the king’s medium term plan - drama 2016-2017 · the king’s medium term plan - drama y10 lc4...
TRANSCRIPT
The KING’S Medium Term Plan - Drama
Y10 LC4 Programme – 2016-2017
Module Critical Analysis
In this module students will develop skills in analysis from the point of view of an actor and as an audience member.
Students will develop their ability to self evaluate and peer assess to high level. In addition to this students will create
strategies to improve their own practice and master the ability to advise and direct others. Students will use scripts from
various genres and styles to improve their understanding of drama and expand their vocabulary of the subject
Building on
prior learning Students have developed skills in improvisation and rehearsal techniques over the last learning cycle. They are beginning to
develop their acting skills and understanding how character, setting and objectives impact on acting truthfully. Students have
developed focus skills and understand when and why focus and anarchy should be used.
Overarching
Challenge
question
Who is the most important, the actor or the audience?
Lines of
Enquiry Week 1: (All My Sons 0:00 – 8:30) – Do you need a naturalistic script to act naturalistically? – Task and tactic
Week 2; (All My Sons 22:08 – 25:54) – How do you play the ‘Given Circumstances’? – Give Circumstances
Week 3: (All My Sons 1:36:00 – 1:40:11) – How can the ‘Magic If’ help me? – Magic If
Week 4: (Macbeth 31:00 - 34:49 & Macbeth 37:10 – 39:49) – Do I need to know what every word in a script means to play
a part? – Task and tactic 2
Week 5: Can peer assessment really help me?
Week 6: Is acting possible without an audience?
Week 7: Who is the most important the actor or the audience?
Exam board
links:
Topic
Progress
Statement
Weeks’ 1-5: GCSE Drama (AQA 4240 – Unit 2 – Option 1: Acting)
Progress objectives: by the end of this modules students will have developed skills to evaluate their own successes and failures. They will be able to identify good and bad practice and be able to develop strategies to improve their own practice and the practice of others. Students will analyse in detail various scripts from that are studied in the English curriculum.
AO1: Create and develop ideas to communicate meaning for theatrical performance. AO2: Apply theatrical skills to realise artistic intentions in live performance. AO3: Demonstrate knowledge and understanding of how drama and theatre is developed and performed. AO4: Analyse and evaluate their own work and the work of others.
Students will also develop their skills in answering the Unit 1 part of their course through a midterm and end of term written
assessment.
Learning
strategies
Literacy: Literacy will be present throughout every lesson. Every student will engage with a written workbook that will be updated every week. They will be assessed every week and any SPAG issues will be highlighted and corrected as an additional task. In addition to this students will be working with 2 texts that are set texts on many exam boards syllabuses.
Numeracy: Students will use numeracy through good timekeeping during activities, organising group numbers and managing their time at home by using their homework planner.
Cognitive Acceleration: Cognitive Acceleration strategies included in this learning cycle are: Socratic questioning Higher level reasoning Problematised discussions Developing metacognition through high level inference evaluation
Knowledge and
Skills Understanding the cultural, historical and political importance of two set texts Critical analysis Peer Assessment
Self Assessment Character creation Focus development Development of team work skills Development of high levels of inference Development of evaluation and critiquing skills Development of movement and vocal skills
Week 1
3 hours of
lessons plus 1
hour of home
learning each
week
Line of Enquiry - Week 1: Do you need a naturalistic script to act naturalistic?
