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SM1 Week Objective Term 1 1-2 To get to know each other as a class unit Teaching Focus Introduction to Course: Class bonding/ warm ups Discuss Unit of work Information/discussion: For students to Role creation (worksheet given). Practical workshops be introduced based on this. to the Introduce Stanislavski techniques; imagination, techniques used character analysis, emotion in creating a believable Practical Activities: character Character walks Child/parent relationships (including reflection/debrief) Students to Conflict scripts work on making Script Extract Blackrock by Nick Enright a character Silent communication rounds realistic Content Addressed Practical: Script interpretation, based on a reading of the complete text, of an extended scene or section to manipulate mood and interpret themes for audience. Devised drama exploring international or global themes based on research and selected drama forms and styles. (ACADRM047) Approaches to characterisation suited to the selected drama forms and styles, texts and themes. Levels, status, proxemics, focus and balance in making drama. (ACADRM048) Drama processes through combining the elements of drama (role, character and relationships; voice and movement; time, space and situation; mood, atmosphere and dramatic tension; language and text; symbol and metaphor) used by selected drama 3 To continue learning about creating a believable character by manipulating vocal and non verbal communication To understand the elements of body language and how this helps to create character To continue using Stanislavski’s methods to help create a believable character To offer students a case Practical Activities: Body Language ‘signals’ Body messages Snapshots Tableaux (linking to given stimulus) Vacuum breathing Tongue Twisters Information/discussion: Body language Using your voice safely Modulation Assessment: Investigation Introduce students to assessment task (investigation: Film Study extended response) Assessment due week 5 Information/discussion: Analysing an actor’s choices Physical attributes practitioners such as Rudolf Laban, Augusto Boal or Cecily O'Neill to manipulate dramatic meaning and audience relationships. Drama structures based on cyclical structures and numerous plotlines. Effective group work processes (strategic planning and evaluation processes) in drama. (ACADRM049) Voice and movement techniques for selected drama forms and styles. Preparation techniques for voice and movement for selected drama forms and styles. Mime techniques (choosing the level of precision of movement needed when telling a story) in drama. (ACADRM050) Stage geography, blocking notation and the impact of in-the-round and adapted stages. Imaginary spaces manipulated by stage components and properties, the elements of drama and audience. Design and technology to manipulate focus and mood. Design principles (balance, contrast, repetition, pattern) selected to make meaning and add to the experience of theatre. (ACADRM051) Written: Reflective writing, on own and others' work, analysing choices in drama making and using precise drama terminology and language. study on creating a believable character 4-7 Vocal attributes Stanislavski’s methods/system Viewing: Film: What’s Eating Gilbert Grape? For students to Practical Activities: further develop Emotional recall (mimed action) their techniques School Play in creating a Child/parent relationships x2 believable character Information/discussion: Stanislavski’s emotional memory/recall For students to Performance reflections use the technique of emotional recall Assessment: Performance Introduce students to assessment task (Performance: For students to Scripted Monologue/ Duologue) be introduced to their (ACADRR052) Analytical writing using different forms of communication on viewed live performances (live or digital copies of live performances), focusing on the elements of drama and design and technology to make meaning. (ACADRR053) performance assessment Rehearsal Monologue selected (from a published play) Rehearsals commence Memorisation Costumes/props Showing: Students will have a showing of their Monologues and will get feedback. Performance and Reflection (Week 7) Dramaturge assessment due (Week 7/8) Week 8- For students to 9 be introduced Information/discussion: to the Role creation. Practical workshops based on this. techniques used Introduce Vocal and Non-verbal communication acting in creating a techniques believable character Practical Activities: Non-Verbal tableaux Students to Script Extract Dags and 48 Shades of Brown work on making a character realistic Silent communication rounds Information/discussion: Discuss Australian theatre: Nelson Drama for Secondary To read and students: Pg 109 understand the Look at the context of the play playwright’s Discuss the front cover and title of the play – discuss intentions in what the play would be about writing the play. Discuss that the play is a 4 actor piece with 7 characters Term 2 1-3 To understand the structure of a realistic play. To see examples of an aside. For students to become more aware of their Read: Read play together as class Discuss characters and motivations Discuss – are we satisfied with the ending? Characters: Alex (see Pg. 91 of teacher notes) Practical activities: Re-create scenes (Pg. 14-16 and Pg. 98-100) Moment of truth (Pg. 102 of teacher notes) character’s motivations. 