM

ENT

(EN

TER

PRIS

E SK

ILLS

)

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•ArtsProjectPlanning

and

Man

agem

ent

•En

terpriseskills

- M

arke

t res

earc

h -

Budg

etin

g

•ArtsManagem

ent

Portf

olio

•defineTheatreArtsproject

plan

ning

and

man

agem

ent

•prepareanArtsProjectPlan

•draw

aneventstimelinesheet

•outlinethestepstobedoneto

implem

enttheproject

•identifypotentialcostandin

-comeoftheproject

•demonstrateprojectim

plem

en-

tatio

n st

rate

gies

•exam

inebasicmarketingskills

•developprojectportfolio


- Ta

sk li

st-

Even

t tim

elin

e ch

eck

list

•ProjectC

ycle

•CashFlow

Plans

•Implem

entationStrategies

•En

terpriseSkills

- M

arke

t res

earc

h-

Budg

etin

g

•ProjectP

ortfolio

•Discussingwhatthey

unde

rsta

nd b

y T

heat

re

artsprojectplanning

•Researchingontheatre

projectsthattheycando

•Listingstepstoim

ple-

mentatheatreproject

•An

alysingprojectimple-

men

tatio

n st

rate

gies

•Discussingmarketing

skills

•Drawingupabudget

•Developingaprojectport-

folio

•Financialresources

•CD/DVD

Player,


•Braillemachine

•Au

diotaperecorders

•Talkingcalculator

•Largeprint

•Josesoftware

•Resourceperson

•Artsmanagem

enttoolkit


17

8.3.

1 H

ISTO

RY O

F TH

EATR

E A

ND

CU

LTU

RA

L D

IMEN

SIO

NS

8.3

FO

RM

3 S

YLLA

BU

S

CO

MPE

TEN

CY

MAT

RIX

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•HistoryofAfrican-

Amer

ican

and

Car

ib-

bean

The

atre

•ResearchPo

rtfolio

•tracethedevelopm

entand

role

of A

frica

n –

Amer

ican

and

C

arib

bean

The

atre

•outlinetheinfluencesonAfri

-ca

n-Am

eric

an th

eatre

•compareAfrican-American,

Car

ibbe

an th

eatre

and

Zim

ba-

bwea

n th

eatre

•createResearchportfolio

•African-A

mericanTheatre

•Caribbeantheatre

•Capoeiradancedrama

•Influences:

- R

elig

ion

- Sl

aver

y -

Soci

o-ec

onom

ic im

pact

-

Envi

ronm

enta

l dis

aste

rs

•Zimbabw

eantheatree.g.K

alela

Dan

ce D

ram

a

•ResearchPo

rtfolio:

- D

ocum

enta

tion

- Fi

ling

•ResearchingonAfrican-

Amer

ican

and

Car

ibbe

an

thea

tre.

•Presentingfindingson

Res

earc

h•

Watchingdocumentaries

and

rela

ted

mat

eria

l

•An

alysinginfluences

•Assessingtheevolution

of A

frica

n-Am

eric

an th

e-at

re•

Engaginginculturalex-

chan

ge p

rogr

amm

es•

ReadingAfrican-Am

eri-

can/

Car

ibbe

an/ Z

imba

-bw

ean

pla

ys•

Statingsimilaritiesand

diffe

renc

es in

Afri

can-

Am

eric

an, C

arib

bean

and

Zim

babw

ean

thea

tre

•DevelopingaResearch

Portf

olio

•Resourcepersons

•Referencebooks

•Nationalarchives

•Videoclips


•Electronicmedia

•Braillemachine

•Au

diotaperecorder

•Talkingbook

•Largeprintbooks

•Jawssoftw

are

•Braillebooks


18

8.3.

2 T

HE

CR

EATI

VE P

RO

CES

SES

AN

D P

ERFO

RM

AN

CE

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Scriptw

riting

•Acting

•identifytypesofscriptsfor

diffe

rent

med

ia•

describestylesofscriptw

riting

•writeascript

•identifyelem

entsofadapting

diffe

rent

form

s of

lite

ratu

re

•analysescripts

•demonstrateunderstandingof

the

scrip

t thr

ough

act

ing

•applyactingapproachesand

philo

soph

ies

•evaluateactingapproaches

•applythephysical,vocal,

char

acte

rizat

ion,

men

tal a

nd

stag

ing

com

pone

nts

of a

ctin

g

•Typesofscripts:

- Th

eatre

scr

ipt

- M

edia

scr

ipts

- D

ocum

enta

ry

•Scriptw

ritingProcess.

