Download Dramatic Arts

NATIONAL CURRICULUM STATEMENT
GRADES 10-12 (GENERAL)
LEARNING PROGRAMME GUIDELINES
DRAMATIC ARTS
29 April 2005
CONTENTS
SECTION 1: INTRODUCTION
1
SECTION 2: INTRODUCING DRAMATIC ARTS
7
2.1
2.2
2.3
2.4
2.5
2.6
WHAT IS DRAMATIC ARTS?
WHAT IS THE PURPOSE OF DRAMATIC ARTS?
WHAT IS THE RELATIONSHIP BETWEEN DRAMATIC ARTS AND
THE NATIONAL CURRICULUM STATEMENT PRINCIPLES?
PROFILE OF A DRAMATIC ARTS LEARNER
RELATIONSHIP BETWEEN DRAMATIC ARTS LEARNING
OUTCOMES AND CRITICAL AND DEVELOPMENTAL OUTCOMES
WAYS TO ACHIEVE DRAMATIC ARTS LEARNING OUTCOMES
SECTION 3: DESIGNING A LEARNING PROGRAMME FOR DRAMATIC
ARTS
3.1
3.2
3.3
INTRODUCTION
ISSUES TO ADDRESS WHEN DESIGNING A LEARNING
PROGRAMME
DESIGNING A LEARNING PROGRAMME
7
7
9
11
12
14
27
27
28
36
GLOSSARY
46
ANNEXURES
57
A:
SAMPLE LESSON PLAN
57
SECTION 1
INTRODUCTION
1.1
INTRODUCING THE NATIONAL CURRICULUM STATEMENT
1.1.1
BACKGROUND
In 1995 the South African government began the process of developing a new curriculum for the
school system. There were two imperatives for this. First, the scale of change in the world, the
growth and development of knowledge and technology and the demands of the 21st Century
required learners to be exposed to different and higher level skills and knowledge than those
required by the existing South African curricula. Second, South Africa had changed. The curricula
for schools therefore required revision to reflect new values and principles, especially those of the
Constitution of South Africa.
The first version of the new curriculum for the General Education Band, known as Curriculum
2005, was introduced into the Foundation Phase in 1997. While there was much to commend the
curriculum, the concerns of teachers led to a review of the Curriculum in 1999. The review of
Curriculum 2005 provides the basis for the development of the Revised National Curriculum
Statement for General Education and Training (Grades R – 9) and the National Curriculum
Statement for Grades 10 –12.
1.1.2
THE NATIONAL CURRICULUM STATEMENT
The National Curriculum Statement consists of 29 subjects. Subject specialists from the provincial
education departments and Department of Education developed the Subject Statements which make
up the National Curriculum Statement. The draft versions of the Subject Statements were published
for comment in 2001 and then re-worked to take account of the comments received. In 2002 24
subject statements and an overview document were declared policy through Government Gazette.
In 2004 five subjects were added to the National Curriculum Statement. The National Curriculum
Statement now consists of the Overview and Subject Statements for the following subjects:
•
Languages – 11 official languages (each counted as three subjects to cater for the three
levels Home Language, First Additional Language and Second Additional Language); 13
non-official languages
•
Mathematics; Mathematical Literacy; Physical Sciences; Life Sciences
•
Computer Applications Technology; Information Technology
•
Accounting; Business Studies; Economics
•
Geography; History; Life Orientation; Religious Studies
•
Consumer Studies; Hospitality Studies; Tourism
•
Dramatic Arts; Dance Studies; Design; Music; Visual Arts
•
Agricultural Sciences – subjects still to be approved are Agricultural Management Practices
and Agricultural Technology
LEARNING PROGRAMME GUIDELINES – 29 APRIL 2005
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•
1.1.3
Civil Technology; Mechanical Technology; Electrical Technology; Engineering Graphics
and Design
FURTHER EDUCATION AND TRAINING CERTIFICATE (GENERAL)
The policy on the requirements for the Further Education and Training Certificate (General) has not
yet been published. The Minister of Education will release a draft policy for public comment in
May 2005. The policy will be re-worked and then gazetted in August 2005. The policy for the
Further Education and Training Certificate (General) may require changes to the Assessment
Sections of the Overview document and the Subject Statements.
1.1.4
SUBJECT ASSESSMENT GUIDELINES
The Department of Education will develop and distribute Subject Assessment Guidelines for each
subject in the National Curriculum Statement. The Subject Assessment Guidelines will set out the
minimum internal or school-based assessment requirements for each subject and the external
assessment requirements. These will be distributed to schools in September 2005.
1.2
INTRODUCING THE LEARNING PROGRAMME GUIDELINES
1.2.1
PURPOSE AND CONTENT OF THE LEARNING PROGRAMME GUIDELINES
The Learning Programme Guidelines aim to assist teachers and schools in their planning for the
introduction of the National Curriculum Statement. The Learning Programme Guidelines should be
read in conjunction with the Overview and the Subject Statements.
Section 2 of the Learning Programme Guidelines suggests how teaching the particular subject may
be informed by the principles which underpin the National Curriculum Statement.
Section 3 suggests how schools and teachers might plan for the introduction of the National
Curriculum Statement. Although these are suggestions the Department of Education strongly
encourages careful planning to ensure that the high skills, high knowledge goals of the National
Curriculum Statement are attained.
The Learning Programme Guidelines do not include sections on assessment. The assessment
requirements for each subject will be provided in the Subject Assessment Guidelines which will
reach schools in September 2005.
1.2.2
WHAT IS A LEARNING PROGRAMME
INTRODUCTION
A Learning Programme assists teachers to plan for sequenced learning, teaching and assessment in
Grades 10 to 12 so that all Learning Outcomes in a subject are achieved in a progressive manner.
The following three phases of planning are recommended:
LEARNING PROGRAMME GUIDELINES – 29 APRIL 2005
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Phase 1 – develop a Subject Framework for grades 10 to 12
Phase 2 – develop a Work Schedule for each grade
Phase 3 – develop Lesson Plans to cover each classroom contact session
It is recommended that the teachers of a subject at a school or cluster of schools first put together a
broad subject outline (Subject Framework) for the three grades to arrive at an understanding of the
content of the subject and the progression which needs to take place across the grades (see Section
3.3.1). This will assist with the demarcation of content for each grade. Thereafter, teachers of the
subject teaching the same grade need to work together and draw from the content and context
identified for their grade in the Subject Framework, to develop a Work Schedule. The Work
Schedule should indicate the sequence in which the content and context will be presented for the
subject in that particular grade (see Section 3.3.2). Finally, individual teachers should design Lesson
Plans using the grade-specific Work Schedule as the starting point. The Lesson Plans should
include learning, teaching and assessment activities that reflect the Learning Outcomes and
Assessment Standards set out in the Subject Statements (see Section 3.3.3). Learning Programmes
should accommodate diversity in schools and classrooms but reflect the core content of a national
curriculum.
The process to be followed in the development of a Learning Programme is not a neatly packaged
sequence of numbered steps that follow one another in a particular order. Teachers may find
themselves moving back and forth in the process as they plan and critically reflect on decisions
taken before moving on to the next decision in the process. The process is therefore not strictly
linear and is reflective in nature. For this reason the steps provided in this Section are a guide and
can be used as a final checklist in the planning process.
An outline of the process involved in the design of a Learning Programme is provided on page 6.
DESIGNING A LEARNING PROGRAMME
A detailed description of the process involved in the design of a Learning Programme is provided in
Sections 3.3.1 – 3.3.3 of the Learning Programme Guidelines. The first stage, the development of a
Subject Framework does not require a written document but teachers are strongly advised to spend
time with subject experts in developing a deep understanding of the skills, knowledge and values set
out in the subject statements. The quality and rigour of this engagement will determine the teaching
and learning in the classroom.
Once the Subject Framework has been completed, teachers should develop Work Schedules and
Lesson Plans. Examples of Work Schedules and Lesson Plans are provided in the Learning
Programme Guidelines. The Department of Education does not recommend or endorse the format of
these examples. Rather teachers are encouraged to critically engage with these formats and develop
their own.
•
Developing a Subject Framework (Grades 10-12)
Planning for the teaching of subjects in Grades 10 to 12 should begin with a detailed examination of
the scope of the subject as set out in the Subject Statement. No particular format or template is
recommended for this first phase of planning but the steps recommended should be used as a
checklist.
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Although no prescribed document is required for this stage of planning, school-wide planning
(timetables, requisitioning, teacher development, classroom allocation) as well as the development
of grade-specific work schedules would benefit from short documents which spell out the:
• Scope of the subject – the knowledge, skills and values; the content; the contexts or themes;
electives etc. to be covered in the three grades for each subject
• A three-year assessment plan for the subject
• The list of LTSM required for the subject
•
Designing Work Schedules
This is the second phase in the design of a Learning Programme. In this phase teachers develop
Work Schedules for each grade. The Work Schedules are informed by the planning undertaken for
the Subject Framework. The Work Schedules should be carefully prepared documents that reflect
what teaching and assessment will take place in the 32-36 weeks of the school year.
•
Designing Lesson Plans
Each grade-specific Work Schedule must be divided into units of deliverable learning experiences,
that is, Lesson Plans. A Lesson Plan adds to the level of detail for each issue addressed in the Work
Schedule. It also indicates other relevant issues to be considered when teaching and assessing a
subject.
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FIGURE 1:
RELATIONSHIP BETWEEN THE 3 STAGES OF PLANNING WHEN DEVELOPING A LEARNING PROGRAMME
ISSUES TO BE CONSIDERED
STAGES
Philosophy and Policy
Subject Framework (Grades 10-12)
Stage 1
NCS Principles
Time allocation and weighting
Integration of LOs and ASs
Increasing detail
Conceptual Progression within and
across grades
Stage 2
LTSM
Work
Schedule
Grade 10
Work
Schedule
Grade 11
Lesson
Plans
Lesson
Plans
Work
Schedule
Grade 12
Inclusivity and Diversity
•
•
•
Assessment
Contexts and Content
Learning and Teaching Methodology
LEARNING PROGRAMME GUIDELINES – 29 APRIL 2005
Stage 3
Lesson
Plans
6
SECTION 2
INTRODUCING DRAMATIC ARTS
2.1
WHAT IS DRAMATIC ARTS?
Drama is a social art form which integrates visual, aural, physical, kinaesthetic and performance
elements to communicate, explore, reflect on and enhance human experience. Dramatic Arts
encompass a range of performance modes across a variety of media and within a diversity of
cultural and social contexts.
The subject is organized around four distinct, yet inter-related principles, which also serve as the
Learning Outcomes:
Learning Outcome 1: Apply Personal Resources
The learner will be able to demonstrate technical proficiency, expressiveness and creativity through the
application of internal and external personal resources within a variety of dramatic processes and practices.
Learning Outcome 2: Create, Make And Present Dramatic Processes, Practices And Products
The learner will be able to create, make and present dramatic products through experimenting with and
shaping dramatic elements in a process of artistic and cultural exploration and collaboration.
Learning Outcome 3: Understanding And Analysing Dramatic Processes, Practices and Products
The learner will be able to identify and analyse the content, form and context of dramatic processes,
practices and products across a range of periods, cultures and styles.
Learning Outcome 4: Reflecting on and Evaluating Dramatic Processes, Practices and Products
The learner is able to reflect on and evaluate their own and others’ dramatic processes, practices and
products.
2.2
WHAT IS THE PURPOSE OF DRAMATIC ARTS?
The subject Dramatic Arts develops and promotes human creativity as a rich, diverse and
productive resource through dramatic communication, interaction and representation. Learning in
the Dramatic Arts involves using a cyclic approach of experience, reflection, analysis and
experience to gain skills, knowledge, values and insight. All learners should be given a wide range
of opportunities to achieve the learning outcome.
As a collaborative art form, Dramatic Arts is an especially powerful tool for developing cooperation and the ability to “work effectively with others, and as a member of a team, group,
organisation and community” (Critical Outcome 2).
It also encourages the holistic development of the learner, building self-confidence, communication
skills and creativity. Intellectual, emotional, physical, spiritual and inter-personal facets of the
learner are developed and extended. Communication skills in a number of modes (physical, verbal,
non-verbal, written, symbolic, kinaesthetic) form the basis of the subject.
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Dramatic play is a part of childhood development common to all, which implies that the basic
principles of the subject are accessible to all. As an art form, it does not rely on expensive
resources or extensive technology, but rather focuses on development through creativity,
inventiveness and communication skills. It rehearses qualities of sensitivity, empathy and insight.
