Download Sample work program 4

Drama (2013)
Sample work program 4
r1447 Rebranded July 2014
July 2014
Drama (2013)
Sample work program
Compiled by the Queensland Curriculum and Assessment Authority
July 2014
The QCAA acknowledges the contribution of Trish Clark-Fookes in the preparation of this
document.
A work program is the school’s plan of a course of study based on the relevant syllabus. Work
programs allow for the characteristics of a school and its students to be considered when
implementing the syllabus. School work programs must demonstrate that syllabus dimensions
and objectives inform student learning.
Work programs provide information about the school’s plan for course organisation, an outline of
intended student learning and the assessment plan as outlined in the work program requirements
for that syllabus.
Drama (2013)
Sample work program
Queensland Curriculum & Assessment Authority
July 2014
Page 2 of 10
Course organisation and assessment plan
Year 11
Semester 1
46
Semester 1/2
28
Unit 1: Realism
Focus: Over the course of this unit, students
will develop their knowledge, understanding
and skills in the style of Realism. The skills and
conventions of Realism will be practised and
honed through the lens of both actor
(presenting) and director (forming),
empowering students with the skills to
interpret, shape and present realist drama
texts. Working in this unit, students will
interpret and create realist text, examining and
synthesising the dramatic, real, political and
sociological contexts of dramatic works.
Forms and/or
styles
Realism
Elements of
drama
Human context,
language, character,
tension, mood
Skills of drama
Acting (movement
and voice),
directing, stagecraft,
critiquing
Unit 2: Visual Theatre
Over the course of this unit, students will
employ visual vernacular to communicate
dramatic action and meaning to an audience.
Through the conventions of Visual Theatre
students will interpret and devise (Forming)
dramatic action inspired by a storybook. The
technological and dramatic contexts will be
evident as students create dramatic works that
aim to entertain.
Forms and/or
styles
Visual Theatre,
Physical Theatre,
Object Theatre
Elements of
drama
Mood, language,
movement place,
space, time, symbol
Skills of drama
Devising
Drama (2013)
Sample work program
1
*
*
3
*
Assessment
technique and
instrument
Conditions
Responding
*
2
4
Presenting
Dramatic languages
Dimension
assessed
Forming
Unit and focus
(Focus to refer to dimensions, context
and purpose)
Instrument no.
Length (hours)
Sample
Subject matter
Practical:
directing
(published
playscript
excerpt)
Individual
4–6 minutes of
directorial input
Performance:
stage acting
(published
playscript)
Group
2–3 minutes
Extended
response (written)
Individual
800–1000 words
Non-practical:
devising —
original dramatic
concept (written)
Individual
800–1000 words
Queensland Curriculum & Assessment Authority
July 2014
Page 3 of 10
Semester 2
26
Semester 2
10
Unit 3: Comedy of Manners
Focus: Over the course of this unit, students
will explore the texts, acting techniques
(presenting) and conventions of Comedy of
Manners (both French Neo-Classical and
Restoration Comedy). Integral to the unit is an
understanding of the historical, sociological
and political contexts of the dramatic works,
assisting students to grasp the challenge and
entertainment value these texts presented to
audiences of their time.
Forms and/or
styles
Restoration Comedy
Elements of
drama
Character,
language, situation,
tension, relationship,
mood, time
Unit 4: The Critic (Floating Unit)
Focus: Over the course of this unit, students
will learn and practise the skills of critique.
They will employ a range of dramatic
languages to analyse, evaluate and make
meaning of live theatrical performances
(responding). In approaching their critique,
students will examine the role of director and
how directorial decisions have influenced the
dramatic impact and meaning of the
production. The context/s and purpose/s will
depend on the live theatre performance
chosen and prior learning.
Forms and/or
styles
Live Theatre
Elements of
drama
As appropriate to
performance and
connected to prior
learning (such as
mood, character,
situation, tension)
Skills of drama
5
Assessment
technique and
instrument
Conditions
Responding
Presenting
Dramatic languages
Dimension
assessed
Forming
Unit and focus
(Focus to refer to dimensions, context
and purpose)
Instrument no.
Length (hours)
Sample
Subject matter
*
Performance:
stage acting
(published
playscript)
Group
2–3 minutes per
student
Extended
response (written)
Individual
800–1000 words
Acting (voice and
movement),
stagecraft
6
*
Critiquing, directing
Skills of drama
Drama (2013)
Sample work program
Queensland Curriculum & Assessment Authority
July 2014
Page 4 of 10
Year 12
Semester 3/4
Semester 3
35
24
Unit 5: Australian Gothic Theatre/Magical
Realism
Focus: Over the course of this unit, students will
experience the aesthetic and themes of the
Australian Gothic style. By employing dramatic
languages that support both the style of
Australian Gothic and Magical Realism,
students will create (forming) and present
(presenting) dramatic work. Students will work
with existing dramatic texts befitting the style of
Australian Gothic, working as both actor and
director. By working within this style, students
will challenge audiences to examine the political
and sociological contexts from which these
works emerged and highlight to audiences.