- Id

ea-

Them

e -

Res

earc

h -

Stor

y lin

e-

Scen

ario

-

Scen

e br

eak

dow

n-

Scen

e de

velo

pmen

t-

scrip

t•

Adaptation

- fo

rms

of li

tera

ture

- el

emen

ts o

f ada

ptat

ion

•ScriptInterpretation

- Su

btex

t-

GivenCircum

stances

- C

hara

cter

isat

ion

-Playobjective

-Sceneobjective

- Bi

ts•

VoiceTraining

•Researchingontypesof

scrip

ts•

DiscussingScriptw

riting

proc

ess

•Brainstormingonideas

•Choosingthem

es•

Researchingonchosen

them

es•

Writingastoryline


scen

es

•Writingadraftscript

•Developingdraftscript

•Discussingdifferentforms

of li

tera

ture

•Researchingonelem

ents

of a

dapt

atio

n•

Presentingfindings

•Dem

onstratingunder-

stan

ding

by

adap

ting

shor

t sto

ries

•An

alysingthescript

•Mem

orisingscriptdia

-lo

gue

•Internalisingstagedirec-

tions

•New

spaperarticles/M

ag-

azin

es•

Referencebooks

•Resourcepersons

•Internet

•Studio


-tio

ns

Cos

tum

e •


•Ram

ps•

Talkingbook

•Visualcues

•Actingspace

•Props

•Jawssoftw

are


19

8.3.

2 T

HE

CR

EATI

VE P

RO

CES

SES

AN

D P

ERFO

RM

AN

CE

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Directing

•StageManagem

ent

•definerolesofadirectorin

scrip

t int

erpr

etat

ion

•demonstrateskillsofdirectinga

scrip

ted

play

.

•demonstrateskillsofstage

man

agem

ent

•applytechnicalelementsina

live

perfo

rman

ce

•createaportfolio

•Rolesofadirector

- Sc

ript i

nter

pret

atio

n •

Directingskills

- Sc

ript a

naly

sis

- St

age

Area

s-

Bloc

king

-

Audi

tions

- R

ehea

rsal

•

Stagecrew

•Useofstageandprops

•Technicalcues

•Po

rtfolio:

- D

ocum

enta

tion

- Fi

ling

•Discussingrolesofa

dire

ctor

•Readingthescripts

•An

alysingthescripts

•An

alysingcharacters

•Au

ditioningforroles

•Breakingscenesinto

beat

s•

Practisinguseofstage

area

s/ m

obilit

y an

d or

ien-

tatio

n•

Rehearsingtheplay


20

8.3.

3 A

ESTH

ETIC

VA

LUES

AN

D P

ERFO

RM

AN

CE

CR

ITIC

ISM

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Ae

stheticvaluesand

Perfo

rman

ce c

riti-

cism

:-Sy

mbo

lic Im

pres

sion

s

•Pe

rformanceCriti-

cism

Por

tfolio

•analysesignsandsymbols,

thei

r im

plie

d m

eani

ng a

nd

them

es in

thea

trica

l pre

sent

a-tio

ns•

exam

inedram

aticeffectof

sym

bolic

impr

essi

ons

•writeacritiqueofaliveorre-

cord

ed p

erfo

rman

ce•

demonstratetheabilitytoprac-

tice

cons

truct

ive

criti

cism

•createaPerformanceCriticism

Portf

olio

•Liveandrecordedperformance

•Signsandsym

bols

•En

tertainmentvalue

•Artisticvalue

•Constructivecriticism

•Pe

rformanceCriticismPortfolio:

- D

ocum

enta

tion

- Fi

ling

revi

ews

•Watchingliveorrecorded

perfo

rman

ces

•Identifyingsignsand

sym

bols

•Discussingtheeffectsof

sym

bolic

impr

essi

ons

•Interpretingthemeaning

of s

igns

and

sym

bols

in a

pe

rform

ance

•Writingacriticalreviewof

the

perfo

rman

ce•

DevelopingaPe

rfor-

man

ce C

ritic

ism

por

tfolio

•Resourcepersons

•CD,D

VD,TV

•Com

puters

•Sm

artphones

•Folders

•New

spaperarticles/M

ag-

azin

es•

Referencebooks

•Internet

•Studio


-tio

ns•


•Talkingbook


21

8.3.

