year 10 drama programme of study - ewell castle school 10 program… · year 10 drama programme of...
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Year 10 Drama Programme of Study
W E E K S
DATE ACTIVITIES DETAILS
FRI 9 Sep
STANISLAVSKI 1 (S1)
A: The birth of naturalistic acting Technique
B: General overview training of the actor: 1. The need to annotate 2. A psychological approach 3. Being truthful on stage 4. Listening and responding to the characters 5. Not pre-empting a response 6. Concentration and relaxation 7. Being natural 8. Naturalistic costumes 9. Intense character examination 10. Script examination 11. Lighting to echo real life 12. Audience concealed behind a “fourth wall” 13. Very reliant on emotional memory 14. Set is realistic 15. Knowing what motivates 16. Knowing and using the social, cultural and political
background to your play 17. Research
FRI 9 S2 1. What if? 2. Belief 3. Imagination 4. Improvisations 5. Leaving yourself alone
6. An actor/human is effected by their emotions and reactions
2 MON 12 SEP
S3
1. Social/cultural/political world 2. Research 3. Evidence/written/recorded
FRI 16 S4 1. Character objectives I want…. (Make it very simple!) 2. Super objectives
2
FRI 16 S5 1. Actions (doing verbs/transitive verbs)
3
MON 19 SEP
S6 1. Uniting/splitting up a play/script 2. Giving the units a title
FI 23 S7 1. Subtext (thoughts aloud/internal dramatic dialogue)
FR 23 S8 Finding the Given Circumstances (in an extract)
1. The story of the play 2. The events within it 3. The epoch 4. The time and place of action 5. Condition of life 6. The costumes 7. The props 8. The lighting and sound effects 9. The period and place in which it is set 10. The director’s and Designers’ interpretation
4
MON 26 SEP
S9 Creating a realistic character
1. Observing life/family/friends/character 2. Basing the character on someone 3. Using your own emotions and experiences (there a
millions of Hamlets!)
FRI 30 S10 Being in your own space
1. The fourth wall 2. Focus of attention 3. Being affected by what’s around
(sight/hearing/smell/the way you feel)
FRI 30 S11
1. Preparation exercises 2. Creating a physical life (costume/props/set) 3. Site specific rehearsal
5.
MON 3 OCT
S12 1. Emotional memory 2. Tempo Rhythm
FRI 7 Frantic Assembly Physical theatre Works hop
6
MON 10
OCT
Movement and Physical Skills Movement/Physical Skills
Developing a range of physical skills and techniques e.g.
1. Body language 2. Posture 3. Centre of weight 4. Strength and tension 5. Gesture
3
6. Mannerism 7. Gait 8. Co-ordination 9. Stillness 10. Timing 11. Control 12. Facial expression 13. Levels 14. Eye contact 15. Listening 16. Expression of mood 17. Emotions 18. Attitudes 19. Status 20. Stereotypical movements 21. Spatial awareness 22. Interaction with other performers 23. Dance and choral movement 24. What part of the feet do they move from? 25. What weight do they move with? 26. What direction do they move? 27. Which way do they lean? 28. What animal do they move like? 29. What family member/friend/character could you base
the movement on?
D1
FRI 14 Movement/Physical Skills
Movement/Physical Skills
Developing a range of physical skills and techniques e.g.
1. Body language 2. Posture 3. Centre of weight 4. Strength and tension 5. Gesture 6. Mannerism 7. Gait 8. Co-ordination 9. Stillness 10. Timing 11. Control 12. Facial expression 13. Levels 14. Eye contact 15. Listening 16. Expression of mood 17. Emotions 18. Attitudes 19. Status 20. Stereotypical movements 21. Spatial awareness 22. Interaction with other performers
4
23. Dance and choral movement 24. What part of the feet do they move from? 25. What weight do they move with? 26. What direction do they move? 27. Which way do they lean? 28. What animal do they move like? 29. What family member/friend/character could you base
the movement on?
D1
FRI 14 BRECHT (B1) 1. Brecht a short biography 2. General overview of Brecht and his political beliefs
(Marxism) 3. Social, Cultural and Political background to his world
7
MON 17
OCT
B2 1. Verfremdungseffekt – Making Strange/Alienation effect
2. Montage
FRI 21 B3 Epic Theatre techniques in Practise: 1. Narration 2. Direct Address 3. Coming out of role/3rs Person Narration 4. Speaking the stage directions 5. Multi-roling 6. Split-role 7. Banners/Placards 8. Minimal Set/Costume/Props 9. Symbolic Props 10. Lighting 11. Song and Dance
FRI 21 B4
Epic Theatre techniques in Practise: 1. Narration 2. Direct Address 3. Coming out of role/3rs Person Narration 4. Speaking the stage directions 5. Multi-roling 6. Split-role 7. Banners/Placards 8. Minimal Set/Costume/Props 9. Symbolic Props 10. Lighting 11. Song and Dance
8 MON 7 NOV
B5 Putting over a message – GEST
FRI 11 Voice The Voice Developing a range of vocal skills and techniques e.g.