Students will learn to:
• Understand the 5 W’s and how to apply them to drama
• Understand the meaning of ‘Perfection Partner’
• Understand the process of critical analysis
• Use Task and Tactic in their performance
• Develop skills in actioning
• Use voice and movement that suits their character
Weekly success criteria across 3 lessons:
GP 4 (Theory)
• Understand what the 5 W’s are (AO3)
• Understand the meaning of the ‘Perfection Partner’ (AO4)
• Understand what is meant by the term critical analysis (AO4) GP 5 (Theory)
• Articulate how to use the 5 W’s in drama (AO3)
• Articulate the importance of a perfection partner (AO4)
• Articulate how critical analysis works (AO4)
GP 7 (Theory)
• Explain the 5 W’s for your character in All My Sons (AO1)
• Critique your partner effectively in their performance of All My Sons (AO4)
• Critically analyse the performance of others and offer them advice on how to improve (AO4)
GP 4 (Practical)
• Use simple tactics to achieve my task (AO2)
• Use simple actioning techniques to play my character (AO1)
• Use voice and movement to play a simple character (AO1 & AO2) GP 5 (Practical)
• Use dynamic tactics t achieve my task (AO2)
• Use dynamic actioning techniques to play my character (AO1)
• Use voice and movement to play a dynamic character (AO1 & AO2) GP 7 (Practical)
• Use complex but readable tactics to achieve my task (AO2)
• Use complex but readable tactics to play my character (AO1)
• Use voice and movement to play a complex character (AO1 & AO2)
Lesson Hypotheses:
Hypothesis 1 – A character should always have Aspirations
Hypothesis 2 – To improve I must understand my flaws
Home Learning:
Complete the flow diagram entitled ‘All My Sons’ on page
Week 2
3 hours of
lessons plus 1
hour of home
learning each
week
Line of Enquiry - Week 2: How do you play the ‘Given Circumstances’?
Students will learn to:
• Establish the given circumstances of a scene • Establish the given circumstances of a character • Identify how important knowing the given circumstances are • Articulate the given circumstances of ‘Mother’ in the scene
Weekly success criteria across 3 lessons:
GP 2 (Theory)
• Describe what is meant by the given circumstances in a scene (AO2)
• Describe what is meant by the given circumstances of a character (AO2)
• Describe the given circumstances of ‘Mother’ (AO2) GP 4 (Theory)
• Identify the given circumstances of a scene (AO2)
• Identify the given circumstances of a character (A02)
• Identify how the given circumstances of ‘Mother’ will aid your playing of the character (ao2)
GP 7 (Theory)
• Articulate how the given circumstances will effect the way you play a scene (AO3)
• Articulate how the given circumstances will effect the way you play a character (AO3)
• Articulate how the given circumstances of ‘Mother’ will impact on character relationships (AO3)
Further personalised success criteria will be allocated by the perfection partners following the rubric attached below
Lesson Hypotheses:
Hypothesis 1 – To understand a character we need to know the back story
Week 3
3 hours of
lessons plus 1
hour of home
learning each
week
Line of Enquiry - Week 3: How can the ‘Magic If’ help me?
Students will learn to:
• Understand the meaning of the ‘Magic If’ process
• Identify how the ‘Magic If’ can be used to improve performance Develop an appreciation for
subjective analysis
Weekly success criteria across 3 lessons:
GP 4 (Theory)
• Understand the meaning of the ‘Magic If’ (AO1)
• Understand the meaning of subjective analysis (AO3)
GP 5 (Theory)
• Identify 3 ‘Magic If’ questions that will impact on your performance (AO1) Create a realistic subjective analysis of your character (AO3)
GP 6/7 (Theory)
• Articulate how the 3 ‘Magic If’ questions have impacted on your performance (AO1) Articulate how the subjective analysis has improved your performance (AO3)
Further personalised success criteria will be allocated by the perfection partners following the rubric attached below
Lesson Hypotheses:
Hypothesis 1 – It is easy to imagine yourself in the place of a character
Home Learning:
Week 4
3 hours of
lessons plus 1
hour of home
learning each
week
Line of Enquiry - Week 4: Do I need to know what every word in a script means to play a part?
Students will learn to:
• Further develop skills in task and tactic
• Further develop peer assessment skills
• Further develop skills in rehearsal
Weekly success criteria across 3 lessons:
GP 4
• Apply actions to key lines in the script
• Apply an objective analysis to the script GP 5
• Apply actions to the majority of the script
• Apply a subjective analysis to the script GP 6
• Apply actions to the full script
• Apply both a subjective and an objective analysis to the script
Further personalised success criteria will be allocated by the perfection partners following the rubric attached
below
Lesson Hypotheses:
Hypothesis 1 – Shakespeare is a foreign language
Week 5
3 hours of
lessons plus 1
hour of home
learning each
week
Home Learning:
Apply actions to your monologue
Line of Enquiry - Week 5: Can peer assessment really help me?