4 T

HEA

TRE

TEC

HN

OLO

GY

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Technicaldesigns

•TheatreDesignPo

rt-fo

lio

•formulatestagelightingand

soun

d pl

ans

for l

ive

perfo

r-m

ance

s

•setupmulti-mediaequipment

•demonstratecom

petencyin

usag

e of

the

atre

tech

nolo

gy

syst

ems

•createanddevelopaTheatre

Des

ign

Portf

olio

.

•Stagefloorplans:

•Au

dio-visualplans

•CostumeSketchesandMake-up:

- Fi

gure

Dra

win

gs,

- M

ake

up S

ketc

hes,

•

Audio-visual:R

ecord,editand

pack

age

Visu

al e

ffect

s.

•Eq

uipm

entsetup

•TheatreDesignPo

rtfolio:

- D

ocum

enta

tion

- Fi

ling

sket

ches

and

des

ign

plan

s

•DevelopingStagedesign

plan

s•

Drawingstagedesign

plan

s•

Designingaudio-visual

effe

cts

for t

heir

perfo

r-m

ance

s•

Recordingsoundeffects

for t

heir

perfo

rman

ces

•Se

ttingupmulti-media

equi

pmen

t

•Com

pilingTheatreDesign

Portf

olio

•DesignStudio

•Com

puterhardw

areand

softw

are

•Cam

eras/Smartphones/

Ipad

•CD/DVD

players


•Relevantbrailedsources

•JawsSo

ftware

•Ed

itingsoftware


22

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES


and

Man

agem

ent

•En

terpriseskills

- Bu

sine

ss m

odel

s-

ProjectP

roposal

•ArtsManagem

ent

Portf

olio

•outlineactivitiesandtimelines

ofTheatreartsproject

•identifyprojectcosts

•stateelem

entsofabusiness

plan

•demonstrateenterpriseskills

•developaprojectproposal

•CreateanArtsManagem

ent

Portf

olio

•Managem

entofP

rojectresources

•Bu

sinessmodels

- C

onst

itutio

n-

Con

tract

s -

Mem

oran

dum

of U

nder

stan

ding

- R

epor

t writ

ing

•En

terpriseskills:

- M

arke

ting

- C

ostin

g -

Acco

untin

g -

Neg

otia

tion

•Elem

entsofbusinessplan

•Po

rtfolio:

- D

ocum

enta

tion

- Fi

ling

•Discussingpossibleproj-

ect a

ctiv

ities

•Researchingoncostsof

prop

osed

act

iviti

es•

Draftingfinancialdocu-

men

ts•

Drawingupprojectactivi-

ties

and

time

fram

es•

Dem

onstratingenterprise

skills

thro

ugh

role

pla

y

•DevelopinganArtsMan

-ag

emen

t Por

tfolio

•DVD

’s,C

D/DVD

Player,


•Braillemachine

•Au

diotaperecorders


•Largeprint

•Jawssoftw

are

•Resourceperson

•Artsmanagem

enttoolkit

•Calculators

•Bo

oksofAccounts

8.3.

5 A

RTS

MA

NA

GEM

ENT

(EN

TER

PRIS

E SK

ILLS

)


23

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•HistoryofW

orld

Thea

tre

•ResearchPo

rtfolio

•recognizevariousformsand

styl

es o

f Zim

babw

ean

thea

tre

and

Wor

ld th

eatre

•compareW

orldtheatrewith

Zim

babw

ean

thea

tre

•CreateaResearchPo

rtfolio

•CasestudyofZimbabw

eanthe-

atre

•CasestudiesofW

orldtheatre:

-Greektheatre

- R

ussi

an th

eatre

- Br

itish

thea

tre-

Germanytheatre

- C

hine

se T

heat

re-

Indi

an T

heat

re

-JapaneseTheatre

- Fr

ench

thea

tre-

Zim

babw

ean

thea

tre

•ResearchPo

rtfolio:

- D

ocum

enta

tion

- Fi

ling

Res

earc

hing

on

wor

ld th

e-at

re:

- Eu

rope

an, A

sian

and

Af

rican

The

atre

•Com

paringworldtheatre

with

Zim

babw

ean

thea

tre•

Adaptingachosenplay

from

Wor

ld th

eatre

to

Zim

babw

ean

cont

ext

•Pe

rforminganadapted

play

Dev

elop

ing

a R

esea

rch

Portf

olio

•Resourcepersons

•Referencebooks

•Nationalarchives

•Videoclips


•Electronicmedia

•Braillemachine

•Au

diotaperecorder

•Talkingbook

•Largeprintbooks

•Jawssoftw

are

•Braillebooks

8.4.