1. Clarity of diction 2. Inflection 3. Accent 4. Dialect
5
5. Intonation (tone) and phrasing 6. Pace 7. Pause and timing 8. Projection 9. Pitch 10. Emotional range 11. Song and/or choral speaking 12. Volume 13. Speed 14. Stutter 15. Sibilance 16. Lisp 17. Glottal Stop 18. Rhythm
FRI 11 Voice +
Stage Positions
The Voice Developing a range of vocal skills and techniques e.g.
1. Clarity of diction 2. Inflection 3. Accent 4. Dialect 5. Intonation (tone) and phrasing 6. Pace 7. Pause and timing 8. Projection 9. Pitch 10. Emotional range 11. Song and/or choral speaking 12. Volume 13. Speed 14. Stutter 15. Sibilance 16. Lisp 17. Glottal Stop 18. Rhythm
Stage Positions/Blocking
6
(*All positions are from the actor’s point of view looking out towards the audience)
USR Up Stage Right
USC Up Stage Centre
USL Up Stage Left
CSR Centre Stage Right
CS Centre Stage
CSL Centre Stage Left
DSR Down stage Right
DSC Down Stage Centre
DSL Down Stage Left
00000000000AUDIENCE000000000000 0000000000000000000000000000000
Other vocabulary:
Off stage left Off stage right
Upstage Downstage
In the wings
Stage positioning & configuration starter games
The Placement Game The aim of the game is to encourage students to use the stage abbreviations and also to become familiar with the different stage configurations Either in groups or as a class define a stage configuration use the students, chairs or tape to mark this out. Only the students who correctly identify the configuration are allowed into the performance space. Once in the space either the teacher or a student names someone in the space and calls out a specific stage position which they have to move to. This game does become more difficult when, for example, the traverse or thrust configurations are used.
9
MON 14
NOV
Devising Stimulus 1
STIMULI
1) Visual (such as a photograph, painting or sculpture) 2) Printed or spoken word (such as a poem, news article,
story or novel) 3) Musical (such as a song, melody or instrumental piece) 4) Fact-based (such as a current, political or historical event) 5) Theme or issue-based (such as conflict, relationships,
justice or freedom) 6) Myths (such as folklore or urban myth) 7) Cultural (such as traditions or festivals).
7
FRI 18 Devising Stimulus 2
READ DEVISING LOG REQUIRMENTS +
PREPARE QUESTIONS
FRI 18 Devising Stimulus 3
10
MON 21
NOV
DEVISING 4 (D4)
DEVISING LOG INTRODUCTION
DEVISING LOG INTRODUCTION
FRI 25 D 5
FRI 25 D 6
11
MON 28
NOV
D7
FR 2 D9
12
MON 5 DEC
D10
FRI 9 PERFORMANCE SPACES PERFORMANCE SPACE HOMEWORK
FRI 9 D11
DEVISING LOG REVIEW 1
HAND IN DEVISING LOG ON MON 12 JAN
13 MON 12
DEC
SET DESIGN
COLLECT DEVISING LOG h/w learn set designer vocabulary
+ REVISE FOR large test – Friday 6 January
AMADEUS &
NT BACKSTAGE TOUR
14 FRI 6 D14 FRI 6 D15 Character work; Animals/basing character on friend, family or
actor/Character traits
15
MON 9 JAN
D16
FRI 13 D17
8
FRI 13 How meaning is communicated
16
MON 16 JAN
D18
FRI 20 D 20 HAND IN DEVISING LOG ON MON 23 JAN
FRI 20 CHARACTERISTICS OF PERFORMANCE TEXTS &
DRAMATIC WORKS
17
MON 23 JAN
D 22 COLLECT DEVISING LOG
FRI 27 D 23
FRI 27 COSTUME DESIGN
18
MON 30 JAN
D 25
FRI 3 D 26
FRI 3 LIGHTING DESIGN
19
MON 6 FEB
D 27
FRI 10 D 28
HAND IN DEVISING LOG ON MON 20 FEB (*Handout Blood Brothers/Neville’s Island)
FRI 10 SOUND DESIGN (*Handout Blood Brothers/Neville’s Island
20
MON 20 FEB
D 29 COLLECT DEVISING LOG
FRI 24 D 30
FRI 24 REVIEW DEVISING LOG
REVIEW DEVISING LOG
21
MON 27 FEB
D 31
FRI 3 MAR
D 32
FRI 3 MAR
Roles +
Responsibilities
22
MON 6 MAR
D 33
9
FRI 10 D 34
23
MON 13