This makes it uniquely suitable in the South African context for all learners regardless of their
background.
The Dramatic Arts in itself is an expression of diverse disciplines and contexts. These include
history, philosophy, economics, literature, popular culture, technology and all the other art forms,
which are synthesized into this one form. Thus the subject illustrates and allows for exploration of
the concept of the world “as a set of related systems” (Critical Outcome 7).
Within our emerging democracy, the ability to debate, interrogate and critique in a creative, culturefair, anti-discriminatory and inclusive way is of vital importance. Dramatic Arts actively
encourages these skills through improvisation, discussion, text exploration, role-playing and
playmaking. Learners are required to explore issues from perspectives which may not be their own,
thus expanding their worldview and encouraging empathy and understanding. Dramatic Arts allows
learners to explore and celebrate our vibrant, diverse cultures and foster nation-building, while
affirming and challenging values, societies, cultures and identities.
Dramatic elements and forms of expression are an inherent part of our indigenous cultural practices
and products. The subject develops an appreciation of indigenous dramatic forms, thus preserving
and promoting our national heritage, through developing skills in oracy, traditional storytelling,
praise poetry etc.
Dramatic Arts is a useful supporting subject for diverse learning fields. Its transference of the
values of creativity, problem-solving, inventiveness and communication can easily be accessed in a
variety of fields, such as the services, manufacturing, media, educational and engineering fields.
All fields of learning require effective communicators. This subject supports and advances the skill
of creative communication and promotes leadership potential.
Learners who opt to enter the world of work at the end of FET will be advantaged by the skills
acquired in Dramatic Arts when entering the following career fields, inter alia: art galleries and
museums, arts industries (arts management, theatre management, stage management), community
arts centres, craft centres, cultural villages, cultural tourism, events management, media, publishing
and advertising, popular entertainers such as buskers, stand-up comedians, clowns, cabaret artists,
magicians), private/independent drama studios, professions such as teaching, preaching, law,
psychology, public relations, social services, stage, television, video, radio and film industry,
theatre design (costume, set, make-up, lighting, sound, promotional material), therapists (play
therapy, drama therapy).
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2.3
WHAT IS THE RELATIONSHIP BETWEEN DRAMATIC ARTS AND THE
NATIONAL CURRICULUM STATEMENT PRINCIPLES?
The Constitution of the Republic of South Africa (Act 108 of 1996) provided a basis for curriculum
transformation and development in South Africa. The National Curriculum Statement Grades 1012 (General) lays a foundation for the achievement of these goals by stipulating Learning Outcomes
and Assessment Standards, and by spelling out the key principles and values that underpin the
curriculum. The Dramatic Arts curriculum supports the application of the nine NCS principles as
follows:
2.3.1
Social Transformation
Dramatic Arts contributes to nation-building by:
• Challenging and celebrating values and attitudes in society through the use of dramatic
practices, processes and products (LO3),
• Affirming the dynamic nature of culture in an inclusive way (LO3&4)
• Redressing the imbalances of the past, by working towards the elimination of prejudice, bias,
stereotyping and bigotry (LO4)
2.3.2
Outcomes-based Education
Outcomes-based education forms the foundation of the Dramatic Arts in that the Dramatic Arts
Subject Statement indicates the Learning Outcomes to be achieved in the subject by the end of the
FET Band. This in turn encourages a learner-centred and activity-based approach to the teaching of
Dramatic Arts which is in keeping with the practical nature of the FET subject Dramatic Arts.
2.3.3
High Knowledge and High Skills
The learning outcomes and assessment standards in Dramatic Arts ensure that a high standard of
achievement has been set, while remaining accessible to all learners. The National Curriculum
Statement Grades 10-12 (General) aims to develop a high level of knowledge and skills for
learners. It sets up high expectations of what South African learners can achieve.
Social justice requires that those sections of the populations previously disempowered by the lack of
knowledge and skills should be empowered. The NCS specifies the minimum standards of
knowledge and skills to be achieved at each grade and sets high achievable standards in all subjects.
Dramatic Arts is a valuable subject for learners who wish to develop their creativity. Learners can
enrich their studies in other subjects by transferring Dramatic Arts skills, knowledge, attitudes and
values. Learners who are going to study further or who opt to enter the world of work at the end of
FET will be advantaged by the skills acquired in Dramatic Arts.
2.3.4
Integration and applied competence
Integrated learning, which involves theory, practice and reflection, is promoted in this subject.
Furthermore, the development of broad skills, knowledge, understanding and values across and
within different fields of learning and cultures, is an important element of the curriculum. The
learning outcomes in Dramatic Arts are closely allied to skills developed in the fundamental
learning subjects of Languages and Life Orientation, which all learners will be doing, thus allowing
for substantial integration across subjects.
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If learners are involved in doing more than one art form, then teachers should be aware of how
similar skills and concepts are being developed in those subjects. Activities could be designed in
collaboration with other Arts teachers, that is, if other Arts subjects are offered. Teachers should
find commonalities and opportunities for integration. Assessment standards from different subjects
may be combined into a common assessment activity:
For example, an Arts department may decide to put on a musical production. The different
specialist teachers may use this common activity to assess those standards that are applicable to
their special subjects.
2.3.5
Progression
The NCS defines increasing levels of complexity and depth in learning as learners progress from
grade to grade. Dramatic Arts allows for this kind of progression in terms of cognitive
development, mastery of technical skills and an expanding worldview.
For example, in LO3, AS2 in Grades 10, 11 and 12, learners study texts. In Grade 10 they are
expected to describe the relationships between texts, their performances and their historical, social,
political, cultural, theatrical, economic contexts and purposes, while in Grade 11 they need to
analyse these relationships. Finally in Grade 12, they examine through research how aspects of
texts and performances change to reflect their contexts, thus implying greater independence of
study.
2.3.6
Articulation and portability
The Further Education and Training Band promotes access from the General Education and
Training Band to the Higher Education and Training Band. The Learning Outcomes and
Assessment Standards of Dramatic Arts in the Further Education and Training Band link up closely
with those in the Arts and Culture learning area in the General Education and Training Band in that
Dramatic Arts in the National Curriculum Statement Grades 10-12 (General) focuses on similar
areas of skills, knowledge and values to Arts and Culture in the Revised National Curriculum
Statement Grades R-9 (Schools). See 2.5.2.
2.3.7
Human Rights, Inclusivity, and Environmental and Social Justice
Dramatic Arts provides an excellent vehicle for exploring, expressing and commenting on human
rights, social justice and environmental issues, when
• Raising consciousness of national imperatives (including HIV-AIDS issues, environmental
issues, human rights and social justice issues) through dramatic practices, processes and
products (LO2)
• Developing learners’ self-worth through the awareness and celebration of own identity, culture
and heritage, while affirming the identity, culture and heritage of others (LO4)
• Expressing cultural and personal identity in an anti-biased way through a variety of dramatic
forms and practices (LO4)
Culture fairness and gender equality are fundamental principles of the Dramatic Arts Subject
Statement. Learners should be provided with ample opportunities to explore a diversity of dramatic
forms and cultural practices and to identify, acknowledge and understand their commonalities and
differences. The intent and effect is to create learners who have a questioning spirit and are antidiscriminatory in their worldview.
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The subject Dramatic Arts adopts an inclusive approach, ensuring that all learners, including those
with special educational needs, will be actively and creatively engaged in the learning process. The
Dramatic Arts curriculum allows for flexibility in accommodating learner diversity.
The focus is on both the experience of the process and the creation of a product. Musical works,
performances and presentations can be designed so as to cater for the needs of learners/teachers
who experience specific barriers to learning/teaching.
2.3.8
Valuing Indigenous Knowledge
Dramatic Arts celebrates and promotes Indigenous Knowledge Systems when:
• Working in and through dramatic practices, processes and products to analyse past and present
contexts, diverse traditions and heritages (LO2)
• Exploring the social and situational nature of indigenous knowledge practices in a range of
cultural contexts
• Exploring cultural practices and processes, including: traditions, customs, festivals and rituals
specifically in a local and Pan-African context as well as globally (LO3)
• Practising oral studies and oracy, including: praise poetry, myths, legends, folk-tales, folk-lore,
laments, praise songs, story telling, public speaking (LO2)
2.3.9
Credibility, quality and efficiency
The NCS Dramatic Arts will ensure that learners are equipped to meet internationally acceptable
standards and that there will be comparability in the qualifications gained at various learning sites
and institutions. Learners who select Dramatic Arts at FET level will be equipped with extensive
skills for entry into institutions of higher education. Learners who opt to enter the world of work at
the end of FET will be advantaged by the skills acquired in Dramatic Arts when entering a range of
career fields.
The subject is relevant in the current South African context, and particularly relevant with regard to
its relationship with other subjects in FET. See 2.2.
2.4
PROFILE OF A DRAMATIC ARTS LEARNER
All learners taking Dramatic Arts will have experienced Arts and Culture in the GET Band.
Learners from GET may have chosen additional assessment standards in Drama in order to explore
the area in greater depth and achieve a higher level of technical expertise.
The teacher must take into account the abilities and interests of a learner at this stage of
development when planning learning programmes and activities. Late adolescents (16-18 year
olds) have a renewed sense of self-identity with much time and thought being spent on reexamining their own existing values and belief systems, as well as those of the world at large.
From an intellectual perspective learners:
• gain cognitive competence – increasing ability to think abstractly in more complex structures of
thinking, perceiving and hypothesising
• examine the logic and consistency of existing personal beliefs and established belief systems
• should have the ability to separate issues from self
• can engage in meta-cognition (thinking about thinking) on a wide range of topics
• think about global issues and what they can do about them.
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From a physical perspective learners’:
• body growth stabilises, with most body systems reaching maturity (note: the vocal development
of the male is only completed by + 23 years, while the female may reach vocal maturity from
18-21 years)
• metabolism remains high, especially in males
• bodies are biologically capable of reproduction
From a social and emotional perspective learners:
• have a deepened sense of self and of personal power
• are eager to explore the new world with their new bodies
• participate in group gatherings and various subcultures and interests in which adult values are
expressed and tried out, i.e. sports, teams, bands, clubs, gangs, cliques etc.
• address themes such as drugs, sex, pregnancy, HIV and AIDS, career goals, world peace
• develop true friendships with one or two best friends of either sex
• develop intense romances
• develop a feeling of personal invulnerability and a sense of immortality, leading to taking
chances
• may return to a respect for parents, teachers and adults
• feel that they are redefining and creating a new and better world
• enjoy a strong sense of independence
When choosing themes, learning materials, activities and projects for Dramatic Arts, teachers can
build on the abilities, challenges and preoccupations, which are described above.
2.5
RELATIONSHIP BETWEEN DRAMATIC ARTS LEARNING OUTCOMES AND
CRITICAL AND DEVELOPMENTAL OUTCOMES
The Critical Outcomes are embedded in the Learning Outcomes for Dramatic Arts.
The
relationships between the Learning Outcomes and the Critical and Developmental Outcomes are
outlined below and are useful for the teachers to consider when planning. It is important to bear in
mind that the Critical and Developmental Outcomes are ideals for life-long learning. Also it should
be noted that Dramatic Arts contributes with all other subjects towards the achievement of these
outcomes.
2.5.1
Critical Outcomes for the FET Band
In order to engage creatively with the learning outcomes, it is useful for the teacher to study the
critical and developmental outcomes. This will assist in the alignment of the design, development
and delivery of learning experiences and the critical outcomes. This will also make more
transparent the assumptions and values underpinning the teacher’s planning, selection and ordering
of skills and cultural issues to be focused on during lessons.