1 H

ISTO

RY O

F TH

EATR

E A

ND

CU

LTU

RA

L D

IMEN

SIO

NS

8.4

FO

RM

4 S

YLLA

BU

S

CO

MPE

TEN

CY

MAT

RIX


24

8.4.

2 T

HE

CR

EATI

VE P

RO

CES

S A

ND

PER

FOR

MA

NC

E

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Playproduction:-

Zim

babw

ean

publ

ishe

d sc

ript

•Ad

aptation

•Acting

•Directing

•Stagemanagem

ent

•identifyZimbabw

eanpublished

play

s •

selectaZimbabw

eanplayfor

prod

uctio

n

•Ap

plymethodsofadaptationto

a Eu

rope

an/ A

mer

ican

/ Asi

an/

play

to a

Zim

babw

ean

cont

ext

•applyactingtechniquesina

rehe

arsa

l

•Presentanadaptedplay

•applydirectingskillstoare

-he

arsa

l•

manipulatestagearea

•Dem

onstrateskillsofstage

M

anag

emen

t

•Zimbabw

eanpublishedscript

•Copyrights/intellectualproperty

•Viability

•Royalties

•Collaborations

•Investment

•Methodsofadaptation

•Statem

entofintention

•Storyline

•Scenario

•Scenebreakdown

•Script

•Warmup

•Voicedynamics

•Actingdynamicsandtechniques

•Pe

rformance

•Blocking

•Characterization

•Stagemanagem

ent:

-Saf

ety,

hea

lth a

nd e

nviro

nmen

t- R

ehea

rsal

man

agem

ent

- Tec

hnic

al c

oord

inat

ion

- Fro

nt o

f hou

se m

anag

emen

t

•Identifyingaplay

•Statingartisticandcom

-m

erci

al v

alue

of a

pla

y•

Negotiatingwithpublish-

ers

•Statingprinciplesofad-

apta

tion

•Dem

onstratingknow

l-ed

ge o

f au

thor

isat

ion

proc

edur

es•

Developingnegotiating

skills

•

Dem

onstratingadaptation

skills

•Pe

rformingcorporalcon

-di

tioni

ng, c

once

ntra

tion

gam

es•

Rehearsinganadapted

play

•Pe

rforminganadapted

play

•Readingthescriptsasa

cast

•An

alysingscripts

•Profilingcharacters

•Castingcharacters

•Modifyingperformance

•Pe

rfectingtheperfor-

man

ce

•Referencebooks

•brailedscripts

•Resourcepersons

•Novel

•Stage

•Properties

•Library


25

8.4.

2 T

HE

CR

EATI

VE P

RO

CES

S A

ND

PER

FOR

MA

NC

E

8.4.

3 A

ESTH

ETIC

VA

LUES

AN

D P

ERFO

RM

AN

CE

CR

ITIC

ISM

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Pe

rfectingtheperfor-

man

ce•

Motivatingactors

•Coordinatingtheteam

•Preparingstage

•Coordinatingrehearsal

•Coordinatingtechnical

desi

gn w

ork

•Managingtheproduction

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Ae

stheticvaluesand

Perfo

rman

ce c

riti-

cism

:-

Ele

men

ts o

f pro

duc-

tion

•statetheelem

entsofproduc-

tion

•analysetheartisticchoices

mad

e in

the

prod

uctio

n •

commentonhowtheatricalpre

-se

ntat

ions

ent

erta

in, i

nfor

m a

nd

inte

rpre

t hum

an e

xper

ienc

es

•Evaluatetheatrereview

s

•Elem

entsofproduction:

- ac

ting

- di

rect

ing

- se

tting

- sc

riptin

g-

cost

ume

- m

ake

up

•Practicalcriticismofreviews

•Identifyingelementsof

prod

uctio

n•

Applyingelementsof

prod

uctio

n in

crit

iqui

ng

thea

tre w

orks

•Identifyingtheartistic

choi

ces

used

in a

thea

tre

prod

uctio

n•

Assessingtheimpactof

artis

tic c

hoic

es m

ade

•Resourcepersons

•CD,D

VD,TV

•Com

puters

•Sm

artphones

•Folders

•New

spaperarticles/M

ag-

azin

es


26

8.4.