4 Inner monologues Lifecycles (Pg. 103-104 of teacher notes) Alternate ending Assessment: Investigation Introduce students to assessment task (investigation: Costume Design) Assessment due week 5/6 For students to have the opportunity to explore costume design. Information/discussion: Analysing a character Physical attributes Context of the play Role of the costume designer: Nelson Drama for Secondary students: Pg 90-91 Relationships exercise: Nelson Drama for Secondary students: Pg 62 Designing: One character’s costume and writing a reflection on choices 5-8 Information/discussion: Stanislavski’s emotional memory/recall Performance Task brief Assessment: Performance Introduce students to assessment task (Performance: Scripted Performance) Performance Assessment Due week 8/9 Rehearsal Scene selected (from After January) Rehearsals commence Memorisation Costumes/props Process Answering the Fundamental Questions Hot seat Performance and Reflection (Week 8) 8-9 10-11 Exam Revision Introduction on Commedia Context: Social and historical Term 3 Week Semester 2 Content/Lesson Focus Objective 1 Introduction to Course: Class bonding/ warm ups Discuss Unit of work For students to be introduced to the sophisticated vocal and physicalisation techniques used in Commedia 2 Physical warm-ups that allow students to prepare for the strenuous nature of Commedia performance skills. - Advanced Breathing exercises with movement. Improvisations based on role work. Watch stylised slapstick comedy routines – Keaton, Laurel and Hardy, Marx Brothers, Peter Sellers et al. Commedia Workshops Students are introduced to: - The Stock Characters - The servants - stylised physicalisation movement vocalisation objective and mask of the following: Zanni, Arlecchino, Il Dottore, Panatalone.Provide examples of Improvisation, repertorio Lazzi Canovaccio Resources - The Masters Theory of Commedia: Nelson Drama for Secondary students: Pg 24-25 Hand out Comedy Task sheet 3 6-9 Students further their learning on Stock Characters: A military Man and a female For students to be able to identify and gain an understanding on the role of a director. Introduce the following characters: Il Capitano and Colombina Create own Canovaccio Issue in groups. Directing and rehearsal exercises: Nelson Drama for Secondary students: Pg 70/78 Hand out: - Assessment Task 1A: Commedia Performance (Due week 8) - Assessment Task 1B: Commedia Poster (Due week 8) Improvisation exercises and workshops to help develop Commedia performances. For students to have a better understanding of Previous Designs of Production Posters. Assessment Task Brief the rehearsal process. Students will be given 3 weeks to create and rehearse for their Commedia Performance. Extended response on Commedia For students to be introduced to their performance assessment (scripted Drama). 10 Introduce Surrealism: Theatre of Dreams Students to understand the use of symbolism Information/discussion: Surrealism: Theatre of Dreams Surrealism: Movement Practical Activities: Symbolic Movement Dreams Nightmares Salvador Dali stimulus activity Script: Offending the Audience Written reflection 1x journal entries Students research the following practitioners: Nelson Drama for Secondary students: Pg 6 - Artuad Related Surrealist worksheets Salvador Dali images Script: Offending the Audience - Grotowski Brecht Beckett Term 4 1-5 Students to see elements of Absurdist Theatre Students to see elements of Transformation Theatre Information/discussion: Context of Absurdist Theatre - influences Conventions of Absurdist Theatre Practical Activities: Focus on: Presentational Acting Techniques, script extracts ‘Waiting For Godot’ and Script Extracts ‘Rosencrantz and Guildenstern Are Dead’ Routine (movement) Information/discussion: Context of Transformation Theatre Conventions of Transformation Theatre – focus on movement Practical Activity: Tableaux activity on Fairy Tale NV scene recreation Introduce Performance Assessment Task Related Absurdist and Transformation worksheets Research: Computer research into chosen theatre style Information/discussion: Assessment Task Brief Students will be introduced to group devised task. Students will begin the playbuilding process Style: Surrealist, Absurdist or Transformation Presentational Acting techniques and conventions of the different theatre styles Reading: ‘Self devised-scripts’ Playbuilding: Brainstorming ideas Developing plot and characters Writing script Rehearsing Memorising Performing Reflecting on Performances (Self and Peer) Assessments: Performance in Week 5 6 Students will do Inclass extended response Preparation Information/discussion: Revision of course In class response preparation Exam revision booklet Study skills: Note taking and annotating Highlighting important notes from handouts Use the planner to record homework / due dates for assessments Using graphic organisers Review and revise materials before test Recording work-shops and activities done in class. Watching and reflecting on performance work. Asking for feedback from teacher and students IT used in-class: PPT Presentations You-tube clips relevant to course material DVD’s for film study Music for performances and workshops Sound effects for performance and workshops. Recording and reflecting on performances.