Forms and/or
styles
Australian Gothic
Magical Realism,
Elements of
drama
Symbol, mood,
tension, role,
relationship, space,
place
Skills of drama
Directing, acting
Unit 6: Epic Theatre
Focus: Over the course of this unit, students will
examine and implement the theories and
dramatic languages employed by Epic theatre
practitioners. Students will work with
didacticism, producing dramatic work that
challenges and empowers audiences. The skills
of acting (presenting) in the Epic style will be
emphasised as they approach the performance
of an existing dramatic work, grappling with its
historical, cultural and political context.
Forms and/or
styles
Epic Theatre
Elements of
drama
Character, focus,
tension, symbol,
mood, language,
movement, contrast
Acting (movement
and voice), applying
stagecraft, working
as an ensemble,
critiquing
Skills of drama
Drama (2013)
Sample work program
7
Assessment
technique and
instrument
Conditions
Responding
Presenting
Dramatic languages
Dimensio
n
assessed
Forming
Unit and focus
(Focus to refer to dimensions,
context and purpose)
Instrument no.
Length (hours)
Subject matter
*
Non-practical:
directing —
directorial concept
of a published
playscript
(multimodal)
Individual
5–7 minutes
8
*
Performance:
stage acting
(published
playscript)
Group
3–5 minutes per
student
9
*
Performance:
stage acting
(published
playscript)
Group
3–5 minutes per
students
Extended
response (written)
Individual
1000–1200 words
10
*
Queensland Curriculum & Assessment Authority
July 2014
Page 5 of 10
9
Unit 7: Verbatim Theatre
Focus: Over the course of this unit, students will
explore the history and purpose of Verbatim
Theatre. They will employ the dramatic
languages of Verbatim Theatre to
chronicle/document, inform, educate and
celebrate significant people, places and events;
always celebrating the personal context that
defines Verbatim Theatre. Students will actively
shape dramatic text (forming) and demonstrate
its potential in performance during this unit.
Forms and/or
styles
Verbatim Theatre
Elements of drama
Language, place,
situation, mood,
relationship, role,
symbol
Skills of drama
Directing, devising
Unit 8: The Critic (Floating Unit)
Focus: Over the course of this unit, students will
learn and practise the skills of critique. They will
employ a range of dramatic languages to
analyse, evaluate and make meaning of live
theatrical performances (responding). In
approaching their critique, students will examine
the role of director and how directorial decisions
have influenced the dramatic impact and
meaning of the production. The context/s and
purpose/s will depend on the live theatre
performance chosen and prior learning.
Forms and/or
styles
Live Theatre
Elements of drama
As appropriate to
performance and
connected to prior
learning (such as
character, situation,
tension)
Skills of drama
Presenting
Forming
Dramatic languages
Instrument no.
Length (hours)
Semester 4
24
Unit and focus
(Focus to refer to dimensions,
context and purpose)
Responding
Dimension
assessed
Subject matter
*
Assessment
technique and
instrument
Conditions
Practical:
demonstrating —
a devised
concept
Individual
4–6 Minutes
Extended
response (written)
Individual
1000–1200
words
11
*
12
Critiquing, directing
Drama (2013)
Sample work program
Queensland Curriculum & Assessment Authority
July 2014
Page 6 of 10
Unit 9: One-Person Show
Focus: Over the course of this unit, students will
work as solo performers employing the variety of
dramatic languages associated with One-Person
Show. They will create (forming), respond to
(responding) or perform (presenting) OnePerson Show text that aims to entertain, inform
and celebrate stories and ideas drawing on
personal, dramatic, philosophical and
sociological contexts as students depart Drama
studies.
Forms and/or styles
One-Person Show
Elements of drama
Language, place,
situation, mood,
relationship, role,
symbol. acting
(movement and
voice), applying
stagecraft
Skills of drama
Scriptwriting,
devising, critiquing
Drama (2013)
Sample work program
Presenting
Forming
Dramatic languages
Instrument no.
