Year 12 ATAR Drama Program 2018
Week / Key teaching points and Assessments / Syllabus content / Assessments/ Resources1 / Overview of key teaching points for Unit 3 and the ways in which the content will progress from Unit 1 and Unit 2.
Emphasise this unit is about the possibility of taking familiar texts and reinterpreting them for contemporary audiences by adapting forces, approaches to design and performance.
-Handout syllabus documents, programs and scheme of assessments.
-Re-cap on prior knowledge and drama terminology.
-Introduce Anne Bogart: Practical warm ups and brief synopsis on her theory.
-Students to read The Tempestat home. /
- physical and text-based approaches to voice and movement preparations for particular texts, forms and styles and contexts of performance
- contemporary approaches to the role of the director, that manipulate the elements of drama and relationships between drama roles, through improvisation and other rehearsal processes
- reinterpretation of historical and contemporary forms and styles by manipulating the elements of drama and directing and design processes through improvisation and collaborative processes
- Syllabus
- Program
The Viewpoints Book: Anne Bogart
The Tempest: Zen Zen Zo
2–4 / Introduction to Anne Bogart, moment theatre and viewpoints: Refer to ‘View points’ book.
- “Engaging with class discussion: ask students what their favourite moment was in a piece of theatre they have seen. Share answers and see if there are any similarities.
- Practical activity: Get students to go on stage and start by saying “I begin” have a moment then end with “ I end”. Watch the moment and see what stories begin to unfold. Next step is to change the tempo (speed ) which relates to view points.
- At the end of the workshops get students to record what they did, how they did it and why. In a table hand-out.
- Introduce Anne Bogart and her methods.
- Continue to do Anne Bogart exercises. (choose workshops from Viewpoints book)
- Show PPT on Anne Bogart.
- Discuss The Tempestin terms of context, themes, characters, relationships and situations (using the elements of drama)
- Use excerpts from the ‘The Tempest’ and apply techniques of viewpoints.
- PPT on The Tempest: context, forces, characters, audience theory, text based approaches, style and form. Go through the PPT with students. Students will participate in activities which explore the text and link to performance assessment.
- Watch DVD on Zen Zen Zo The Tempest
- Watch Documentary
- improvisations looking at a theme and selected force from ‘The Tempest’
- Write up looking at the rehearsal process.
- Theory focusing on using graphic organisers in the written exam.
- voice techniques (posture, breathing techniques, voice production, articulation, pace, pause, pitch, projection, phrasing, tone and accent as appropriate and dynamics) for clarity, control and flexibility of voice in performance appropriate to text, forms and styles
- movement techniques (facial expression, posture, gesture, gait, weight, space, time, energy and proxemics) to achieve precision and control of movement in performance appropriate to text, forms and styles
- strategies and approaches to performance development
- physical and text-based approaches to voice and movement preparations for particular texts, forms and styles and contexts of performance
- focus and spatial awareness in reinterpreting dramatic texts, contexts, forms and styles
- dynamic relationship between drama conventions and their historical, social and cultural contexts, at the time of creation and in subsequent performances
- forces that contribute to the reinterpretation of drama for contemporary audiences
- impact of changing historical, social and cultural values on drama production for audience reception
- forces that contribute to the reinterpretation of drama for contemporary audiences
- the elements of drama (role, character and relationships, situation, voice, movement, space and time, language and texts, symbol and metaphor, mood and atmosphere, dramatic tension) focusing on characterisation developed through the combination of physical and psychological approaches to role and dramatic action refined through improvisation
- the elements of drama to create dramatic action by exploring choices (varying light and darkness, sound and silence, stillness and movement, colour and space) to support selected themes, approaches and theories
- the elements of drama used in historical and contemporary preparation processes including physical and text-based approaches in the re-interpretation of drama for contemporary audiences
- the elements of drama shaped through improvisation to critically engage with role, character, situation and themes in reinterpreted drama for contemporary audiences
- relationships between selected forms and styles appropriate to chosen texts shaped by viewpoints
- techniques of structuring and reinterpreting drama texts based on forms and styles for audiences
- Table on workshops.
