Download Year 12 General Drama Unit 3- Representational Drama and As

Year 12 General Drama
Unit 3- Representational Drama and As You Like It by William Shakespeare
Week
6-10
(Term
4,
2016)
1
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Teaching points and Assessments
Overview of Unit 3 and links from
Units 1 & 2- this unit is about
representational drama
Task 1: Investigation through
research and application of ideas
and practices of four contemporary
theatre companies (Complicite,
Forced Entertainment, Punchdrunk,
Zen Zen Zo). Students devise around
a meaningful issue using particular
techniques.
Task 1 due end of term
Introduction to Task 3: As You Like
It monologues/ duologues
Workshop to revise improvisation
process
Workshop to explore Elements of
drama through improvisation
Task 3 due week 9
2
3
4
 Workshop to revise four
contemporary theatre companies
and their work, apply to
monologues from AYLI
 Link work to Elements of Dramawritten exercise outlining processes
(what, how, why)
 Introduce Mamet’s Practical
Aesthetics approach to
contemporary representational
acting, apply to monologues from
AYLI
 Continue work on Practical
Aesthetics- investigating essential
action
 Linking approach to Elements of
Drama and AYLI duologues- written
exercise
 Revise AYLI- plot, characters,
themes, Shakespeare
 Introduction to Task 4: analysis of
Task 3 Task 4 due Week 9
 Introduction to Task 2: Analysis of
professional production
 Explore role of critic and revise note
Syllabus Content
 cooperative group work processes (memorising, improvising,
interpreting, listening, accepting,
 delegation of roles, developing an agreed approach) in
drama
 the elements of drama refined through improvisation and
rehearsal to create realistic characterisation and
relationships in performance through
 processes developed by Stanislavski or adapted by others
 conventions of improvisation in representational, realist
drama
 linear narrative structures, including Aristotle’s plot
structures (‘mythos’)
 voice techniques to create character and dramatic action in
the performance of representational, realist drama
 movement techniques to create character and dramatic
action in the performance of representational, realist drama
 cooperative group work in drama
 voice and movement techniques in representational, realist
drama using the processes developed by
 Konstantin Stanislavski and others in devising or interpreting
drama
 the elements of drama shaped to present identified themes,
selected approaches and theories about dramaturgy in
representational, realist drama
 interpretation of representational, realist drama forms and
styles (Realism, Naturalism) by shaping the elements of
drama
 relationships between representational, realist drama and
linear narrative structures
 strategies to present space and time (planned uses of space)
when working in different performance areas focusing on
representational, realist drama
 ways that audiences are positioned to identify and engage
1
taking strategies in lead up to
viewed performance of Complicite’s
The Encounter at PIAF
 Exploration of feedback techniques
for analysis of own and others’
work- identifying intentions, and
methods of constructive criticism
 Revise role of Dramaturge in
investigating inner/outer worlds and
forces of plays to support
presentation of scripts
with representational, realist drama
 proscenium arch and thrust stages in representational,
realist drama
 impact of audience expectations, attitudes, experiences and
understandings on drama production and audience
responses
ASSESS Task 2: Analysis of
professional production in class
under invigilated conditions
5
 Investigation of forces in AYLI,
including “pastoral play”,
Elizabethan times and
contemporary links
 Integration of AYLI forces into
contemporary approach to
characterisation, in lead up to
performance of monologues/
duologues
 Exploration of play as whole
6
 Design week: Scenography and
costumes
 Revision of roles, responsibilities
and approaches of Costume and
Scenography designers, view
samples and analyse stylistic
approaches
 Exploration Principles of design and
visual elements
 Workshops in graphical
representation of design, including
annotated sketches
 Practise short answer responses for
designer questions in context of
externally set task
 Application of design knowledge
and skills to AYLI excerpts
7
 Revision of role of Directordirector’s intention for
contemporary audiences,
application of elements of drama
and using dramaturgical information
 the elements of drama shaped to present identified themes,
selected approaches and theories about dramaturgy in
representational, realist drama
 the elements of drama shaped through viewpoints in
improvisation and text interpretation to create dramatic
meaning that educates and presents forces
 impact of audience expectations, attitudes, experiences and