3 A

ESTH

ETIC

VA

LUES

AN

D P

ERFO

RM

AN

CE

CR

ITIC

ISM

8.4.

4 T

HEA

TRE

TEC

HN

OLO

GY

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Pe

rformanceCriti-

cism

Por

tfolio

•CreatePe

rformanceCriticism

Portf

olio

•Pe

rformanceCriticismPortfolio:

- D

ocum

enta

tion

- Fi

ling

•Evaluatingtheatre

revi

ews

by p

rofe

ssio

nal

thea

tre a

rt cr

itics

•Discussingcritiquingskills

used

by

the

revi

ewer

•Givingpersonalrespons-

es to

the

revi

ew•

DevelopingaPe

rfor-

man

ce C

ritic

ism

Por

tfolio

•Referencebooks

•Internet


-tio

ns•


•Talkingbook

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•Technicaldesign

Projects

•TechnicalD

esign

portf

olio

•organizeatechnicaldesign

projectforaliveperformance

•applyprinciplesandelements

ofdesigninprojects

•justifydesigndecisionforthe

live

perfo

rman

ce•

observesafety,healthand

envi

ronm

ent s

tand

ards

•createthedesignportfolio

•Se

tandpropsConstruction

•LightingEq

uipm

entoperation

•CostumeMaking

•Make-upApplication

•Au

dio-visualEquipmentO

pera

-tio

n •

Safety,H

ealthandEnvironm

ent

stan

dard

s•

TechnicalD

esignPo

rtfolio

-Script,Projectplans,M

odels

- M

ulti-

med

ia p

lans

- R

ecor

ds, R

evie

ws

- Pr

oduc

tion,

Ass

essm

ent r

epor

ts

•Constructingstagesets

•Generatingsound

•Recordingsound

•Rigginglights

•Pa

tchinglights

•operatinglights

•settingupsoundsystem

•ObservingSafety,Health

and

Envi

ronm

ent s

tan-

dard

s•

Developaportfolio

•TheatreSpace

•DesignStudio

•StageDesignWorkshop

•CostumeDesignStudio

•Lightingequipm

ent

•So

undSystem

•Com

puterhardw

areand

softw

are

•Cam

eras/S

martphones/

Ipad

•CD/DVD

players



27

8.4.

5 A

RTS

MA

NA

GEM

ENT

(EN

TER

PRIS

E SK

ILLS

)

TOPI

CLE

AR

NIN

G O

BJE

CTI

VES:

lear

ner s

houl

d be

abl

e to

:C

ON

TEN

TN

OTE

S A

ND

SU

GG

ESTE

D

AC

TIVI

TIES

RES

OU

RC

ES

•ArtsProjectplanning

and

Man

agem

ent:-

Impl

emen

tatio

n•

EnterpriseSkills

•MonitoringandEval

-ua

tion

•Artsmanagem

ent

portf

olio

•implem

entprojectplans

•demonstrateenterpriseskills

•monitorprojectprogress

•evaluatetheproject

•createaportfolio

•eventtimelines

•En

terpriseskills:

- M

arke

ting

- C

ostin

g -

Acco

untin

g -

Rec

ord

keep

ing

- N

egot

iatio

n •

booksofAccounts

•monitoringandevaluation

-ArtsManagem

entP

ortfolioProj-

ect p

lans

- M

ulti

– m

edia

pla

ns-

Rec

ords

-

Min

utes

-Gantchart

- C

ontra

cts

- Ad

verti

sing

mat

eria

l-

New

spap

er c

uttin

gs-

Fina

ncia

l rev

iew

s-

Rep

orts

-

Prod

uctio

n-

Mon

itorin

g an

d ev

alua

tion

- As

sess

men

t -

Fina

ncia

l rep

orts

•implem

entingproject

activ

ities

•managingaTheatrearts

businessproject

•keepingfinancialrecords

•monitoringprojectactivi-

ties

•evaluatingtheproject

•compilingartsmanage-

men

t po

rtfol

io

•DVD

’s,C

D/DVD

Player,


•Braillemachine

•Au

diotaperecorders


•Largeprint

•Jawssoftw

are

•Resourceperson

•Artsmanagem

enttoolkit

•New

spapers

•Calculators

•Bo

oksofaccounts

•Files


28

9.0 ASSESSMENT

9.1 a) ASSESSMENT OBJECTIVES

By the end of the Form 1 - 4 Secondary Level, learners should be able to:

9.1.1 demonstrate understanding of theatre within the context of history and culture in Zimbabwe and the World;

9.1.2 discuss the role of theatre as a vehicle for hu-man experiences;

9.1.3 apply knowledge of the elements of theatre production and management;

9.1.4 demonstrate competencies in creative theatri-cal experiences needed for future success;

9.1.5 compile a Theatre Arts management portfolio;9.1.6 apply acting, directing, designing and script

writing skills in theatre;9.1.7 comment on style, characterization, tone, mood

and themes in a live performance;9.1.8 perform to a live audience;9.1.9 write a script on a given scenario;9.1.10 produce technical design plans;9.1.11 demonstrate the dexterity in the application of

theatre technology;9.1.12 identify career roles in theatre arts production;9.1.13 interpret symbolic impressions in theatre pro-

duction;9.1.14 develop a criteria for reviewing theatrical pro-

duc tions;9.1.15 demonstrate transparency and accountability

through record keeping competencies;9.1.16 adapt different forms of literature into dramatic

scripts

9.2 SCHEME OF ASSESSMENT

Theatre Arts will be assessed continuously from Form 1 - 4 through coursework and examination. Learners will be assessed in the following areas:

COURSEWORK

9.2.1 Practical

9.2.1.1 acting, Singing, drawing, stage design, prop-erties usage, costume design, dancing, multi- media application

9.2.1.2 sound production, script writing, directing, ad-aptation, lighting application, planning, portfolio presentation

9.2.1.3 evaluation skills, knowledge9.2.1.4 originality, creativity, collaboration skills9.2.1.5 theatre criticism, theatre management skills9.2.1.6 enterprise skills, research skills

9.2.2 Theory

9.2.2.1 Writing assignments9.2.2.2 Writing tests


29

9.3 Examinations

9.3.1 SPECIFICATION GRID

Theguidebelowillustratestherelationshipbetweentheassessmentobjectivesandcomponentsoftheschemeofassessment

Title Duration Marks WeightagePaper 1Multiple Choice

1 hour 15 minutes 40 10%

Paper 2:Structured paper

Section A: Structured questionsSection B: Semi-structured Essays

2 hours 100 25%

Paper 3: Practical Demonstration 8 – 10 minutes 30 35%

Continuous assessment 30 30%

Total for paper1,2 and 3 200 100%

ASSESSMENTOBJECTIVESComponents Historical and cul-

tural DimensionsCreative Pro-cesses and Performance

Aesthetic values and Performance Criticism

Theatre Technol-ogy

Arts Management

A 20% 20% 20% 20% 20%B 20% 20% 20% 20% 20%C 20% 20% 20% 20% 20%

Paper Description

Paper 1

Thiscomponentconsistsof40multiplechoicequestionswhicharechosenfromthefivetopicsofthesyllabus.Eachtopic should be represented by 8 questions. Each question carries 1 mark. Total marks for this paper is 40.

Paper 2

This component has two sections.• SectionA-Structured(40marks)consistsoffivestructuredquestions.Eachquestioncarries8marks.Candidates

are expected to answer all questions in this section writing their responses on the question paper. • SectionB-Semistructured(60marks).Thispaperconsistsof5semi-structuredessayquestions.Candidatesare

expected to choose any 3 questions. Each question in this section carries 20 marks. Candidates are expected to write their responses on separate paper provided.

Paper 3

• PracticalPaper-(100marks).Thiscomponentconsistsof5practicaltaskswhicharebasedontheCreativePro-cesses and Performance topic. Candidates are expected to chose any 1 task which they are expected to practically demonstrate within 8-10 minutes. Examiners are expected to assess the candidate using a check list.