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Critical / Developmental
Outcomes
CO1: Identify and solve
problems, and make decisions
using critical and creative
thinking
CO2: Work effectively with
others as members of a team,
group,
organisation
and
community
CO3: Organise and manage
themselves and their activities
responsibly and effectively
CO4:
Collect,
analyse,
organise and critically evaluate
information
CO5: Communicate effectively
using visual, symbolic and/or
language skills in various
modes
CO6:
Use
science
and
technology effectively and
critically
showing
responsibility towards the
environment and the health of
others
CO7:
Demonstrate
an
understanding of the world as a
set of related systems by
recognizing that problemsolving contexts do not exist in
isolation
DO1: Reflect on and explore a
variety of strategies to learn
more effectively
DO2: Participate as responsible
citizens in the life of local,
national
and
global
communities
DO3: Be culturally and
aesthetically sensitive across a
range of social contexts
DO4: Explore education and
career opportunities
Dramatic Arts
Learners engage with creative thinking, problem solving and
decision making when dealing with the application of resources,
creating, making and presenting dramatic products. They engage
in critical thinking when analysing and reflecting on dramatic
processes. (LO 1, 2, 3, 4)
Some dramatic processes require individual work, while others
involve groupwork. This provides opportunities for team work,
negotiation, democratic decision making and examination of
power issues (LO 2)
Learners develop self-confidence, improved creativity and
expression in dramatic arts. They learn to organise and manage
themselves in the development and delivery of dramatic
products. (LO 1& 2)
Dramatists collect and analyse data from a variety of sources for
research projects. They need to access ideas, information,
techniques and materials, select from them, analyse, compare,
sequence, and synthesise them into dramatic works. (LO 1&3)
Dramatic Arts involves many forms of communication which
may be visual, non-verbal, aural, oral and symbolic. They learn
to decode nuances of meaning in voice, body language and
physical actions. (LO 1,2,3,4)
Dramatists learn to care for their voices as instruments of
expression. Dramatic Arts is also used to communicate ideas and
issues of concern or significance such as HIV/Aids, violence
against women, pollution, etc. (LO 2)
Learners investigate the influence of South Africa, Africa and
the world on one another’s cultures and arts
(LO 3&4)
Learners learn experientially and theoretically, applying their
learning in authentic contexts. (LO 1,2,3,4)
Learners learn to negotiate, share, take responsibility and
participate in their communities, societies and country. They
learn about contexts across a range of periods, cultures and
styles. (LO 3)
The emphasis of Dramatic Arts curriculum is to enhance cultural
sensitivity and affirmation and develop a broad appreciation for
dramatic processes, practices and products. (LO 1, 2, 3, 4)
This subject addresses the link between own personal interest,
skills and strengths and career opportunities in Dramatic Arts.
(LO 4)
DO5: Develop entrepreneurial Learners explore economic contexts of performances. This will
opportunities
inform them of the opportunities for entrepreneurship within the
drama industry. (LO 3)
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2.5.2
Relationships between Learning Outcomes for Dramatic Arts in FET and Arts and
Culture in GET
The foundation for Dramatic Arts in the FET Band will have been laid in the learning area Arts and
Culture in the GET band. The GET Arts and Culture learning area provides the learner with generic
Arts skills, as well as basic skills in Drama. The option of Additional Assessment Standards for
Drama in Grade 9 in the RNCS ensures more specialised technical proficiency for learners with an
interest in Dramatic Arts.
The four Learning Outcomes for the Arts and Culture learning area in the GET curriculum feed
directly into the development of the Learning Outcomes for the FET Band in Dramatic Arts.
The FET Dramatic Arts Learning Outcomes link up with the GET Arts and Culture Learning
Outcomes as follows:
FET NCS LEARNING OUTCOMES:
LO1: The learner is able to demonstrate technical proficiency, expressiveness and creativity
through the application of internal and external personal resources within a variety of dramatic
processes and practices.
LO2: The learner is able to create, make and present dramatic products through experimenting
with and shaping dramatic elements in a process of artistic and cultural exploration and
collaboration.
LO3: The learner is able to identify and analyse the content, form and context of dramatic
processes, practices and products across a range of periods, cultures and styles.
LO4: The learner is able to reflect on and evaluate own and others’ dramatic processes, practices
and products.
2.6
GET RNCS
LEARNING
OUTCOMES:
LO3; LO4
LO1; LO3; LO4
LO2; LO4
LO1; LO2
WAYS TO ACHIEVE DRAMATIC ARTS LEARNING OUTCOMES
Learning Outcomes in the FET subject Dramatic Arts are inter-related. All the outcomes should be
developed continuously through the year.
When designing a learning programme, the teacher needs to be aware that assessment standards are
not discrete entities, but can be clustered together in specific learning and assessment activities.
For example, the assessment standards of Learning Outcome 1 may be assessed in final products,
which have been created through using the assessment standards of Learning Outcome 2.
Furthermore, in Grade 10, learners analyse principles and elements of dramatic texts (AS1 of
Learning Outcome 3) while describing the relationship between these texts and their contexts (AS2
of Learning Outcome 3).
In other words the same learning activity may be used for both assessment standards.
2.6.1
The balance between Collaborative and Individualised learning
Certain of the Dramatic Arts’ assessment standards suggest very specifically either a collaborative
or individual learning approach. However, some of the assessment standards can be applied using
both approaches. Teachers will need to assess what learning approach will be most useful and
productive for the learners’ context. Group assessment may be used as a time-saving device in large
classes. This does not, however, imply any compromise on quality assessment practices. Both
collaborative and individualised learning are essential to the subject.
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
14
Self-discipline, development of technique and personal growth as a Dramatic Arts student is an
individualised process. However, as can be seen from the definition of the subject, Dramatic Arts is
considered a social art form, thus relying on effective collaboration between learners.
2.6.2
The content for Dramatic Arts
In the NCS, the focus is on outcomes and competencies. However, content remains important in
providing the knowledge base necessary for the achievement of the outcomes. Content may be
taken directly, or by implication, from the assessment standards and even the learning outcomes.
Content may be constructed by the learners from their life experiences or from their social contexts.
This is particularly evident when they are involved in play-building activities. Published texts, as
well as workshopped texts and primary sources, may be used for content purposes. The assessment
standards will give the teacher an indication of the nature and level of content necessary for each
grade.
Content is not just an accumulation of facts. It includes skills, attitudes, values and knowledge
applied in a competent and contextually relevant way by the learner. Therefore the competent
application of content is when the learner applies foundational (basic) skills, knowledge, attitudes
and values in a practical and reflexive way. The learner should constantly reflect on alternative
possibilities and strive to improve the quality of work.
Suggested content for Grades 10 to 12 is provided in the tables below.
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
15
Grade 10
LEARNING OUTCOME 1: Apply personal resources
AS 1: Applies empathy, imagination,
AS 2: Demonstrates personal, artistic and social
visualisation, sensory, emotional and cultural
discipline in creating dramatic products in
perception to interpret and create a variety of
collaboration with others
dramatic products expressively and creatively
Including:
Interpretative skills, such as:
• speech, including rate/pace, pause, phrasing, • theatre etiquette and audience behaviour
pitch/intonation, emphasis/stress, rhythm and • punctuality
meter and tone/register
• commitment
• visualisation
• collaboration and mediation skills
• sensory/ emotional work
Practice of improvisation skills, such as those
of, but not limited to:
• Dorothy Heathcote
• Viola Spolin
• Clive Barker
• John Hodgson
• John O’Toole
• Augusto Boal
• Barney Simon
• Gibson Kente
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
AS 3: Selects and uses verbal and non-verbal
communication techniques which best match the
dramatic situation being explored
Making use of:
• voice work (breathing, resonance etc.)
• body work (release of tension etc.)
• verbal dynamics
• physical expressiveness, gesture and
movement
• mime
• body language
16
LEARNING OUTCOME 2: Create, make and present
AS 1: Selects and uses diverse
AS 2: Creates and sustains
dramatic elements, techniques,
dramatic characters and roles using
conventions and technologies to
the subtext and context of
explore a range of dramatic and
characters and situations through
cultural forms and styles
independent and collaborative work
Dramatic elements, techniques,
conventions and technologies
applicable to a range of:
• Narrative techniques
• Poetry speaking
• Dramatised prose
• Movement
• Mime
• Dance drama
• Cultural dance forms
• Monologue work
• Scene work
• Public speaking
Making use of:
• given circumstances
• subtext
• physical and vocal
characterisation
• concentration
• interaction (listening and
responding)
LEARNING OUTCOME 3: Understand and analyse
AS 1: Identifies and analyses generic principles and elements of drama
texts, performances and cultural practice in at least THREE different
dramatic and/or performance forms
Addressing:
• Principles of Drama (dramatic structure, plot, character, dialogue,
theme, style, setting)
• Dramatic modes (such as comic or tragic e.g. as found in Greek
theatre, Medieval theatre and Commedia dell’Arte)
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
AS 3: creates an original
performance using play-building
techniques which reflect the skills of
problem-solving, improvisation,
ensemble work and cultural
expression
Skills, such as:
• problem-solving
• research, observation and
reflection
• improvisation and creation of
material
• selection and structuring of
performance
• writing/scripting
• ensemble work
• theatrical presentation of
product
• cultural forms of expression
AS 4 Improvises and creatively uses
technical elements for dramatic
presentation
Employing:
• found materials or
• basic equipment
AS 2: Describes the relationships between texts, their performances and
their historical, social, political, cultural, theatrical, economic contexts
and purposes in at least THREE texts
Including:
• historical
• social
• political
• cultural
• theatrical
• economic contexts
17
LEARNING OUTCOME 4: Reflect and evaluate
AS 1: Identifies and describes the AS 2: Explains choices in own and
forms, styles, conventions and others’ drama in order to identify
processes used in own and others’
the worldviews of the creators and
performances
participants, focusing on possible
instances of prejudice, bias,
stereotyping and bigotry
Including:
Selections from:
• language and register
• forms (e.g. structured
improvisations, workshops, TIE) • hidden and overt beliefs, values
and needs of a community or
• styles (e.g. realistic, heightened,
culture
presentational and
representational)
• socio-political ideologies
• conventions (e.g. newsreading
• human rights
presenting and documentary)
• processes (e.g. workshopping,
scripting, rehearsing,
researching and journal-keeping)
• cultural performance and
ritual (e.g. umhlanga – reed
dance, isicathamiya, gumboot
dances, volkspele, toyi-toyi,
mokhibo, umtsimba –siSwati
wedding processions)
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
AS 3: Describes how a drama
relates: to own personal
experiences, to human commonality
and diversity, to specific aspects of
human experience
Making use of:
• personal experiences – e.g.
loneliness
• human commonality – e.g. love,
and other archetypal images/
themes
• human diversity – e.g. ucu
(isiZulu “love letters” in beads),
valentine cards, sonnets ,
movies
• specific aspects of human
experience e.g. marriage, death
AS 4: Identifies and shares
strengths and weaknesses of own
work and the work of others, and
suggests, with respect and empathy,
suitable improvements throughout
the creative process
Using a culture-fair Dramatic Arts
vocabulary
18
Grade 11
LEARNING OUTCOME 1: Apply personal resources
AS 1: Describes and explains essential features
AS 2: Identifies and demonstrates awareness of
of voice production, physical expression and
how vocal and physical expression and audience
creative interpretation
reception is influenced by: the dramatic form
selected, culture and class, regional dialects and
accents, peer speech and style
Addressing:
Skills, such as:
• the dramatic form selected – e.g. izibongo
• voice work (relaxation, energy, breathing,
(isiZulu praises)
resonance, pitch range, projection,
articulation, modulation, tone,
• culture and class – e.g. upper class British,
expressiveness, versatility)
Noel Coward
• body work (release of tension, neutral
• regional dialects and accents – e.g. Sandton
posture, use of energy, etc.)
kugel, Southern American drawl
• movement (flexibility and versatility, aiming • peer speech and style – e.g. tsotsi taal, kwaito
to increase body awareness, expressiveness,
confidence and skill in movement)
• verbal dynamics
• mime
• sensory and emotional perception (sense
memory, emotional recall, empathy)
• imagination (the use of real and imagined
images creatively and transformatively)
• verbal and non-verbal communication
skills in a culture-fair way (including the
use of languages - spoken, sign, body
language)
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
AS 3: Evaluates and records personal
development in the use of voice and body, by
implementing a systematic programme for
maintenance and improvement
Making use of:
• vocal and physical warm-up and
developmental exercises
• regular and comprehensive journal keeping
19
LEARNING OUTCOME 2: Create, make and present
AS 1: Selects and uses
AS 2: Experiments with
diverse dramatic elements, improvised and available
techniques, conventions and technical
elements
for
technologies in a range of
dramatic presentation
dramatic and cultural forms
and styles in order to
effectively engage a target
audience
Including use of:
Including the dramatic
elements, techniques,
• found materials or
conventions and
• basic equipment
technologies applicable to a
range of:
• narrative techniques
• poetry speaking
• dramatised prose
• heightened speech
• movement
• mime
• dance drama
• physical theatre
• cultural dance forms
• monologue work
• scene work
• workshopped theatre
• protest theatre
• TIE
• Workers theatre
• Satirical revue
• Community theatre
etc.