PPT Anne Bogart
The Tempest scene excerpts
PPT: The tempest
DVD: The Tempest (Performance)
DVD: The Documentary
Graphic Organisers hand-out
5-8 / Introduction to Task 2: Reinterpretation of The Tempest
Due: Term 1 Week 8
- Go through task sheet with students.
- Read The Tempest as a class and discuss themes and issues in the text.
- Explore the forces of the play through class discussions, research and improvisation workshops.
- Students rehearse and block chosen scene from ‘The Tempest’ in groups.
- Students incorporate Anne Bogart’s methods into their scenes: Review her methods and apply to work.
- Students use a text based approach in shaping their performances.
- Students will participate in improvisation workshops.
- Students review Theatre spaces and scenographer choices – selecting non-purpose/manipulating built spaces
- Go through interview questions with students and get them to revise over structure and drama terminology.
- Students create stage manager’s prompt copy and review metonymic design concepts
- Students read chapter 3 and discuss Audience Theory (Identification, aesthetic distance)
- Review marketing/publicity and Management skills
- Final rehearsal of Task 1 with a technical and dress rehearsal.
- Students perform scenes and showcase to an external audience. Due: Week 8
- Review performances and give feedback
- Review key content relevant for Task 2: Extended response. Due: Week 9
- Review of key skills and processes in writing an extended response.
- conventions of improvisation (breaking routines, dynamic use of space) in reinterpreted drama for contemporary audiences
- conventions of interpreting a script explored through improvisation in reinterpreted drama for contemporary audiences
- the collaboration of director and scenographer with the actors, dramaturge, lighting designer, sound designer and costume designer in reinterpreted drama for contemporary audiences
- principles of design (balance, contrast, emphasis, harmony, repetition, unity, variety, movement, scale/proportion, pattern, rhythm), visual elements (line, shape, texture, colour, tone/value, 3D form and space) and design technologies appropriate to design roles, chosen text, available technologies and performance space
- impact of design and technologies on the reinterpretation of devised and scripted drama
- ways that performers and spectators can interact in a given space, such as shaping and directing the role of the audience during drama
- ways that different performance spaces (conventional theatre spaces, found or adapted spaces) shape audiences’ interpretations of drama through the social, historical and cultural values they represent
- adaptation of purpose-built spaces for specific performance purposes
- conventions of recording reinterpreted drama for a contemporary audience (stage manager’s prompt copy, metonymic design concept overviews)
- audience theory, such as identification and aesthetic distance, appropriate to reinterpreting drama for contemporary audiences
- intellectual property rights and performance rights in drama in a 21st century context
- safe working practices in drama in purpose-built/found performances spaces
- visual elements and principles of design in publicity of set text performances
- Task 1: Due Week 8
Chapter 10: Spaces of performance
(Nicole Stinton)
Sample questions Interview questions
Chapter 3: Audience
(Nicole Stinton)
Chapter 11: Arts Marketing
(Nicole Stinton)
9-11 / Week 9:
-Students begin searching for monologues for Task 3: Dramaturgical Report. Due Term 2: Week 1.
Week 10 – YEAR 12 Retreat (No class)
Week 11:
-Monologue development
-Review of practical examination marking key
-Exploring designer choices for monologue /
- The collaboration of director and scenographer with the actors, dramaturge, lighting designer, sound designer and costume designer in reinterpreted drama for contemporary audiences
- Relationships between selected forms and styles appropriate to chosen texts shaped by viewpoints
- development of theoretical approaches to drama, with a focus on particular approaches, in the context of historical and contemporary social and cultural trends
- dramaturgical processes related to reinterpretation of scripted drama, such as historical, social and cultural customs and their meanings in context
- Task 2: Due Week 9
Dramaturgical report PPT
Practical exam marking key
Designer roles PPT
Term 2
1-3 /
- Review term 1: Anne Bogart’s ‘View Points’ and ‘Moment Theatre’.
- Workshop to explore the features of an effective scripted monologue for the purposes of the examination that demonstrate syllabus content.