understandings on drama production and audience
responses
 forces that contributed towards the development of
representational, realist approaches to acting, design and
drama
 conventions of documenting representational, realist drama
(script annotations, blocking notations and plan and
elevation views)
 the collaboration of designers, scenographers, actors and
directors in representational, realist drama
 principles of design, visual elements and design technologies
in representational, realist drama
 drama design and technologies to represent real settings and
characters (reproduction of reality, selective realism)
 focus and spatial awareness in representational, realist
drama
 the elements of drama refined through improvisation and
rehearsal to create realistic characterisation and
relationships in performance through
2
 Workshop to experiment with
director’s intention, elements of
drama and design in script excerpts
8
9
10
11-14
 processes developed by Stanislavski or adapted by others
 the elements of drama used in performance preparation
processes (improvisation to explore imagination, character
mapping, given circumstances) for representational, realist
drama
 directing theory that shapes the application of the elements
of drama in representational, realist drama refined through
improvisation
 Rehearsal of monologues/duologues  techniques in representational, realist drama for engaging
from AYLI
the audience through suspension of disbelief
 Allow time for construction of
 conventions of interpreting a script (motivation, tempo,
scenography and costumes (note:
circles of attention and psychological gestures) refined
AV elements may need technical
through improvisation in representational, realist drama
 performance and audience behaviours (role of observer in
operator from other group to
realist drama) in representational, realist drama
execute designs)
 effective group work (selecting social and emotional
 Technical and dress rehearsals
intelligences) to resolve conflicts and problems
 Discuss and investigate
 time management skills (self‐motivation, prioritisation and
considerations for touring shows,
goal setting) in drama
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intellectual property rights and performance rights in drama
and allow time for planning and
preparation. Opportunity to revise
 safe working practices in drama in purpose built
note taking and graphic organisers.
performance spaces
ASSESS Task 3 & 4: performance of
monologue from AYLI; and written
analysis of task under invigilated
conditions
 Workshops exploring approaches of
Anne Bogart & Tina Landau and
Viewpoints- Time, Space and Voice,
focusing on rehearsal processes and
physical approaches to
performance, and how to explore
external worlds of texts
 Workshops exploring improvisation
techniques in the creation of new
devised works, including work of
Bogart. Exploration of structure and
contemporary ways to reimagine
concepts and themes
 Extended improvisations based on
forces in AYLI, devised in small
groups
 Comparative text work: A Streetcar
Named Desire- reinterpret with
Practical Aesthetics
 extended response on AYLI; and
 voice techniques to create character and dramatic action in
the performance of representational, realist drama
 movement techniques (facial expression, posture, gesture,
gait, weight, space, time, energy and
 proxemics) to create character and dramatic action in the
performance of representational, realist
 the elements of drama refined through improvisation and
rehearsal to create realistic characterisation and
relationships in performance through processes developed
by Stanislavski or adapted by others
 movement techniques to create character and dramatic
action in the performance of representational, realist drama
 cooperative group work processes (memorising, improvising,
interpreting, listening, accepting, delegation of roles,
developing an agreed approach) in drama
 the elements of drama shaped through viewpoints in
improvisation and text interpretation to create dramatic
meaning that educates and presents forces
 conventions of improvisation (breaking patterns and creating
focus) in representational, realist drama
 interpretation of representational, realist drama forms and
styles (Realism, Naturalism) by shaping the elements of
drama
 relationships between representational, realist drama and
linear narrative structures
3
approaches for the EST such as use
of reading time, planning and
answer forms
 development of representational, realist drama with a focus
on the ways particular practitioners, such as Stanislavski,
have interpreted representational, realist drama
ASSESS Task 7: EST as per SCSA
timetable
4
Year 12 General Drama
Unit 4- Presentational drama and
When the Rain Stops Falling by Andrew Bovell
Week
1
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Teaching points & Assessments
Review key concepts from Unit 3.