AS 3: Creates an original
AS 4: Plans, organises and AS 5: Comprehends and
performance which deals
reliably implements
responds to the directing
with local issues and draws
process,
which
includes
on diverse Southern African
interpersonal, artistic and
cultural influences,
organisational expertise in
conventions, techniques and
creating a seamless theatrical
styles
whole
Includes:
• problem-solving
• workshopping process
• ensemble work
• theatrical presentation
of product
Which draws on influences,
conventions, techniques and
styles from:
• Community theatre
• Township musicals
• Poor theatre
• Satirical revue
• SA cultural forms of
expression and displays
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
Including:
• journal keeping
• schedules
• directors’ notebook
• stage manager’s book
Including:
• conceptualisation
• interpretation
• auditioning procedures
• development of actors in
roles
• rehearsal techniques
• use of space
• use of rhythm
• team management
20
LEARNING OUTCOME 3: Understand and analyse
AS 1: Identifies what dramatic and theatrical
AS 2: Analyses the relationships between texts,
skills have been used in at least THREE texts
performances and their historical, social,
(one or more should be South African and/or
political, cultural, theatrical, economic contexts
Pan African) and/or performances, as well as
and purposes in at least THREE texts
where, how and why these have been used
Including:
For example:
• historical
• European dramatic texts in historical
context (Elizabethan, French Classicism,
• social
Realism)
• political
• Asian dramatic texts and conventions
• cultural
(Japanese, Chinese, Indian)
• theatrical
• African (Pan and/or South African theatre)
• economic contexts
• Contemporary American and/or British
theatre
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
AS 3: Analyses South African dramatic
practices, processes and products in terms of
their past and present contexts, diverse
traditions and heritages
Includes:
• Indigenous, traditional communal forms (e.g.
umhlanga, intsomi)
• Indigenous, contemporary communal forms
(marabi dance, toyi-toyi)
• Hybrid indigenous forms (e.g. township
musical, cross-cultural performance)
• Indigenous, alternative and Western forms
(experimental, non-mainstream
performances)
• Indigenous, Western elite (mainstream
writing in western format by local authors)
• Indigenous theatre with a political agenda
(Black consciousness theatre, protest theatre,
theatre for development, worker’s theatre)
• Indian theatre in SA
21
LEARNING OUTCOME 4: Reflect and evaluate
AS 1: Evaluates the forms, styles, AS 2: Explains and justifies choices
conventions and processes used in in own work and that of others
own and others’ dramatic action using specialised vocabulary and
and performance
culture-fair aesthetic values
Including selections from:
• forms (e.g. structured
improvisations, workshops,
TIE)
• styles (e.g. realistic, heightened,
presentational, representational)
• conventions (e.g. news reading,
presenting, documentary)
• processes (e.g. workshopping,
scripting, rehearsing,
researching, journal-keeping)
• Cultural performance and ritual
(e.g. umhlanga – reed dance,
isicathamiya, gumboot dances,
volkspele, toyi-toyi, mokhibo,
umtsimba – siSwati wedding
processions)
Focusing on:
• Language use
• Performers/ participants/
audience
• Genre
• Worldview
• Presentation
• Representation of ‘race’, class,
gender and culture
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
AS 3: Analyses how a drama
relates: to own personal
experiences, to human commonality
and diversity, to specific aspects of
human experience, ranging from
issues of community interest to
those of historical significance
AS 4: Evaluates own personal
interests, skills and strengths in
order to investigate suitable
education and career opportunities
in
Dramatic
Arts,
media,
advertising, marketing, and related
arts fields
For example:
• personal experiences – e.g. loss
• human commonality – e.g.
death, and other archetypal
images/ themes
• human diversity – e.g. elegies,
funeral orations in different
cultures
• specific aspects of human
experience – e.g. funerals;
community interest –
establishment of a support
system for Aids orphans;
historical significance – deaths
in detention
Including the following career
fields, inter alia:
• Arts industries (arts
management, theatre
management, stage
management)
• cultural tourism
• events co-ordinators
• media, publishing and
advertising
• popular entertainers (buskers,
stand-up comedians, clowns,
cabaret artists, magicians)
• private/independent drama
studios
• stage, television, video, radio
and film industry
• theatre design (set, costume,
make-up, lighting, sound,
promotional material)
22
Grade 12
LEARNING OUTCOME 1: Apply personal resources
AS 1: applies techniques of physical expressiveness, including physical
release, voice-body integration, physical versatility, use of space, rhythm
and energy for the purpose of communicating thought, feeling and
character creatively
Further development of skills of:
• body work (release of tension, neutral posture, use of energy, etc.)
• movement (flexibility and versatility, aiming to increase body
awareness, expressiveness, confidence and skill in movement)
• mime skills
Drawing exercises and explorations from amongst practitioners such as,
but not limited to:
• Matthias Alexander
• Moshe Feldenkrais
• Rudolf Laban
• Arthur Lessac
• Jacques LeCoq
• Augusto Boal
• Jerzy Grotowski
• Andrew Buckland
• Gary Gordon
• John Jacobs
• Robyn Orlin
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
AS 2: Applies techniques of vocal production and expression
Drawing exercises and explorations from amongst practitioners such as,
but not limited to:
• Matthias Alexander
• Cicely Berry
• Patsy Rodenburg
• Arthur Lessac
• Kristin Linklater
• Jerzy Grotowski
• Joan Little
• Liz Mills
23
LEARNING OUTCOME 2: Create, make and present
AS 1: Presents a polished performance applying AS 2: Selects and uses improvised and available
interpretative and performance skills to technical elements which will best contribute to
narrative, lyrical and dramatic forms
a cohesive theatrical presentation
Including use of:
Including:
• found materials or
• effort/ care taken in presentation
• basic equipment
• ability to understand and interpret material
• playing of subtext
• characterisation
• voice-body integration
• relationship with audience
• relationship with fellow performers
• stage sense – use of space
• structure of performance
• appropriate style, genre, mood or atmosphere
• creativity/originality
• focus/concentration
• appropriate performance energy
• theatricality
• use of specific devices e.g. physical theatre
devices, musical devices, poetic devices
• variety through programme
• impact of performer
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
AS 3: Documents their involvement in any one
aspect of theatrical presentation from conception
to final performance and audience reception
Including skills of:
• acting
• directing
• writing
• workshopping
• management
• design
• marketing
• technical aspects
24
LEARNING OUTCOME 3: Understand and analyse
AS 1: Evaluates at least THREE different texts AS 2: Examines through research how aspects of
in order to compare the many purposes of drama texts and performances change to reflect
in society
historical, social, political, cultural, theatrical
and economic contexts
Including these contexts in a selection of
Including these purposes in a selection of:
Twentieth Century movements:
• Absurd Theatre
• Post-Modernism
• Epic Theatre
• SA Theatre with a specific agenda e.g.
• Post-Modernism
Protest theatre, workers, workshop
• SA Theatre with a specific agenda e.g.
community, educational theatre, satirical
Protest theatre, workers, workshop
revue, theatre for reconciliation, and
community, educational theatre, satirical
conservation
revue, theatre for reconciliation, and
•
Expressionism
conservation
• Dadaism
• Existentialism
• Surrealism
• Symbolism
• Absurd Theatre
• Epic Theatre
• Poor Theatre
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
AS 3: Compares the roles and involvement in the
Dramatic Arts of both the privileged and the
disadvantaged from various cultures and periods
in terms of access, resources and patronage
Including a range of cultures and periods for
research and presentation.
25
LEARNING OUTCOME 4: Reflect and evaluate
AS 1: evaluates and compares the AS 2: Evaluates and justifies
forms, styles, conventions and choices in own work and that of
processes used in own and others’ others using specialised vocabulary
dramatic action and performance
and culture-fair aesthetic values
Including:
• forms (e.g. movie genres thrillers, road movies; TV
genres - soapies, game shows;
radio genres -phone-in shows,
dating shows)
• styles (as above)
• conventions (e.g. soliloquies,
audience interaction, camera
angles)
• processes (e.g. work shopping,
scripting, filming, continuity,
rehearsing, researching, journalkeeping)
• Cultural performance and ritual
(e.g. incwala – siSwati
thanksgiving and selffortification ceremony, Kaapse
klopse, umdudo – isi Xhosa
wedding celebration,
arrengatum – Indian dancer’s
graduation)
Addressing:
• Language use
• Performers/ participants/
audience
• Genre
• Worldview
• Presentation
• Representation of ‘race’, class,
gender and culture
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
AS 3: Reflects on and evaluates
how a drama relates: to own
personal experiences, to human
commonality and diversity, to
specific
aspects
of
human
experience, ranging from issues of
community interest to those of
historical significance
For example:
• personal experiences – e.g.
victimisation
• human commonality – e.g.
conflict, and other archetypal
images/ themes
• human diversity – e.g. religious
disputes, racism and prejudice,
• specific aspects of human
experience – e.g. genocide, war,
ethnic cleansing; community
interest – land invasions;
historical significance –
Holocaust
AS 4: Identifies and discusses the
interpretative choices made in the
realisation of a dramatic product,
noting who made the choice, for
what purpose and to what effect
Including:
• writer’s background and
worldview
26
SECTION 3
DESIGNING A LEARNING PROGRAMME FOR DRAMATIC ARTS
3.1
INTRODUCTION
A Learning Programme is a tool that enables teachers to plan for sequenced learning, teaching and
assessment across the Further Education and Training Band (i.e. Grades 10-12) so that all four
Learning Outcomes in Dramatic Arts are achieved in a progressive manner. It is recommended that
the Dramatic Arts teachers at a school first put together a broad subject outline (i.e. Subject
Framework) for the Band to place the subject in context and to arrive at an understanding of the
progression which needs to take place across the grades in the Band (see Section 3.3.1). This will
assist them with the demarcation of content for each grade. Thereafter, Dramatic Arts teachers
teaching the same grade need to work together and draw from the content and context identified for
their grade in the Subject Framework, to develop a Work Schedule in which they indicate the
sequence in which the content and context will be presented for Dramatic Arts in that particular
grade (see Section 3.3.2). Finally, the individual Dramatic Arts teacher should design Lesson Plans
using the grade-specific Work Schedule as the starting point. The Lesson Plans should include
authentic learning, teaching and assessment activities that reflect real-life contexts (see Section
3.3.3). When working within the context of the National Curriculum Statement Grades 10-12
(General) and Outcomes-Based Education, Learning Programmes need to be flexible to
accommodate diversity in each individual Dramatic Arts classroom.
An outline of the process involved in the design of a Learning Programme for Dramatic Arts is
provided in the diagram below:
STAGE 1:
Dramatic Arts Subject Framework (Grades 10-12)
for the FET BAND
STAGE 2:
Dramatic Arts Work Schedule
per GRADE
STAGE 3:
Dramatic Arts Lesson Plans
per TEACHER
The process to be followed in the development of a Learning Programme is not a neatly packaged
sequence of numbered steps that follow one another in a particular order. Teachers may find
themselves moving back and forth in the process as they plan and critically reflect on decisions
taken before moving on to the next decision in the process. The process is therefore not strictly
linear and is very much reflective in nature. This is in line with the Norms and Standards for
Educators that calls on teachers to be reflective practitioners.
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
27
3.2 ISSUES TO BE ADDRESSED IN THE DESIGN OF A LEARNING PROGRAMME
The depth with which each issue is dealt during the development process increases as the planning
process moves from one stage to the next. The issues to be addressed in the development of a
Dramatic Arts Learning Programme are presented in a tabular format to indicate the implications of
each issue at each of the three stages of the development of a Learning Programme:
• Stage 1 – Subject Framework
• Stage 2 – Work Schedule
• Stage 3 – Lesson Plan
3.2.1
Policies and Principles
STAGE 1
STAGE 2
STAGE 3
3.2.2
Conceptual Progression
STAGE 1
STAGE 2
STAGE 3
3.2.3
While the various Policies that impact on curriculum implementation and the NCS Principles are not
recorded on the planning sheets of a Learning Programme, evidence of their use will be seen in the
planning product. They therefore need to be taken into account throughout the planning process from
Stages 1-3.