- dramaturge role: How would you support your own performance as a dramaturge?Due end of Week 1
- Workshop to explore, through improvisation, contemporary forces that connect with scripted monologue and, where possible, the whole play’s forces.
- Workshop to experiment with the elements of drama, spaces of performance and selected design principles to support making meaning in the context of the external examination.
- Presentation of scripted monologues for feedback
- Task 4: Scripted Monologue Due end of Week 3.
- Techniques of structuring and reinterpreting drama texts based on forms and styles for audiences
- Dynamic relationship between drama conventions and their historical, social and cultural contexts, at the time of creation and in subsequent performances
- Conventions of interpreting a script explored through improvisation in reinterpreted drama for contemporary audiences
- Audience theory, such as identification and aesthetic distance, appropriate to reinterpreting drama for contemporary audiences
- Relationships between selected forms and styles appropriate to chosen texts shaped by viewpoints
- Ways that different performance spaces (conventional theatre spaces, found or adapted spaces) shape audiences’ interpretations of drama through the social, historical and cultural values they represent
- Impact of design and technologies on the reinterpretation of devised and scripted drama
- Task 3: Due Week 1
- Task 4: Scripted Monologue Due Week 3
4 / Practical exam in Week 4, 22th of May.
Go through Practical examination process:
-Improvisations
-Interview
Week 4 Revision week:
-Revise over Section 1 of the exam: Analysis of unseen script
-Revise over Section 2 of the exam: Extended response
-Link back to the syllabus for Unit 3.
Written Exam in Week 5&6 / Students are expected to develop skills and abilities in multiple drama‐based forms of communication, including:
- short- and extended-answer forms
- graphic organisers, diagrams and illustrations with appropriate annotations and colour
- interviews and other oral presentations
- Structuring of ideas and responses.
- Conventions of improvisation (truthfulness, advancing the scene) in contemporary and devised drama
- Voice and movement techniques in contemporary and devised drama
- Task 5: Practical Exam Due Week 5
- Task 6: Written Exam Due Week 6/7
7-9 / UNIT 4
Hand back & Go over Task 6&7 Practical and Written Examination
-What were the strong points
-What were the weaknesses
-How can we improve?
Review of Unit 4: Contemporary and devised Drama
- Review of key content from Unit 3: reinterpreting drama and finding connections between forces past and present to help make meaning in drama for audience.
- Students will be spending less time on realising a scripted performance of End Game as a large portion of the unit will be focused on the original solo performance and the external examination expectations.
Introduction to Task 9: Scripted interpretation of a key scene with design support.
- Reading End Game and discussing the themes and the context.
- Selection of key scene for Task 8 and the nomination of a role: director, dramaturge or designer different from Unit 3.
- Go through diagrams, annotating and graphic organisers to support designer role.
- Scheduling rehearsal processes to allow time for acting role work and non-acting role work for Task 8.
- short- and extended-answer forms
- graphic organisers, diagrams and illustrations with appropriate annotations and colour
- interviews and other oral presentations
- structuring of ideas and responses.
- Techniques of manipulating audience perspectives (selection, omission, subversion and emphasis) through the elements and conventions of drama
- Conventions of improvisation (truthfulness, advancing the scene) in contemporary and devised drama
- Dynamic relationships between existing and emerging drama conventions
- Voice and movement techniques in contemporary and devised drama
- Seclection and adaptation of non-purpose performance spaces.
• selection of dramatic forms and styles to create dramatic meaning for audiences and contexts by manipulating and controlling the elements of drama, directing and design processes
• personal style informed by existing forms, styles and contemporary approaches
Drama conventions
• techniques of manipulating audience perspectives (selection, omission, subversion and emphasis) through the elements and conventions of drama
• conventions of improvisation (truthfulness, advancing the scene) in contemporary and devised drama
• dynamic relationships between existing and emerging drama conventions
• conventions of interpreting a script explored through improvisation in contemporary and devised drama
• conventions of documenting contemporary and devised drama (creating a performance vision for self-devised and original drama)
• audience theory including techniques for manipulating and directing audience responses appropriate to contemporary and devised drama
Values, forces and drama practice
• impact of drama that reinforces, shapes and/or challenges historical, social and cultural values
• forces that are challenged by contemporary and devised drama
• development of new/experimental approaches that synthesise practical and theoretical approaches to drama in the context of contemporary social and cultural values
• dramaturgical processes related to contemporary and devised drama including structuring drama for character journey /
- Hand back Exams.