30

The Theatre Arts Learning Areas will be assesd using Continuous and Summative Assessment

Form of Assessment WeightingContinuous 30%Summative 70%Total 100%

Level Assessment Task Frequency WeightingForm 1 Practical Assignment

Theory TestProject

1 per term1 per term1 per year

5

Form 2 Practical AssignmentTheory TestProject


5



10



10

Total 30

Skill Paper 1 Paper 2 Pare 3Knowledge and Under-standing

30 20 -

Comprehension 30 20 -Application and analysis 20 30 -Synthesis and Evaluation 20 -Practical Skills 100Total 100 100 100

Specification Grid


31

Theatre Arts Practical Assessment Sheet

Activity Comment5

Very Good

4

Good

3

Satisfactory

2

Below Average

1

UnsatisfactoryENTRANCEINTRODUCTIONCHOREOGRAPHY:

-Body movement

-Gestures

- Facial ExpressionCOSTUME AND PROPSENSEMBLE:

-Concentration

- Focus to CollaborateTIME MANAGEMENTSTORYLINE

- Orginality

- Exposition

- Rising Action

- Tension Development

- Falling Action

- Denouement

MUSICAL ACCOMPANI-

MENT

-Percussion

-Musical Instruments

- RhythmCHARACTERIZATIONVOICE PROJECTION

- Pitch

- Tone

- VolumeDESIGNDIRECTINGSPECIAL EFFECTSSTAGE MANAGEMENTEXITTOTAL


32

10 THEATRE ARTS TERMS

acting areas See centre stage, downstage, stage left, stage right, and upstage.actor A person, male or female, who performs a role in a play or an entertainment.actor’s position The orientation of the actor to the audience (e.g., full back, full front, right pro-

file, left profile).antagonist A person, a situation, or the protagonist’s own inner conflict in opposition to his

or her goals.articulation The clear and precise pronunciation of words.blocking The planning and working out of the movements of actors on stage.body positions See actor’s position.catharsis The purification or purgation of the emotions (as pity and fear) caused in a trag-

edy.

centre stage The centre of the acting area.character The personality or part an actor re-creates.

Characterisation The development and portrayal of a personality through thought, action, dia-logue, costuming, and makeup

climax The point of highest dramatic tension or a major turning point in the action.

cold reading A reading of a script done by actors who have not previously reviewed the play.

collaboration The act of working together in a joint intellectual effort.

complication See rising action.conflict The opposition of persons or forces giving rise to dramatic action in a play.

context The interrelated conditions in which a play exists or occurs.

costume Any clothing worn by an actor on stage during a performancecreative drama An improvisational, process-centred form of theatre in which participants are

guided by a leader to imagine, enact, and reflect on human experiences.

crisis A decisive point in the plot of a play on which the outcome of the remaining actions depends


33

critique Opinions and comments based on predetermined criteria that may be used for self-evaluation or the evaluation of the actors or the production itself.

cue A signal, either verbal or physical, that indicates something else, such as a line of dialogue or an entrance, is to happen. The final resolution of the conflict in a plot.

denouement design The creative process of developing and executing aesthetic or functional designs in a production, such as costumes, lighting, sets, and makeup.

dialogue The conversation between actors on stage.

diction The pronunciation of words, the choice of words, and the manner in which a person expresses himself or herself.

directing The art and technique of bringing the elements of theatre together to make a play

director The person who oversees the entire process of staging a production.

downstage The stage area toward the audience.

dramatic play Children’s creation of scenes when they play “pretend.”dramatic structure The special literary style in which plays are writtendramaturg A person who provides specific in-depth knowledge and literary resources to a

director, producer, theatre company, or even the audience.

dress rehearsals The final few rehearsals just prior to opening night in which the show is run with full technical elements. Full costumes and makeup are worn.

electronic media Means of communication characterized by the use of technology (e.g., radio, television, and the Internet).

ensemble A group of theatrical artists working together to create a theatrical production.exposition Detailed information revealing the facts of a plot.farce A comedy with exaggerated characterizations, abundant physical or visual hu-

mour, and, often, an improbable plot.

form The overall structure or shape of a work that frequently follows an established design. Forms may refer to a literary type (e.g., narrative form, short story form, dramatic form) or to patterns of meter, line, and rhymes (e.g., stanza form, verse form).