Students will learn to:
• Peer assess in more detail
• Offer constructive advice that improves performance
• Develop own performance using the advice of their perfection partner Align their performance
using the complete success criteria
Weekly success criteria across 3 lessons:
FPersonalisedsuccess criteria will be allocated by the perfection partners following the rubric attached below
Lesson Hypotheses:
Hypothesis 1 – By helping others to improve, I improve
Week 6
3 hours of
lessons plus 1
hour of home
learning each
week
Line of Enquiry - Week 6: Is acting possible without an audience?
Students will learn to:
• Be an appreciative audience member
• Apply their knowledge of peer assessment to assess their partners performance
• Analyse their own performance in a viva-voce
Weekly success criteria across 3 lessons:
Attached below is the Success Criteria rubric for assessment this Learning Cycle
Lesson Hypotheses:
Hypothesis 1 – A performance is only a performance when there is an actor
Home Learning:
Answer the essay question
Week 7
3 hours of
lessons plus 1
hour of home
learning each
week
Line of Enquiry - Week 7: Who is the most important the actor or the audience?
Students will learn to:
• Write a section B response
• Analyse their performance and write about their successes
• Use a writing frame to improve their written work
Weekly success criteria across 3 lessons:
GP 3/4
• Write a basic response to the question
• Include some analysis of their performance in their response Use a writing frame to structure a simple answer
GP 5/6
• Write a detailed response to the question
• Have a detailed analysis of their performance in their response Use a writing frame to structure a detailed
response
GP 7/8/9
• Write a fully detailed response to the question
• Have a detailed analysis that makes specific reference to the audience in their response
Use a writing frame to structure a full and detailed response
Lesson Hypotheses:
Hypothesis 1 – A drama essay should be a step by step guide to acting a part
Extended Learning
Students will consolidate their learning in their workbooks. They will constantly self evaluate and test their
knowledge through the completion of these workbooks. In addition to this they will be graded on 4 areas each
lesson. Rehearsal, Contribution, Skill and Homework. Each student will be pushed to improve their ability in each
and will be monitored throughout. Workbook is available for viewing by email: [email protected]
Students will be working through the works of:
Stanislavski
Texts written by Stanislavski are available from Mr Bowden for further research
Learning Cycle Success Criteria
Needs Work (GP1-3) Bronze (GP4-5) Silver (GP6-
7) Gold (GP8-9)
Voice
Little to no variety in pitch, volume or tone Words are not always heard they may be mumbled The voice does not fit the
character
An attempt is made at changing the
tone, pitch and volume of speech All words are clear The voice does not fit the character
completely
The tone, pitch and volume
change throughout and fit with
the script All words are clear The voice fits the character
The tone pitch and volume change a lot
during the performance, the actor uses
pauses to raise the tension in the scene and an attempt is made at using accent Every
word is clear to the audience
Tempo of the scene Very little change in the tempo of
the scene
An attempt to change the tempo of
the scene A good use of tempo change that
adds excitement to the scene Tempo changes constantly throughout and
fits with the script
Staging Mistakes are made throughout
with actors being blocked and the
audience view being obscured
The actors always face the audience, but the staging is dull and
uninteresting
Staging is interesting to look with
the actors using all of the stage
space
Staging is dynamic, with a use of levels,
proxemics and the audience view is never
impaired
Facial expression No attempt is made at changing
facial expressions Facial expressions are used, but are
either too subtle or too over the top Natural facial expressions are
used that fit with the script Facial expressions are used throughout that
complement the script and the character
Understanding It is evident that the actor does not
understand what they are saying The actor has an awareness of what
they are saying and uses a task that
fits with what they saying
The actor completely understands what they are saying and this is reflected in the tactics that they
choose
The actor understands the character and
script in full detail which is reflected in the
choice of tactics used
Physicality
No attempt is made at changing
the physicality for performance
The physicality stays the same
throughout
An attempt is made at changing the
physicality but it may be to subtle, or
too obvious to seem realistic
A change of physicality is used
that is clear and not too over the
top
The physicality of the character has changed
and it fits with the profile of the character