NCS:
Principles: Refer to Section 2.3 to see how Dramatic Arts supports the application of the nine principles
of the NCS
Critical Outcomes & Developmental Outcomes: Refer to Section 2.5 to see how Dramatic Arts supports
the application of the Critical and Developmental Outcomes
Other Policies and Legislation:
• White Paper 6, Language in Education Policy, Religion & Education Policy, HIV/AIDS – all
give indication of how to accommodate diversity and therefore have implications for LTSM
and teaching methods in Dramatic Arts
• White Paper 7 – gives an indication on the use of computers in the classroom and therefore has
implications for LTSM and teaching methods in Dramatic Arts
This is evident across the three grades in the Band and indicates the increasing depth of difficulty with
which SKAVs are dealt with across Grades 10-12. There is no column for progression on the planning
template, but evidence of progression is evident in how the Learning Outcomes and Assessment
Standards are recorded per grade for all three grades on the planning sheet. Progression across the Band
can be explored by studying the Assessment Standards per Learning Outcome across the three grades.
This is evident within a grade and indicates the increasing depth of difficulty with which SKAVs are
dealt with in a particular grade. There is no column for progression on the planning template, but
evidence of progression is evident in how the groupings of Learning Outcomes and Assessment
Standards are sequenced in the Work Schedule.
This is evident in the individual Dramatic Arts classroom and indicates the increasing depth of difficulty
with which SKAVs are dealt with across the activities and Lesson Plans. There is no column for
progression on the planning template, but evidence of progression is evident in how the activities in a
Lesson Plan and the separate Lesson Plans in the individual Dramatic Arts classroom are sequenced.
Content and Context
STAGE 1
STAGE 2
STAGE 3
The content is identified by analysing the ASs of each LO to identify the SKAVs contained in each.
Furthermore, the situation or condition in which content (i.e. SKAVs) will be dealt with is also
identified.
The content and context need to be reviewed and refined based on the SKAVs found in the different
grouping of LOs and ASs for particular grades once integration has taken place.
The content and context are carried over from the Work Schedule. The activities written for each
Lesson Plan must address the particular grouping of LOs and ASs carried over from the Work Schedule
making sure to include the SKAVs contained in the grouping as the core content in the Lesson Plan.
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
28
3.2.4
Integration
STAGE 1
STAGE 2
STAGE 3
3.2.5
While it may be considered in broad terms during discussions at this stage, it is not necessary to record
integration on the planning sheet for this stage.
Address the integration of LOs and ASs within the subject and with other subjects. This will require the
review and refinement of the content and context listed on the Subject Framework as ASs from different
LOs are grouped together in the process.
The integrated groupings of LOs and ASs for each grade are carried over directly from the Work
Schedule. The activities for each Lesson Plan are developed using a particular grouping of LOs and ASs
to guide their development. The Lesson Plans in an individual classroom are presented in the order in
which the groupings of LOs and ASs appear on the Work Schedule for that particular grade. Teachers
can develop one or more activities to address the LOs and ASs in a particular grouping using different
combinations of the LOs and ASs in the grouping to design an activity or use them all together as a unit.
There is no policy directive on how many activities or Lesson Plans must be developed to address each
grouping of LOs and ASs.
Time Allocation and Weighting
STAGE 1
STAGE 2
STAGE 3
4,5 hours has been allocated to the subject Dramatic Arts. The allocation of hours per year has been
worked out to be approximately 150 teaching hours.
The time to be spent on each grouping of LOs and ASs, once these groupings have been sequenced in
the Work Schedule, is indicated by how the groupings are paced across the school year taking the
weighting of the four LOs into account.
The amount of time to be spent on a Lesson Plan or Lesson Plans per grouping of LOs and ASs is
indicated by how each is paced in the Work Schedule. Use this to guide the amount of time to be spent
on the different activities in a Lesson Plan.
Dramatic Arts is slightly different from other subjects in that the learners require more contact time
with a teacher. The 4,5 hours a week will not be sufficient to achieve a high level of technical
expertise or a high level of performance. Learners and teachers will need to spend additional time
rehearsing after the formal school hours. Schools offering Dramatic Arts will need to ensure that
this is made possible.
It is suggested that 2,5 hours of this time is spent on Outcomes 1 and 2, and 2 hours is spent on
Outcomes 3 and 4 in a week. If the school runs on a timetable of 40-minute periods, it is important
that double/triple periods be allocated for practical work. This is necessary because Outcomes 1
and 2 require practical skills development and group work, which takes more time.
When working on any one of the Learning Outcomes, teachers need to be conscious of the
supporting learning outcomes and the knowledge, skills, values and attitudes they embody during
the process, creation or performance of products.
When a learner is involved in performing a monologue, LO2 is the most obviously dominant
learning outcome. However, it is necessary for LO1 to be considered, as personal skills are needed
in order to achieve the outcome; there will also be textual analysis and evaluation of the piece and
performance (LOs 3 and 4). Thus this one activity in fact develops all the learning outcomes.
Certain assessment standards are very time-consuming. The following example illustrates this:
Creating an original performance (AS3 of Learning Outcome 2, Grade 11) may take an entire term.
Other assessment standards are included within this process, but may still need to be specifically
assessed, e.g. selecting and using diverse dramatic elements for performance (AS1 of Learning
Outcome 2, Grade 11) may take the first two weeks of the process.
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3.2.6
LTSM (Resources)
LTSM refers to any materials that facilitate learning and teaching. LTSM need to be chosen
judiciously because they have cost implications for the school and the learner. The NCS approach
to teaching and learning provides scope for the use of a variety of resources. Teachers are required
to go beyond the textbook. Yet, they do not necessarily need exotic specialized materials. Rather
common and readily available items can be used.
The following elements provide a broad indication of the criteria one needs to use when selecting
and/or developing LTSM for Dramatic Arts:
• Nine principles of the National Curriculum Statement Grades 10-12 (General)
• Four Learning Outcomes for Dramatic Arts, along with their respective Assessment
Standards
• Teaching, learning and assessment practices relevant to Dramatic Arts
• Layout and/or design of LTSM
STAGE 1
STAGE 2
STAGE 3
3.2.7
Compile a list of general LTSM (resources) that will be useful in the teaching, learning and
assessment of each Learning Outcome – this assists with the requisition and availability of LTSM on
management level at a school.
Make mention of more grade-specific LTSM (resources) by using the integrated groupings of LOs
and ASs to guide to what will be required to address them in the learning, teaching and assessment
process.
Identify classroom-specific resources related to the individual activities contained within a Lesson
Plan. These are determined by the LOs and ASs placed within the grouping that is to be addressed in
an activity. The LTSM (resources) chosen must therefore facilitate the achievement of these particular
LOs and ASs in the classroom.
Assessment
The choice of assessment strategies is a subjective one, unique to each teacher, grade and school
and dependent on the teacher’s professional judgment. It is important that the strategy chosen is
appropriate for the specific Learning Outcomes being assessed and should emphasise the learners’
individual growth and development as well as group participation in dealing with tasks of
analyzing, communicating with others and promoting teamwork. In order to administer effective
assessment one must have a clearly defined purpose. By answering the following questions the
teacher can decide what type of activity best suits the assessment needs:
• What concept, skill or knowledge needs to be assessed?
• What should the learners know?
• At what level should the learners be performing?
• What type of knowledge is being assessed: reasoning, memory or process?
Tasks and activities should be placed within a broad context, ranging from the personal, home,
school, business, community, local and global. Assessment should be fair. Learners should be
assessed only on those areas of knowledge, skills and values that they have had the chance to
acquire and develop. The criteria for assessment should be communicated to the learners.
Observation-based assessment requires that learner performance be assessed while the learner is
actually performing a skill in the classroom as there will be no concrete product for the teacher to
assess after the performance, while performance-based assessment relies on the availability of a
product as evidence of learner performance that can be assessed by the teacher after the completion
of the performance. Not all observations need culminate in a formally recorded assessment of
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
30
learner performance. Test-based assessment focuses on assessing the presentation and application
of knowledge.
The Dramatic Arts teacher will need to develop tools such as rubrics, rating scales and checklists to
assist in the collecting of evidence of learner performance. These tools need to be in place prior to
the learners participating in any of the Dramatic Arts activities which involve the assessment of
learner performance.
STAGE 1
STAGE 2
STAGE 3
Indicate the proposed assessment plan and make sure to differentiate within each form across the 3
grades – this also assists in pointing out progression across the Band.
Make a more grade-specific indication of the forms of assessment for the particular grade by using the
grouping of LOs and ASs arrived at as a guide to what form of assessment will be best suited to address
them. The form of assessment chosen must facilitate the achievement of the particular LOs and ASs in
the grouping.
Indicate more classroom-specific assessment strategies, by mentioning the methods, forms and tools that
will be used to assess learner performance in each separate activity.
HINT: Not all activities need to be assessed – some may just be introductory in nature or for
enrichment. The choice of an assessment strategy is determined by the LOs and ASs that have been
grouped together for a particular Lesson Plan. The assessment strategy chosen must facilitate the
achievement of these particular LOs and ASs in the classroom.
The following forms of assessment are well suited to Dramatic Arts:
Journal
A Dramatic Arts journal can be set up for each learner in the class. Over time, the teacher and the
learner can collect in this folder any materials, notes and reflections relating to the learner’s
experiences, learning and progress in Dramatic Arts. This journal can also take the form of a tape
or video recording. In the journal, the teacher will comment upon the kind of critical, considered
responses which the learner should be writing. Learners should be able to move beyond a purely
descriptive account of what took place during Dramatic Arts’ lessons to include analysis of
themselves and their role within the work undertaken, as well as personal responses to what took
place.
Discussion
This is a useful assessment technique, when handled with perception and sensitivity. It allows the
learners to develop their own critical awareness – to comment on the quality of their own feelings,
commitment, role-playing ability, and reflective power. It can be carried out within the drama or
afterwards as reflection. The discussion that arises from a drama can influence the direction and
quality of theatre work. Teacher interviews and discussions with individuals and groups of learner
provide occasions for assessment.
Creative writing
Most learners seem capable of moving from interaction in drama to various kinds of writing
expression. Commentaries, criticism, reflection, stories, letters, petitions, songs, summaries, poetry
and dramatic writing motivated by the drama work provide valuable clues to the drama’s impact on
the learner and their understanding of the dramatic principles and elements being utilised.
Writing in-role
The learners are asked to write in-role within an on-going drama. Different forms of writing such
as letters, poems, proclamations, petitions, diary entries and speeches can indicate involvement,
response and engagement.
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Performance – Informal or formal
Learners are asked to prepare presentations or performances in which they take on roles, characters
or arguments in formal or informal performances. These performances may use imaginative ways
to illustrate and explore content, or to present a point of view. The performances may be extremely
well rehearsed over a period of time, or they may be spontaneous performances created in class and
performed immediately for assessment. They may range from improvisations, scenes from play
texts, debates in-character, radio dramas, TV talk shows, investigative programmes, advertisements,
songs, poems, raps or any other forms of presentation relevant to the outcomes being explored.
3.2.8
Inclusivity and Diversity
The following steps can be taken to effectively address diversity in the classroom when planning
activities:
• consider individual past experiences, learning styles and preferences;
• develop questions and activities that are aimed at different levels of ability;
• modify expectations for some learners including adapted outcomes;
• provide opportunity for a variety of participation levels such as individual, pairs and small
group activities;
• give learners choices in determining what methods they use for gathering, synthesising
information and in demonstrating their understanding of a concept or performance of a skill
or a task;
• accept that the individual methods are of value; and
• assess learners based on individual progress and outcomes.
STAGE 1
STAGE 2
STAGE 3
This will be evident in the identification of content, context, forms of assessment and LTSM
(Resources). Diversity needs to be accommodated in the following areas:
• Learning styles: provide optional activities / different ways of doing same activity
• Pace of learning: provide for both slower and faster learners by providing optional extra activities,
reading or research, as well as multiple assessment opportunities
• Differences in levels of achievement: provide optional extra activities, challenges and materials that
cater for these differences between learners.
• Language diversity: the LoLT used should not place learners at a disadvantage - consider the use of
a variety of assessment strategies and strategies such as code switching
• Gender diversity: ensure that teachers do not inadvertently allow or contribute towards
discrimination against boys or girls in the classroom on the basis of gender.
• Cultural diversity: recognise, celebrate and be sensitive to this when choosing content with which to
address LOs and ASs related to culture.
This is catered for as EXPANDED OPPORTUNITIES in the Lesson Plan. Enrichment is provided for
high achievers and remediation or other relevant opportunities for learners requiring additional support.
It is not necessary to develop an activity to cater for each type of diversity which arises in the classroom
– teachers may find it possible to cater for different diversities within one activity with effective
planning. There are however exceptions that may need to be catered for individually.