Length (hours)
Semester 4
18
Unit and focus
(Focus to refer to dimensions,
context and purpose)
Responding
Dimension
assessed
Subject matter
Assessment
technique and
instrument
Conditions
Post-verification
13
Either
Individual
*
Forming
or
Non-practical:
scriptwriting
1000–1200
words OR
Individual
*
Presenting:
4–6 minutes
or
Performance:
stage acting
OR
Responding:
1000–1200
words
*
Extended
response
Individual
Queensland Curriculum & Assessment Authority
July 2014
Page 7 of 10
Sample Year 12 unit
Semester 3
Unit 6
Time: 24 hours
Subject matter
Unit focus (including dimensions, context and purpose). Over the course of this unit, students will examine and implement the theories and dramatic languages
employed by Epic Theatre practitioners. Students will work with didacticism, producing dramatic work that challenges and empowers audiences. The skills of acting
(presenting) in the Epic style will be emphasised as they approach the performance of an existing dramatic work, grappling with its historical, cultural and political
context.
Dramatic languages
Forms and/or styles
Conventions of
forms and styles
Elements of drama
Skills of drama
• Epic Theatre
• Epic Theatre conventions: Two-dimensional vs. three-dimensional characterisation, Asian acting techniques, vocal embellishments,
narrator, gestus, Verfremdungseffekt
• Character, focus, tension, symbol, mood, language, movement, contrast
• Acting (movement and voice), applying stagecraft, working as an ensemble, critiquing
Possible learning experiences
Assessment
• Pre-test students’ understanding of Epic style through the exercise ‘The accident’.
• Research and discuss the historical and philosophical contexts of Epic practitioners such as Brecht, Vakhtangov and Piscator, making links
to the didactic nature of their works.
• Read, interpret and practically explore the texts of Epic practitioners such as Brecht, Vakhtangov and Piscator, with a focus on their didactic
purpose and dramatic impact as realised through the dramatic conventions.
• Discuss and workshop the contrasting acting approaches of Realism and Epic (such as two-dimensional vs. three-dimensional
characterisation, Asian acting techniques, vocal embellishments, gestus, Verfremdungseffekt).
• Discuss and workshop the contrasting relationship between actor and audience in Realism and Epic and its influence on dramatic meaning
and impact.
• Apply Epic acting techniques to Epic and non-Epic texts, evaluating the dramatic impact and meaning of the work.
• Read, interpret and workshop the dramatic conventions of Epic Theatre (such as narrator, gestus, Verfremdungseffekt, historification,
episodic structure, use of song, juxtaposition, use of multimedia) as found in key playscripts (e.g. The Resistible Rise of Arturo Ui,
Caucasian Chalk Circle).
• Workshops in manipulating the elements of drama and conventions of Epic Theatre to achieve a didactic purpose (informing, challenging
and empowering).
• Collaboratively devise short didactic works employing the conventions of Epic Theatre.
Drama (2013)
Sample work program
Presenting
Performance:
stage acting
(published
playscript)
Group
3–5 minutes
Responding
Extended
response (written)
Individual
1000–1200 words
Queensland Curriculum & Assessment Authority
July 2014
Page 8 of 10
• View and critique own and others’ work examining the impact of the elements of drama and dramatic conventions to communicate meaning
and purpose through dramatic action.
• View own and others’ work to identify, analyse and evaluate the manner in which the Epic style has been created.
• Revisit essay writing skills, focusing on the synthesis of ideas.
• Develop rehearsal techniques and apply stagecraft in the style of Epic Theatre.
• Examine and discuss the legacy of Epic Theatre, its influence on Documentary Drama and the next unit of study — Verbatim Theatre.
Drama (2013)
Sample work program
Queensland Curriculum & Assessment Authority
July 2014
Page 9 of 10
Student profile
1
Unit 1
2
Unit 2
1
Forming
Practical: Directing — published playscript
2
Presenting
Performance: Stage acting (published playscript)
3
Responding
Extended response (written)
4
Forming
Non-practical: Devising — dramatic concept
5
Presenting
Performance: Stage acting (published playscript)
6
Responding
Extended response (written)
Responding
Dimension, technique and instrument
Presenting
Teacher:…………………………………………………
Forming
Unit
Instrument
No.
Semester
Student name:………………………
Interim standard in each dimension at monitoring
Proposed interim LOA at MONITORING
Unit 5
3
&
4
Unit 6
Unit 7
Unit 8
7
Forming
Non-practical: Directing — published playscript
8
Presenting
Performance: Stage acting (published playscript)
9
Presenting
Performance: Stage acting (published playscript)
10
Responding
Extended response (written)
11
Forming
Practical: Demonstrating — devised concept
12
Responding
Extended response (written)
Interim standard in each dimension at verification
Proposed interim LOA at VERIFICATION
13
4
Unit 9
Either
Forming
Non-practical: Scriptwriting
OR
Presenting
Performance: Stage acting (published playscript)
OR
Responding
Extended response (written)
Standard in each dimension at EXIT
Exit LOA
Drama (2013)
Sample work program
Queensland Curriculum & Assessment Authority
July 2014
Page 10 of 10