Reinforce that less time will be spent
on realising scripted performances in
Unit 4 due to OSP focus
Introduction to Task 5: performance
of monologue/duologue from When
The Rain Stops Falling
Introduction to Australian Theatre.
Exploration of history, contemporary
theatre, and forces around its
inception
Review work of contemporary
practitioners: Mamet, Complicite et al,
Bogart
Syllabus Content
 interpretation of presentational, non‐realist drama forms and
styles (such as Brechtian Epic Theatre, Shakespearean Theatre)
by shaping the elements of drama
 relationships between presentational, non‐realist drama and
non‐linear narrative structures
 forces that contributed towards the development of particular
presentational, non‐realist approaches to acting and drama
Task 5 due week 2, term 3
2
3
4
 Introduce When The Rain Stops Falling
by Andrew Bovell. Read excerpts of
script and review support materials for
insights about forces and drama forms
& styles
 Introduce Bovell, his body of work and
forces influencing his writing
 Selection of scenes for workshop and
presentation for Task 5
 Re-introduce Anne Bogart and forces
around her work, “viewpoints”
 Workshop exploring Bogart’s
viewpoints- investigating physical
theatre techniques and links to
Mamet’s essential actions (external vs
internal characterisation process);
using Ancient Greek texts such as
Aristophanes’ Clouds or Lysistrata to
engage with circus and chorus
physicalities
 Workshop revising tableaux: proximity,
levels, nonverbal communication
 Rehearsal of Bogart processes in
scenes from WTRSF
 Rehearse and apply Bogart techniques
 voice techniques to create role or character and dramatic
action in the performance of presentational, non‐realist drama
 the elements of drama shaped to present identified themes,
selected approaches and theories about dramaturgy in
presentational, non‐realist drama
 movement techniques to create role or character and dramatic
action in the performance of presentational, non‐realist drama
 impact of changing historical, social and cultural values on
drama production and audience reception
 forces that contributed towards the development of particular
presentational, non‐realist approaches to acting and drama
 ways that audiences are positioned to interact with, respond
to and participate in presentational, non‐realist drama
 in the round, traverse and promenade stages for
presentational, non‐realist drama
 development of presentational, non‐realist drama with a focus
5
to scenes from WTRSF
 Students will be encouraged to provide
each other with feedback during their
process
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on the ways particular practitioners, such as Brecht, have
interpreted presentational, non‐realist drama
 strategies to present shifts in space and time (adapted spaces)
when working in different performance areas focusing on
presentational, non‐realist drama
Task 5 & 7 assessed week 2, term 3
 the collaboration of designers, scenographers, actors and
Introduce Task 7: in class analysis of
directors in presentational, non‐realist drama
Task 5
 principles of design, visual elements and design technologies in
Design week: lighting and sound design
presentational, non‐realist drama
Revision of roles, responsibilities and
 drama design and technology in presentational, non‐realist
approaches of lighting and sound
drama (symbolic designs, available lighting, live sound,
designers, view samples and analyse
multiple uses of objects)
stylistic approaches
Exploration Principles of design and
visual elements
Workshops in graphical representation
of design, including annotated sketches
Practise short answer responses for
designer questions in context of
external exam
Application of design knowledge and
skills to WTRSF excerpts
Task 7 extended response to be
completed in class in Week 3, term 3
6
7-8
 Introduce Venetian Twins by Nick
Enright, read excerpts
 Discuss approach to contemporary
commedia dell’Arte through Bogart
 Presentational drama
 Selection of scenes for presentation: 35 minutes of performance
 Revision of how to keep director’s
notes- research, blocking diagrams,
justifying choices
 Workshop exploring text interpretation
techniques of Complicite, focusing on
physical characterisation creation,
status and rhythm
 Discussion of contemporary
reinterpretations of older scriptsreview from Unit 3 and link to revision
of Complicite. Review of support
materials from Complicite for insights
on approaches for Venetian Twins/