Below is a table of specific barriers to learning/teaching that should be dealt with by Dramatic Arts
teachers when planning activities:
Language and Terminology
Language should not be a major barrier in this subject, especially at entry level into the FET phase, as much of the
learning/teaching can be done through demonstration and practical exploration. Dramatic Arts can provide a vibrant
way to teach additional language experientially and in authentic situations. However, over the three years, it is
expected that learners will become competent in both the written and oral modes. Drama uses its own discipline
specific terminology and learners should be encouraged to use this terminology when discussing their own and others’
work.
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Prior Learning
Learners/teachers may come to the learning/teaching situation with a great diversity of background experiences. Some
will have had exposure to discrete Arts training and resources, others with exposure to integrated cultural rituals and
experiences. Learners should be encouraged to value and share with each other whatever Dramatic Arts’ experiences
they have had. Teachers need to assess and build the learning programmes on the prior learning and provide specialized
skills building where necessary.
Resources
Where material resources are hard to find, teachers and learners need to be resourceful and innovative in finding
substitutes and variations.
This applies to such aspects of production as costume, set, props, lighting etc. Using
substitutes, does not imply a compromise on quality, rather it focuses on being enterprising and inventive in the use of
resources. This also includes the selection of texts for study. In order to augment the personal resources of teachers,
learning programmes should guide teachers on how to look beyond the classroom for human and material resources.
Teachers should draw on expertise from local practitioners and professional individuals and organisations. Being
resourceful also includes the use of venues and spaces at schools. The absence of discipline specific facilities such as a
stage or hall should not prevent the effective implementation of this subject. The possibilities of all available spaces
should be explored, both indoor and outdoor.
Rural and Urban Contexts
Learning programmes should be adapted to suit urban or rural contexts. For example:
• In rural areas without electricity, portable radios could be used to assess the impact of mass media in terms of the
use of voice, sounds, music and visualisations.
• Where access to theatres is not available, teachers need to recognise that forms of drama are part of many cultural
rituals and communal/social occasions.
• People in both rural and urban areas often find themselves in confined situations. Teachers need to expand
opportunities and exposure for learners through arranging excursions and exchanges (e.g. twinning rural and urban
schools). Schools in urban contexts may not have access to authentic rural arts or cultural experiences or
indigenous cultural practices. They would benefit from twinning with rural schools to share resources and
knowledge.
Vision Impairment:
Learners may have varying degrees of difficulty with print, graphics or small objects. To assist such learners:
• Additional help may be required to find resources for research and materials for performances or presentations.
• Suitable techniques and processes have to be selected for assessment purposes in all the learning outcomes.
• The use of Braille, typing and/or verbal explanations may be needed in the place of visual presentations.
• Start a ‘Buddy System’, grouping sighted learners with visually impaired learners.
• When visuals are presented to class, lines have to be bold for the visually impaired and verbal explanations have to
accompany all pictures.
Hearing Impairment:
Learners may have varying degrees of difficulty in hearing. To assist such learners
• Step by step demonstrations/ visuals/ sign language have to be supplied when verbal instructions are given.
• Start a ‘Buddy System’ so that able learners can assist hearing-impaired learners.
• Deaf learners can respond to rhythms by feeling the vibrations on the floor. This skill can be used in movement
classes and other practical explorations.
• Allow the learner to use sign language or alternative communication skills when answering or communicating,
remembering that sign language has a limited vocabulary and learners will have difficulties to communicate
abstract and theoretical concepts.
• Use body language, dramatizations, movement in dance and mime rather than verbal or musical expression.
Speech Impairment:
Learners may have varying degrees of difficulty in speech tasks, for example, stuttering, stammering, lisping, inability
to say certain sounds, hoarseness, mutism etc. To assist such learners, teachers can:
• Use basic voice exercises to assist learners to overcome voice problems and to build confidence in the use of the
voice.
• Give learners sufficient time to express themselves without feeling pressurised.
• Ensure that an atmosphere of respect is created in which learners feel comfortable to express themselves.
• Allow learners to give feedback to small groups or directly to the teacher, rather than to the whole class, or allow
written feedback rather than verbal if this is possible.
• Allocate tasks in such a way that these learners can utilise their areas of strength in performance.
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Mobility and Fine Motor Skills Impairment:
Being aware of the restrictions placed on the learners by their specific physical challenges, the teacher will expect the
learner to demonstrate within his/her capacity; e.g. dance with crutches, or in wheelchair.
• Each learner should be judged on his /her own performance and their creative expression should not be compared
with others.
• If the physical challenge is such that the learner cannot perform a certain activity, this has to be substituted by
another appropriate activity.
• Create a buddy system when grouping.
• Ensure that the physical environment is wheelchair-friendly and accessible to all.
Gifted Learners
The gifted learners should not be neglected and provision should be made for them to be extended and challenged in
various ways. Giftedness takes a wide variety of forms, many of which can find expression in Dramatic Arts’
activities.
Learners come to the classroom with a rich diversity of backgrounds including class, culture,
gender, race and ability as well as needs, preferences and challenges. Effective management of this
diversity is a critical element of teaching Dramatic Arts. Diversity should be seen as an asset and
resource for learning. The products and processes in the classroom should incorporate this diversity
and in the reflection on the work, learners will be able to consider its value and function in society.
This will assist in addressing the national imperatives as stated in the Purpose of the NCS Subject
Statement.
The creation of a positive learning climate is of vital importance to the managing of diversity. This
climate should be warm, responsive and facilitate cognitive development and psychological wellbeing. Teachers can access the cultural skills of parents and the broader community to contribute to
the creation of such an environment.
The teacher needs to consistently monitor and support learner progress in order to ensure that all
learners feel accepted, recognised and valued within this diverse learning environment. Assessment
tools, techniques and methods should be created to support diversity.
Some of the aspects that teachers need to plan for the teaching of Dramatic Arts include:
Diversity in learning styles:
Learners learn and show their learning in different ways. Teachers need to use various teaching
methods to cater for different learning styles and to engage the learners in active lessons, which
generate enthusiastic participation. In Dramatic Arts this is characterised by skills-building,
practical application, experiential learning and cognitive engagement, which includes learning howto-learn and extrapolating lessons for possible transference to real life.
Managing the pace of learning:
Learners learn at various paces. Where possible, teachers should plan how they can provide for the
needs of both slower-paced and faster-paced learners. This may involve optional activities, reading
or research. Grouping of learners and the allocation of tasks can also facilitate learners to work at
their own pace. Co-operative teaching and learning strategies should be employed in the design and
delivery of lessons.
Differences in levels of achievement and development:
OBE recognises that learners are often at different levels of physical and cognitive development.
For this reason they are capable of different levels of challenge. Teachers need to respond by
sometimes providing optional or extra activities, challenges and material that cater for these
differences between learners. In Dramatic Arts, the allocation of roles or material within practical
activities should take into consideration the needs, abilities and potentials of the learners.
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Managing Content:
The content of the curriculum should be selected based on the diverse abilities, capacities,
challenges and interests of the learners. This may mean that certain aspects of content relating to
personal resources will be highlighted or marginalized should learners present who experience
particular barriers to learning or have specific needs. For example, a hearing-impaired learner may
not have the same capability in terms of vocal exploration and analysis as a hearing learner, and
physically-challenged learners may not be capable of exploring physical theatre techniques.
Alternate personal resources should be focused on and creative means should be used to keep these
learners involved and motivated to meet their full potential. The selection, ordering and
presentation of lesson content should be underpinned by the assumptions of the Critical and
Learning Outcomes, which include culture-fair and anti-bias practices and skills development in
context.
Language diversity:
While most lessons occur in a single language, many learning sites/spaces have a range of
languages spoken as a home language. We need to ensure that we do not disadvantage learners who
need to learn and be assessed in a second language. This is one reason for using a variety of
different assessment methods. In Dramatic Arts, practical tasks in the home language should be
encouraged. For example, praise poems can be performed in the home language. Cultural
processes, which affirm the learners’ home language, should be used in the teaching and assessment
activities. However, it should also be noted that Dramatic Arts is a particularly valuable subject in
terms of developing learners’ communication abilities in languages which are not their own home
language. Accent, dialect and register need to be approached in an inclusive way, affirming
learners’ own identities, while extending their range where possible.
Cultural diversity and Anti-discriminatory practices:
It is important to recognise, celebrate and be sensitive to the many and diverse cultures which are
found within the learning environment and the broader South African context. Dramatic Arts as a
subject builds on this in all four of the learning outcomes. Learners’ develop and utilise their
personal cultural resources and life experiences. They explore and draw on a range of social and
cultural diversity through their creation and presentation of work, and also in reflecting on dramatic
practices, processes and products, for the purpose of achieving greater understanding and insight.
This learning about cultural diversity may involve problem posing and problem solving of social
tensions and cultural issues. The assessment standards provide more specific opportunities to
engage with culture-fair and anti-bias practices. See, for example, LO4, AS2, Grades 11 and 12.
An awareness of what a value statement is (giving reasons behind values) and what a value
judgment is (judging values as right or wrong, from one perspective only) is a skill both learners
and teachers need to work at in order to avoid conflict and advance anti-bias practices.
Formal learner-support systems should be created by the provider for those learners who fall out of
the cultural/linguistic mainstream of the learning site/space (e.g. classroom). Teaching and learning
strategies should be motivated by the diverse cultural composition of the learners. The teacher’s
life experiences can also be accessed as a tool for exploring diversity. It must be taken into
consideration that strategies used in urban and/or peri-urban areas should not be the same as those
used in the rural areas and vice versa.
Gender diversity:
Both males and females must be afforded the opportunity to experience equality of opportunity and
treatment in the practice of the subject. Often in the Dramatic Arts, gender discrimination is
perpetuated in the following ways: the subject is offered to girls only, the texts which are studied
are usually created by males, and texts generally offer more challenging opportunities for male
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actors. Teachers should ensure gender and culture fairness, as well as female empowerment, in the
selection of materials and texts, and in the development of skills. Roles should be allocated in such
a way as to serve the learners’ needs. Tasks should not perpetuate gender stereotypes, e.g. females
can be set designers, directors and technicians as easily as males. Movement and dance should not
only be seen as the province of females, but both genders should be equally involved.
3.2.9
Learning and Teaching Methodology
STAGE 1
STAGE 2
STAGE 3
While it may be considered in broad terms during discussions at these 2 stages, it is not necessary to
record Teaching Methods on the Planning Sheet for either of these stages.
This is catered for as TEACHING METHOD in the Lesson Plan. It provides an indication of how
teaching and learning will take place in each activity – i.e. how each activity will be presented in the
classroom.
3.2.10 Other Issues
Once the development of the Lesson Plan takes place the following additional issues also need to be
attended to:
(a) Learning, Teaching and Assessment Activities
This must provide the detail of what will be presented to learners to address a particular grouping of
Assessment Standards per activity as drawn from the Work Schedule. The development process of
an activity needs to start with the grouping of Learning Outcomes and Assessment Standards as
drawn from the Work Schedule. The activity or series of activities developed for the Lesson Plan
must facilitate the achievement of these particular Learning Outcomes and Assessment Standards in
the classroom.
(b) Teacher Reflection
In keeping with the Norms and Standards for Educators, teachers are encouraged to be reflective
practitioners. The block for Reflection on the Lesson Plan template allows for this and is filled in
after implementation of a Lesson Plan or when an activity in the Lesson Plan has been presented.
This will inform future classroom practice with a view to improving such practice.
3.3
DESIGNING A LEARNING PROGRAMME
3.3.1
Designing a Subject Framework (Grades 10-12) for Dramatic Arts
A Subject Framework is the starting point in the design of a Learning Programme. The following
steps provide guidelines on how to design a Subject Framework for Grades 10-12 for Dramatic
Arts:
n
Clarify the Learning Outcomes and Assessment Standards.
The design of the Subject Framework (Grades 10-12) begins with a reflection on Learning
Outcomes and their related Assessment Standards for Dramatic Arts. They are the foundations on
which Work Schedules and Lesson Plans for the subject are built. The essential question when
designing a Subject Framework for Dramatic Arts is: What Learning Outcomes do learners have to
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36
master by the end of the Further Education and Training Band and what Assessment Standards
should they achieve to show that they are on their way to mastering these outcomes?
All learning, teaching and assessment opportunities must be designed down from what learners
should know, do and produce at the end of a particular grade and ultimately by the end of the
Further Education and Training Band. The Learning Outcomes and Assessment Standards that
learners should master by the end of Grade 12 are specified in the National Curriculum Statement
Grades 10-12 (General).
o
Study the conceptual progression across the three grades.