34

genre Literally, “kind” or “type.” In literary and dramatic studies, genre refers to the main types of literary form, principally tragedy and comedy. The term can also refer to forms that are more specific to a given historical era, such as the revenge tragedy, or to more specific subgenres of tragedy and comedy, such as the come-dy of manners.

gesture An expressive movement of the body or limbsimprovisation A spontaneous style of theatre in which scenes are created without advance

rehearsing or scripting.

informal theatre A theatrical performance that focuses on small presentations, such as one taking place in a classroom setting. Usually, it is not intended for public view.

level The height of an actor’s head actor as determined by his or her body position (e.g., sitting, lying, standing, or elevated by an artificial means).

makeup Cosmetics and sometimes hairstyles that an actor wears on stage to emphasize facial features, historical periods, characterizations, and so forth.

masks Coverings worn over the face or part of the face of an actor to emphasize or neu-tralize facial characteristics.

melodrama A dramatic form popular in the 1800s and characterized by an emphasis on plot and physical action (versus characterization), cliff-hanging events, heart-tugging emotional appeals, the celebration of virtue, and a strongly moralistic tone.

mime An art form based on pantomime in which conventionalized gestures are used to express ideas rather than represent actions; also, a performer of mime.

monologue A long speech by a single character.

motivation A character’s reason for doing or saying things in a play.

musical theatre A type of entertainment containing music, songs, and, usually, dance.objective A character’s goal or intention.

pacing The tempo of an entire theatrical performance.

pageant Any elaborate street presentation or a series of tableaux across a stage.

pantomime Acting without words through facial expression, gesture, and movement.


35

pitch The highness or lowness of the voice.

play The stage representation of an action or a story; a dramatic composition.

production values The critical elements of a production, such as acting, direction, lighting, costum-ing, sets, and makeup.

projection The placement and delivery of volume, clarity, and distinctness of voice for com-municating to an audience.

props (properties Items carried on stage by an actor; small items on the set used by the actors.

proscenium The enlarged hole cut through a wall to allow the audience to view the stage. It is also called the proscenium arch. The archway is in a sense the frame for the action on the stage.

protagonist The main character of a play and the character with whom the audience identi-fies most strongly.

puppetry Almost anything brought to life by human hands to create a performance. Types of puppets include rod, hand, and marionette.

reader’s theatre A performance created by actors reading script rather working from memory.

rehearsal Practice sessions in which the actors and technicians prepare for public perfor-mance through repetition.

rising action The middle part of a plot consisting of complications and discoveries that create conflict

run-through A rehearsal moving from start to finish without stopping for corrections or notes.

script The written text of a playsense memory Memories of sights, sounds, smells, tastes, and textures. It is used to help define a

character in a certain situation.

stage The area where actors perform.stage crew The backstage technical crew responsible for running the show. In small theatre

companies the same persons build the set and handle the load-in. Then, during performances, they change the scenery and handle the curtain.


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stage manager The director’s liaison backstage during rehearsal and performance. The stage manager is responsible for the running of each performance.

stage crew The backstage technical crew responsible for running the show. In small theatre companies the same persons build the set and handle the load-in. Then, during performances, they change the scenery and handle the curtain.

stage manager The director’s liaison backstage during rehearsal and performance. The stage manager is responsible for the running of each performance.

stage left The left side of the stage from the perspective of an actor facing the audiencestage right The right side of the stage from the perspective of an actor facing the audience.

stock characters Established characters, such as young lovers, neighbourhood busybodies, sneaky villains, and overprotective fathers/mothers, who are immediately recognizable by an audience

style The distinctive and unique manner in which a writer arranges words to achieve particular effects. Style essentially combines the idea to be expressed with the individuality of the author. These arrangements include individual word choices as well as such matters as the length and structure of sentences, tone, and use of irony.

subtext Information that is implied by a character but not stated by a character in dia-logue, including actions and thoughts.

Tableau A silent and motionless depiction of a scene created by actors, often from a pic-ture. The plural is tableaux

text The printed words, including dialogue and the stage directions for a script theatre The imitation or representation of life performed for other people; the perfor-

mance of dramatic literature; drama; the milieu of actors, technicians, and play-wrights; the place where dramatic performances take place.

theatre of the absurd created works representing the universe as unknowable and humankind’s exis-tence as meaningless

theatrical conventions The established techniques, practices, and devices unique to theatrical produc-tions

theatrical experiences Events, activities, and productions associated with theatre, film/video, and elec-tronic media.

theatrical games Noncompetitive games designed to develop acting skillsupstage Used as a noun, the stage area away from the audience; used as a verb, to steal

the focus of a scenevocal quality The characteristics of a voice, such as shrill, nasal, raspy, breathy and booming.volume The degree of loudness or intensity of a voice.

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