MAR
D 35
FRI 17 D 36
FRI 17 D 37
Sat 18 March
D 38
MON 20
MAR
D 39
TUE 21 D 40
WED 22
D 41
THUR 23
D 42
25 MON 27
MAR
COMPLETE DEVISING LOG
FRI31 MAR
COMPLETE LOG
26
WED 19
APR START
Blood Brothers 1 (BB1)
Collect Devising Log
“Blood Brothers”: Ways into the text – performing
FRI 21 BB3 Devising Log Deadline
27
MON 24
APR
DRAFT 1 FEEDBACK AFTER SCHOOL
DRAFT 1 FEEDBACK AFTER SCHOOL
TUE 25 DRAFT 1 FEEDBACK AFTER SCHOOL
DRAFT 1 FEEDBACK AFTER SCHOOL
Wed 26
DRAFT 1 FEEDBACK AFTER SCHOOL
DRAFT 1 FEEDBACK AFTER SCHOOL
Thur 27
DRAFT 1 FEEDBACK AFTER SCHOOL
DRAFT 1 FEEDBACK AFTER SCHOOL
FRI 28 BB5 FINAL DEVISING LOG Friday 12 May period 1
10
No extra help allowed
FRI 28 BB6
28 FRI 5 Neville’s Island (NI1) Hand in devising log on Friday 12 May period 1
FRI 5 NI 2
29
MON 8 MAY
NI 3 Hand in devising log on Friday 12 May period 1
FRI12 NI 4 Collect devising Logs
FRI 12 NI 5
30
MON 15
MAY
NI 6 Collect devising Logs
FRI 19 BB 6
FRI 19 BB 7
31 MON 22
MAY
EXAM WEEK EXAM WEEK
33
MON 5 JUN
N 18
FRI 9 BB8
FRI 9 BB9
34
MON 12 JUN
N 19
FRI 16 BB 10
FRI 16 BB11
35
MON 19 JUN
NI 10
FRI 23 BB12
FRI 23 BB13
36
MON 26 JUN
NI 11
FRI 30 NI 12
FRI 30 NI13
11
Stanislavski
1. A: The birth of naturalistic acting Technique
B: General overview training of the actor: 18. The need to annotate 19. A psychological approach 20. Being truthful on stage 21. Listening and responding to the characters 22. Not pre-empting a response 23. Concentration and relaxation 24. Being natural 25. Naturalistic costumes 26. Intense character examination 27. Script examination 28. Lighting to echo real life 29. Audience concealed behind a “fourth wall” 30. Very reliant on emotional memory 31. Set is realistic 32. Knowing what motivates 33. Knowing and using the social, cultural and political background
to your play 34. Research
2. What if? Belief Imagination Improvisations Leaving yourself alone An actor/human is effected by their emotions and reactions
3. Social/cultural/political world Research Evidence/written/recorded
4. Character objectives I want…. (make it very simple!) Super objectives
5. Actions (doing verbs/transitive verbs)
6. Uniting/splitting up a play/script Giving the units a title
12
7. Subtext (thoughts aloud/internal dramatic dialogue)
8. Finding the Given Circumstances (in an extract)
11. The story of the play 12. The events within it 13. The epoch 14. The time and place of action 15. Condition of life 16. The costumes 17. The props 18. The lighting and sound effects 19. The period and place in which it is set 20. The director’s and Designers’ interpretation
9. Creating a realistic character Observing life/family/friends/character Basing the character on someone Using your own emotions and experiences (there a millions of Hamlets!)
10. Being in your own space The fourth wall Focus of attention Being affected by what’s around (sight/hearing/smell/the way you feel)
11. Preparation exercises Creating a physical life (costume/props/set) Site specific rehearsal
12. Emotional memory Tempo Rhythm
13. Movement choices Voice choices
13
BRECHT
LESSON CONTENT 1 Brecht a short biography
General overview of Brecht and his political beliefs (Marxism) Social, Cultural and Political background to his world
2 Verfremdungseffekt – Making Strange/Alienation effect Montage
3 Epic Theatre techniques in Practise: Narration Direct Address Coming out of role/3rs Person Narration Speaking the stage directions Multi-roling Split-role Banners/Placards Minimal Set/Costume/Props Symbolic Props Lighting Song and Dance
4 Putting over a message - GEST