Look at the verbs, adjectives and concepts listed in each of the Assessment Standards for Dramatic
Arts across the three grades. Progression should be clearly evident across the Band.
p
Identify the content to be taught.
Analyse the Assessment Standards of each Learning Outcome to identify the skills, knowledge,
attitudes and values to be addressed in each grade, as well as the context in which they will be
taught. This provides a list of the concrete evidence that is required for a learner to display
achievement of an Assessment Standard and indicates the situation and/or conditions in which the
content will be presented.
q
Identify possible forms of assessment.
Consider what forms of assessment will be best suited to each of the Learning Outcomes and
Assessment Standards and list these per grade. This ensures that assessment remains an integral part
of the learning and teaching process in Dramatic Arts.
r
Identify possible LTSM (resources).
Consider which LTSM will be best suited to the learning, teaching and assessment of each Learning
Outcome per grade using the skills, knowledge, attitudes and values as guidance and list these per
grade.
3.3.2
Designing Work Schedules for Dramatic Arts
Using the considerations and decisions arrived at in the design of a Subject Framework for
Dramatic Arts, the learning, teaching and assessment process in each of the three grades for
Dramatic Arts is unpacked in grade-specific Work Schedules. This is the second stage in the design
of a Learning Programme. The following steps provide guidelines on how to approach the design of
a Work Schedule per grade for Dramatic Arts:
n
Package the content.
Study the Learning Outcomes and Assessment Standards prescribed for the particular grade in
Dramatic Arts and group these according to natural and authentic links. Revisit the content and
context listed in the Subject Framework for the particular grade, and refine it according to the skills,
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knowledge, attitudes and values that appear in each grouping of Learning Outcomes and
Assessment Standards.
o
Sequence the content.
Determine the order in which the content, i.e. groupings of Learning Outcomes and Assessment
Standards as arrived at in Step 1, will be presented in the particular grade in Dramatic Arts. Besides
the conceptual progression in the Assessment Standards for Dramatic Arts, context can also be used
to sequence the groupings in Dramatic Arts.
p
Pace the content.
Determine how much time in the school year will be spent on each grouping of Learning Outcomes
and Assessment Standards as arrived at in Step 1 in the particular grade.
q
Review forms of assessment.
Revisit the forms of assessment listed for the particular grade in the Subject Framework, and refine
them to address the skills, knowledge, attitudes and values of each grouping of Learning Outcomes
and Assessment Standards as arrived at in Step 1.
r
Review LTSM.
Revisit the LTSM (resources) listed for the particular grade in the Subject Framework, and refine
them to address the skills, knowledge, attitudes and values of each grouping of Learning Outcomes
and Assessment Standards as arrived at in Step 1.
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AN EXAMPLE OF A GRADE 10 WORK SCHEDULE
T
E
R
M
Week 1, 2
LO1:AS3 –
building
personal
resources
1
LO3: AS1 –
generic
dramatic
principles
Week 3 Week 4
LO1: AS1 –
improvisation
skills
Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
LO1: AS1 – applies empathy, cultural perception etc. to interpret and create
variety of dramatic products
LO1: AS3 -verbal and non-verbal communication techniques (voice and
body warm-ups)
LO2: AS1 – Narrative techniques/ Poetry speaking/Public speaking to be
assessed in a class presentation
LO2: AS2 –
characters and
roles in
improvisations
LO3: AS1 – introduce Pan-African dramatic form/text (examine principles/elements)
LO3: AS2 – relationship between above-mentioned form/text and contexts/purposes
LO4: AS1 – identifies and
describes cultural
performance forms (may be
related to LO2:AS1 above)
T
E
R
M
2
T
E
R
M
3
T
E
R
M
4
LO4: AS3 – describes how abovementioned drama relates to personal
experiences etc.
LO4: AS1 – identifies and describes
processes used in own/others performance
Week 8 Week 9 Week 10
Week 1, 2
Week 3 Week 4 Week 5 Week 6 Week 7
LO1: AS3 – developing non-verbal communication skills, body
work, physical expressiveness etc.
LO2: AS1 – selects and uses diverse elements in mime/dance drama
LO3: AS1 – introduce Greek text (principles/elements)
Assess LO3: AS1 and 2 in written exam
LO3: AS2 – relationship between above-mentioned form and its
contexts/purposes
LO4: AS4 –
identify
strengths/weakness
es of own/others’
work
Week 1, 2
Week 3
Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10
LO1:AS2 – demonstrate personal, artistic and social discipline – ongoing assessment
LO2: AS2 – assess creation and sustaining of characters in original piece
LO2:AS3 – creates original performance using play building techniques
LO2: AS4 – improvise and creatively use technical elements in creating original performance
LO3: AS1 – introduce South African text (principles/elements)
LO3: AS2 – relationship between above-mentioned form and its contexts/purposes
LO4: AS2 – explain choices to identify worldviews
(prejudice/bias etc) in above text
Week 1, 2
Week 3 Week 4
Week 5
Week 6
Week 7 Week 8 Week 9 Week 10
Assess LO1 through reflections handed in journal
LO1:AS2 – demonstrate personal, artistic and social
entries and/or portfolio
discipline – ongoing assessment
LO1: AS1 – applies empathy, cultural perception etc. to
interpret and create variety of dramatic products
Assess LO2 through reflections handed in journal
LO2: AS2 – assess creation and sustaining of characters in
and/or portfolio
original piece
LO2: AS
Assess Final Performance of Original Piece in terms
3 – works towards final performance of original piece
LO2: AS4 – improvise and creatively use technical elements of AS2, AS3 and AS4
in creating original performance
Written exams on LO3, as well as portfolio
LO3: AS1 – introduce Commedia dell’ Arte
assessment
(principles/elements)
LO3: AS2 – relationship between above-mentioned form
and its contexts/purposes (also relate to original
performance)
LO4: AS3 – describes how their original work relates to
LO4: AS4 –
personal experiences, human commonality etc.
identify
strengths/weakness
es of own/others’
work
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SAMPLE TERM PLAN FROM GRADE 10: TERM 3
It is suggested that the Dramatic Arts teacher draw up a Term Plan from the Work Schedule for a
grade. By Term 3 in the year, Grade 10 learners will have covered many of the basic principles of
building personal resources, improvisational skills, verbal and non-verbal communication skills and
cultural performance forms. They will have had some experience of learning site/space
performance and will have done some reflection and evaluation of own and other’s work. Learners
will also have examined two texts or performances in terms of their generic principles and specific
elements, as well as how they relate to their historical, social, economic and other contexts.
In term three, in the given example taken from the suggested Work Schedule above, learners begin
work on creating an original performance using playbuilding techniques, while exploring a South
African text. Teachers need to plan ahead, preparing assessment tools, providing resources and
setting up appropriate environments for the learning activities suggested below.
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
40
SUGGESTED TERM PLAN FOR GRADE 10 TERM 3
TERM
3
Week
1,2
LO1
LO2
LO3
LO4
Demonstrate social
discipline in team
building work
(AS2)
Divide class into
groups, team building
(AS3)
Assess interaction,
concentration and
collaboration (AS2)
Relate this exploration in LO3 to
personal experiences, human
commonality and diversity (AS3)
Week
3
Demonstrate social
discipline in team
building work
(AS2)
Demonstrate
personal discipline
and commitment in
following through
on research (AS2)
Problem-solving:
decide on basic
idea/concept (AS3)
Introduce a published SA
text (e.g. Have You Seen
Zandile?; the main theme in
this text is the contrast
between an urban and rural
upbringing, the concept of
cultural identity and of
motherhood.)
Improvise themes and ideas
coming out of the text AS1)
Socio-political context
(AS2)
Research around
basic idea/concept
(AS3)
Reading and performing the
text – discuss characters
and dialogue
(AS1)
Theatre outing for class; Related
Project: Explain choices in
performance in order to identify
world view of creators and
participants (AS2)
Share research
findings and begin
improvisation (AS3);
Begin to consider
resources for
technical elements
(AS4)
Improvisation
continued – select
characters &
storyline (AS3);
Create characters,
choose given
circumstances;
through
improvisation,
experiment with
character’s
vocal/physical
attributes (AS2)
Develop characters/
storyline through
improvisation (AS3);
Develop character’s
subtext (AS2);
Consider character’s
costume (AS4)
Select and structure
performance (AS3);
Consider set/props
(AS4)
Reading and performing the
text
- discuss emerging themes
and issues
(AS1)
Week
4
Week
5
Week
6
Week
7
Week
8
Week
9
Demonstrate
artistic discipline in
terms of attending
rehearsals outside
of class time (AS2)
Reading and performing the
text – discuss plot,
structure, genre
(AS1)
Describe relationships
between text, performances
and contexts and purposes
(AS2)
Explain choices in SA text in
order to identify world view of
creators and participants (AS2)
Describe relationships
between text, performances
and contexts and purposes
(AS2) through group
presentations
Select and structure
performance work
(AS3);
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
Describes how SA text relates to
own personal experiences, to
human commonality and
diversity, to specific aspects of
human experience (AS3)
41
Week
10
3.3.3
Script and record for
Term 4 performance
(AS3);
Self-assessment of
interaction,
concentration and
collaboration through
process (AS2)
Describes how own original text
relates to personal experiences, to
human commonality and
diversity, to specific aspects of
human experience (AS3)
Designing Lesson Plans for Dramatic Arts
Each grade-specific Work Schedule for Dramatic Arts must be divided into units of deliverable
learning experiences, i.e. Lesson Plans. A Lesson Plan adds to the level of detail for each issue
addressed in the Work Schedule. It also indicates other relevant issues to be considered when
teaching and assessing Dramatic Arts.
Learning outcomes should be used as the primary guide when developing lesson plans. The teacher
should create and develop activities appropriate to the achievement of the learning outcome and its
related assessment standards. Content should be carefully selected to best serve the outcomes and
assessment standards in a grade. See the Suggested Content grid 2.6.2. The following steps provide
guidelines on how to design Lesson Plans for Dramatic Arts:
n
Indicate the content, context, Learning Outcomes and Assessment Standards.
Copy this information from the Work Schedule for the particular grade.
o
Develop activities and select teaching method.
Decide how to teach the Learning Outcomes and Assessment Standards indicated in Step 1 and
develop the activity or activities that will facilitate the development of the skills, knowledge,
attitudes and values in the particular grouping. Thereafter, determine the most suitable teaching
method(s) for the activities and provide a description of how the learners will engage in each
activity.
•
•
Choose a suitable technique of learning: e.g.
o Learning-how-to-learn activity (use of brainstorming/concept webbing/ outlining ways
of seeing, doing and thinking)
o Learning-by-doing activity (learning and applying skills)
o Learning-in-the-group activity (collaborative working skills)
Then consider the following questions:
o Why are we doing this learning?
o When are we doing this learning?
o How are we doing this learning?
ƒ Questioning
ƒ Group work
ƒ Practical exercises or explorations
ƒ Interviews
ƒ Field study and documentation
ƒ Research
ƒ Discussion, reflection and critique
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
42
•
•
Who does the work?
o Learners alone
o Learners in pairs
o Group work (co-operative strategies with either mixed abilities or streamed abilities)
Where is the work done?
o In the learning site/space – how is the learning site/space laid out?
o In the community
o In the school environment
p
Consider diversity.
Explore the various options available within each activity that will allow expanded opportunities to
those learners that require individual support. The support provided must ultimately guide learners
to develop the skills, knowledge, attitudes and values indicated in the grouping of Learning
Outcomes and Assessment Standards being addressed in the individual activities.
Examples of expanded opportunities:
• Linguistically gifted tasked to frame questions for interviews etc and document group report
• Verbally gifted tasked to do report-back for presentation to the group
q
Review assessment and LTSM (resources).
Indicate the details of the assessment strategy and LTSM to be used in each activity.
Consider Assessment Strategies: Who does what, where, when, why and how? For example:
• Teacher observes individual and group contributions for recording and reporting purposes
• Teacher serves as a participant in the group in order to assess the needs of the group
• Learners keep journal to document insights on the activity and group dynamics
r
Allocate time.
Give an indication of how much time will be spent on each activity in the Lesson Plan using the
grouping of Learning Outcomes and Assessment Standards as a guide.
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
43
EXAMPLE OF A LESSON PLAN FROM GRADE 10: 3
Teacher Topic: Team-building in preparation for creation of original performance
Session No: 1
Grade 10 Dramatic Arts
Learning Outcomes and Assessment Standards:
LO1: The learner is able to demonstrate technical proficiency, expressiveness and creativity through the application of
internal and external personal resources within a variety of dramatic processes and practices.
