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Year 12 General Drama Unit 3- Representational Drama and As You Like It by William Shakespeare Week 6-10 (Term 4, 2016) 1 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 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 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 5 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