- Unit 4 hand-out
- Task 7 unseen
- Task 9: Task sheet
UNIT 4
Week / Key teaching points and Assessments / Syllabus content / Assessments/ Resources
Term 3
Week: 1 / Week one:
Task 8: Students will watch the performance ‘Summer Of The Seventeenth Doll’and do a review on it focusing on the Principles of Design & Visual Elements of Design
- Workshop exploring the approaches to directing used by and Meyerhold and their physical theatre approaches.
- Also look at Frantic Assembly and link both.
- Focus on Robert Lepage and his approaches to design.
- Rehearsal processes on how to communicate key themes and forces in the scenes selected from End Game.
• selection of dramatic forms and styles to create dramatic meaning for audiences and contexts by manipulating and controlling the elements of drama, directing and design processes
• personal style informed by existing forms, styles and contemporary approaches
- impact of drama that reinforces, shapes and/or challenges historical, social and cultural values
- Development of new/experimentalapproachesthatsynthesise practical and theoretical approaches to drama in the context of contemporary social and cultural values
• the collaboration of director and scenographer with the actors, dramaturge, lighting designer, sound designer and costume designer in contemporary and devised drama
• principles of design (balance, contrast, emphasis, harmony, repetition, unity, variety, movement, scale/proportion, pattern, rhythm), visual elements (line, shape, texture, colour, tone/value, 3D form and space) and design technologies to manipulate the relationship between the elements of drama in contemporary and devised drama
• impact of design and technologies on the reinterpretation of devised and scripted drama
Drama Conventions:
*audience theory including techniques for manipulating and directing audience responses appropriate to contemporary and devised drama / Task 8 task sheet
Nelson Drama for Secondary students: Meyerhold theory and exercises. Pg 30-38
2–4 / Task 9: Scripted interpretation of a key scene with design support. Due Week 3
- Workshops to consolidate students’ understanding of key content and processes for Task 8 and for the written and practical component of the external examinations.
- Students will be given opportunities to reflect in oral and written forms on their progress.
- Students will be encouraged to reflect on past productions of End Game to help identify patterns in approach to directing, acting and design and critically evaluate effective ‘meaning making’ and audience impact.
- Time will be allocated for technical and dress rehearsals, with a focus on creating a performance with effective transitions and a sustained development in mood, dramatic tension, energy and themes in the key scenes.
- Final performance will be presented to other drama students from Year 11 and Year 10, as appropriate.
- Revise over extended response structure
- Look at graphic organisers
- How do we write about 2 texts in 30 minutes?
- The elements of drama focusing on role/characterisation in contemporary and devised drama, shaped through the combination of physical and psychological approaches, to the interpretation of role and dramatic action refined through improvisation
- The elements of drama to create dramatic action, by exploring choices about varying light and darkness, sound and silence, stillness and movement, colour and space in contemporary and devised drama, to emphasise selected themes, approaches and theories
- Impact of drama that reinforces, shapes and/or challenges historical, social and cultural values
- Forces that are challenged by contemporary and devised drama
- Development of new/experimental approaches that synthesise practical and theoretical approaches to drama in the context of contemporary social and cultural values.
- Dramaturgical processes related to contemporary and devised drama including structuring drama for character journey
- The collaboration of director and scenographer with the actors, dramaturge, lighting designer, sound designer and costume designer in contemporary and devised drama
- Principles of design, visual elements and design technologies to manipulate the relationship between the elements of drama in contemporary and devised drama
- Impact of design and technologies on the reinterpretation of devised and scripteddrama
- Task 9: Due Week 3