 voice and movement techniques in presentational, non‐realist
drama using processes developed by Bertold Brecht and others
(Rudolf Laban, Peter Brooke or Jerzy Grotowski) in devising or
interpreting drama
 focus and spatial awareness in presentational, non‐realist
drama
 collaborative group work processes (memorising, improvising,
interpreting, workshopping, refining) in ensemble drama
 conventions of interpreting a script (engaging with the
audience, Verfremdungseffekt (alienation effect), reality
effects and shifting roles) refined through improvisation in
presentational, non‐realist drama
 conventions of documenting presentational, non‐realist drama
(director’s vision, design statements, actors’ notes)
 performance and audience behaviours (active audience
participation) appropriate to presentational, non‐realist drama
 the elements of drama refined through improvisation and
rehearsal to create role or character through processes
developed by Brecht or others
 techniques in presentational, non‐realist drama for connecting
with an audience through imaginative, political or polemical
engagement
 effective group work (managing social and emotional
intelligences) to build group cohesion
 time management skills (effective use of paired analysis,
planning matrices, concentration, managing distractions) in
6
WTRSF
 Apply techniques to excerpts from
WTRSF
ASSESS Task 5 & 6: performance of
monologue/duologue from WTRSF
drama
 intellectual property rights and performance rights in drama in
a twenty‐first century context
 safe working practices in drama in purpose built or found
performances spaces
 posters, programs and publicity for presentational, non‐realist
drama
9
 Introduce Task 8: OSP Discuss
parameters of task. View samples of
past OSPs from previous years and
Perspectives
 Review and/or workshop processes of
practitioners already explored: Bogart,
Mamet, Complicite et al
 Introduce devised theatre processes of
Complicite
 voice techniques to create role or character and dramatic
action in the performance of presentational, non‐realist drama
 movement techniques to create role or character and dramatic
action in the performance of presentational, non‐realist drama
10-12
 Workshops in devised theatre
processes of Complicite: use of space,
seven stages of tension, rhythm,
character creation and working with
text stimuli
 Emphasise absolute need for ensemble
devising for OSP creation- solo
performance, not solo process
 Revise note taking and journaling to
keep track of process
 Revise need for research and
dramaturgical processes
 Students given time to develop
rehearsal processes, encouraging
students to use improvisational
strategies to develop character,
narrative, form & style, and Elements
of Drama
 Encourage students to present short
“showings” each week to select group
of students for feedback
 Students will experiment with design
and technologie, and rehearse with a
peer technician (if required)
 voice and movement techniques in presentational, non‐realist
drama using processes developed by Bertold Brecht and others
(Rudolf Laban, Peter Brooke or Jerzy Grotowski) in devising or
interpreting drama
 Final rehearsals and changes for OSP
assessment
 conventions of improvisation (justified action and character) in
presentational, non‐realist drama
 juxtaposition and transition in role, character, space, time,
forms and/or styles, including leaps of time, flashback and
flash forward, fragmented and cyclical structures
 posters, programs and publicity for presentational, non‐realist
13
ASSESS Task 8: OSP performance in
Tricycle Theatre for audience of family
 focus and spatial awareness in presentational, non‐realist
drama
 the elements of drama in performance preparation processes
(improvisation to explore audience alienation, gestus and
historification) for presentational, non‐realist drama
 the elements of drama shaped through viewpoints in
improvisation to create dramatic meaning that challenges and
questions forces
 directing theory that shapes the application of the elements of
drama in presentational, non‐realist drama refined through
improvisation
 interpretation of presentational, non‐realist drama forms and
styles (such as Brechtian Epic Theatre, Shakespearean Theatre)
by shaping the elements of drama
 relationships between presentational, non‐realist drama and
non‐linear narrative structures
7
and friends
14-15
drama
 Reflection on OSPs, and the dramatic
meaning conveyed to audience vs
director’s intentions
 Revision of Unit 3 & 4 content
8