AS 2: demonstrates personal, artistic and social discipline in creating dramatic products in collaboration with others
Learning Outcomes and Assessment Standards:
LO2: The learner is able to create, make and present dramatic products through experimenting with and shaping
dramatic elements in a process of artistic exploration and collaboration.
AS3: Creates an original performance using playbuilding techniques which reflect the skills of problem-solving,
improvisation, ensemble work, cultural expression.
Teacher’s role
Learner’s
Resources
Assessment strategies
Estimated Time
activities
A number of balls,
Games: 1. Group
Divide class into
80 minutes
one for each group
groups of between hand-shaking;
2. Keeping the ball
8-12, reflecting
in the air;
their diverse
3. Group counting;
abilities and
4. Big Chief
backgrounds
Lead discussion,
ask questions
Assess
Discuss what skills
are needed in order
to play games well
In groups, choose
a name for their
group, create a
group warcry and
dance which
demonstrates
unity.
Assessment rubrics
Verbal self-assessment by
members of groups on how
well they work together
Assess using a rubric how
these groups are working
together (LO1: AS2;
LO2:AS3)
DETAILS OF SUGGESTED EXERCISES
These are the games mentioned in the example of the lesson plan above. However there are
numerous games from which to choose, that would serve exactly the same function.
Game 1. Group hand-shaking: The group starts by shaking hands with people on either side of
them. They have to stay constantly in contact with at least one other person through a handshake; if
you are not shaking anyone’s hand at any given time, you “die” and have to sit out.
Game 2. Keeping the ball in the air: Each person in the group has to hit the ball up into the air; they
are not allowed to hit the ball twice in a row. Someone else in the group has to hit it up the next
time; it is the responsibility of the group as a whole to keep the ball in the air. The group should
count aloud the number of times the ball is hit continuously and try and better their own best score.
Game 3. Group counting: The group lies in a circle, closes their eyes, concentrates and then
attempts to count from 1 to 20 and then back down again, taking it in turns. They have to do this
without following a fixed pattern and without any two people speaking at once. If there is a
mistake, the whole group has to begin counting again with 1.
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
44
Game 4. Big Chief: Someone goes out of the room. The rest of the group selects a leader who will
lead them in establishing a rhythm using their feet, hands and any other body percussion. They
should keep changing the rhythm unobtrusively, in such a way that it is not obvious to the outsider
who the “big chief” is. The outsider tries to spot the leader of the group rhythm. When he
successfully does so, that person now becomes the Outsider (from Augusto Boal’s Theatre of the
Oppressed).
When designing learning, teaching and assessment activities for Dramatic Arts, teachers have to
understand the link between the Learning Outcomes in the Revised National Curriculum Statement
Grades R – 9 (Schools) and the Learning Outcomes in the Further Education and Training Band.
See Section 2.4 for an indication of this link. Grade 10 teachers in particular have to familiarise
themselves with the skills, knowledge, values and attitudes covered in GET to build on prior
learning.
3.3.4
Reflection and review of the Dramatic Arts Learning Programme
During and after the Lesson Plan delivery, the teacher should reflect on what worked, how well it
worked and what could be improved. Teachers need to note these things while the experience is still
fresh in their minds, so that if necessary, they can adapt and change the affected part of the
Dramatic Arts Learning Programme for future implementation. It is advisable to record this
reflection on the Lesson Plan planning sheets.
Teacher/Classroom planning shows details of how each lesson plan/activity will be developed and
how each item of content will be included during the year, in order to achieve the intended Learning
Outcomes in the NCS for FET Schools. The planning should show:
•
•
•
•
•
what learners will learn (i.e. learning outcomes in the context of content selection of the
particular grade – SKVAs);
what key questions will guide the learning experience/programme;
what resources and time are needed;
how teachers will manage learning (methods and learning activities); and
what tests, tasks or other assessment activities will provide evidence of learning.
Effective assessment will tell teachers how or when to move on, when to use a particular strategy,
and what will enrich the learning process. The following questions should be considered:
•
•
•
•
•
•
•
Does the lesson relate to the purpose of Dramatic Arts?
Does the lesson appropriately develop or address the learning outcomes?
Does the content engage learners’ interests, and does it have sufficient depth so the learners can
imaginatively explore it in a variety of ways?
Is the lesson building on the learners’ past experience?
Is the learning site/space environment flexible enough to accommodate different ways and
styles of working?
Are the learners getting access to a wide variety of types of dramatic skills?
Are the learners getting access to a variety of ways of thinking and learning?
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
45
GLOSSARY
Actor:
One who assumes a role in any dramatic activity.
Actor’s position:
The orientation of the actor to the audience (e.g. full back, full front, right profile, left profile.)
Aesthetic Criteria:
Parameters established for evaluating a play, production or individual performance. The criteria is
not value free.
Aesthetic Response:
A person's cultural, cognitive and emotional response to a work of art.
Aesthetics:
The cultural filter a person uses to appreciate the creative form or structure of a work of art.
Antagonist:
A person, a situation, or the protagonist’s own inner conflict in opposition to his or her goals.
Anti-bias:
An education, which values and shows respect for the diverse backgrounds, identities and
perspectives of people in the school and the wider society. It encourages teachers to adopt
measures to ensure a safe environment, free from harassment, violence, and expressions of hate.
Articulation:
The clear and precise creation of sounds using the organs of articulation (i.e. a speaker’s lips, teeth,
tongue and hard and soft palates).
Artistic choices:
The ordering and selection of artistic choices made by theatre artists about situation, action,
direction, and design in order to convey meaning.
Audience:
At least one person, perhaps thousands, who observe a player, perhaps thousands, engage in an
action that imitates life. In theatre in education, audience is sometimes loosely used to mean the
reflective performer as well as other learners, teachers or the public.
Blocking:
The planning and execution of grouping or arrangement of actors in a dramatic activity.
Catharsis:
The purification or purgation of the emotions (as pity and fear) caused in a tragedy, bringing about
an almost therapeutic sense of release or calm.
Centre stage:
The centre of the acting area.
Character:
Any person or entity portrayed in a dramatic activity.
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
46
Character Dimensions:
The physical (e.g. sex, age, external traits), social (e.g. occupation, family) and psychological
aspects (e.g. attitudes, motivation, values) of a character.
Characterization:
The process of creating a believable character through inclusion of all character dimensions through
thought, action, dialogue, costuming, and make-up.
Climax:
The point of highest dramatic tension or a major turning point in the action, beyond which the major
conflict can proceed no further without a resolution.
Collaboration:
The act of working together in a joint intellectual effort.
Complication:
An unexpected difficulty or twist in the plot, which interferes with the resolution of the dramatic
problem.
Communication:
The process of interacting verbally or non-verbally with another person or persons to share
meaning.
Concentration:
The ability to focus and maintain attention upon an object, image, idea, action or experience while
excluding distracting factors.
Direction:
A vision which the director develops about the meaning and significance of a play which is then
rehearsed to fulfil that vision. The director’s concept should clarify the meaning and enhance the
power of the text.
Conflict:
The opposition of persons or forces giving rise to dramatic action in a play; the fundamental
struggle that leads to crisis and climax of a scene or play.
Context:
The interrelated conditions in which a play exists or occurs.
Convention:
A practice or procedure, technique or device widely observed and accepted; established ways of
working in drama (e.g. hot seating, role on the wall, freeze-frame images) that explore meaning or
deepen understanding, or established practices in theatre (e.g., the soliloquy, aside)
Costume:
Any clothing worn by an actor during a performance.
Creative Drama:
An improvisational, process-centred form of theatre in which participants are guided by a leader to
imagine, enact and reflect on real or imagined experiences.
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
47
Crisis:
A decisive point in the plot of a play on which the outcome of the remaining acting depends.
Critique:
Opinions and comments based on predetermined criteria that may be used for self-evaluation or the
evaluation of the actors or the production itself. This is not a value free exercise. Critique is
influenced by values arising from worldview, culture gender, race and class
Culture:
Understanding, shared patterns of behaviour, practices, values and symbol systems that are
acquired, preserved and transmitted by a group of people and that can be embodied in art works.
Understanding culture in the South African context means viewing it as a world resource rather than
an ethnocentric line of defence or exclusive property of a specific person(s)
Culture fair:
Promoting and valuing respect for diverse cultures and an inside view of those cultures. Culture:
shared understandings and a shared world-view, often expressed in accepted lifestyles and
traditions. Culture is not a synonym for ethnicity. A culture-fair approach means that every person
has the right to be free from discrimination on the grounds (among others) of race, ancestry, colour,
religion, ethnic origin, citizenship, place of origin (xenophobia).
Denouement:
The conclusion of the play in which the problem is resolved.
Design:
The creative process of developing and executing aesthetic or functional designs in a production,
such as costumes, lighting, sets, and makeup
Devised drama:
Drama that is developed for performance without originating from a script, although a script may be
developed as part of the process of improvisation and work shopping.
Dialogue:
Words spoken by the characters in a play to communicate their thoughts, feelings and actions
Diction:
The pronunciation of words, the choice of words and the manner in which a person expresses
himself or herself
Directing:
The art and technique of bringing the elements of theatre together to make a play
Director:
The person who integrates an entire production into a unified whole, from the basic interpretation of
the text through all the acting and technical phases, up to the time of performance.
Drama:
A representation of life in a space by actors before an audience. A piece of writing intended for
stage presentation. Conflict, tension, emotional intensity.
LEARNING PROGRAMME GUIDELINES: DRAMATIC ARTS – 29 APRIL 2005
48
Dramatic Activity:
Any theatre-related experience, including pantomime, creative movement, improvisation, creative
drama, storytelling, choral reading, story dramatisation, story theatre, puppetry, readers theatre, role
playing and theatre games.
Dramatic Elements:
The elements including plot, character, theme, dialogue, music and spectacle.
Dramatic Problem:
An issue or question difficult to resolve confronting the characters in a play.
Dramatic play:
Spontaneous free play in which a child explores his / her universe, imitating the actions and
character traits of others. Make-believe and fantasy may be part of the experience. It is play for the
child’s own enjoyment and not for performance.
Dramatic / Plot Structure:
The organisation of a script or story line that may include exposition, rising action, climax and
falling action.
Dramatic media:
Means of telling stories by way of stage, film, television, radio or computer discs.
Elements of drama:
The key ingredients of drama (e.g., role, time, space, action, tension, focus)
Empathy:
Emotional identification of one person with another; to vicariously experience the sensual and
emotional state of another person. To empathise is to “walk in the shoes” of another. We
empathise if we feel with a character, we sympathise if we feel for a character.
Ensemble:
Working together as a unified whole in support of a common goal.
Exposition:
Detailed information giving an understanding of time, place, plot, character and theme.
Farce:
A comedy with exaggerated characterisations, abundant physical or visual humour, and often, an
improbable plot.
Form:
The overall structure or shape of a work that frequently follows an established design. Forms may
refer to a dramatic type (e.g. puppetry), which contains within itself a number of styles (glove
puppets, marionettes, and shadow puppets) or to patterns of meter, line, and rhymes (e.g. stanza
form, verse form) used in writing.
Formal theatre:
Theatre that focuses on public performance in front of an audience and in which the final
production is most important.
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49
Freeze-frame image:
A convention in which the members of a group use their bodies to make an image or tableau
capturing an idea, theme, or moment in time.
Flashback or Flashforward:
A convention that involves shifting backwards or forwards in time so that participants or the
audience can experience or investigate action or context from another perspective
Floor Plan (Ground Plan):
A scale drawing of a stage and /or setting as seen from above.
Focus:
An element of drama in which a particular moment in time or position in space captures the essence
of the dramatic action; or a theme, character, or other aspect that gives purpose or impetus to a
drama
Genre:
Literally, “kind” or “type”. In literary and dramatic studies, genre refers to the main types of
literary form, principally tragedy and comedy. The term can also refer to forms that are more
specific to a given historical era
Hot seating:
A convention in which class members question or interview someone who is in role (e.g., as a
character from a play, a person from history) to bring out additional information, ideas, and
attitudes about the role
Improvisation:
The spontaneous use of body, voice and mind to explore, create or present a character, role, object,
situation or scene without benefit of a script and with little or no preparation.
Inciting incident:
An act causing the forces of equilibrium to be destroyed exposing the main problem or conflict of
the play.
Informal theatre:
Theatrical performance that focuses on small presentations, such as one taking place in a classroom
setting. Usually, it is not intended for public view.
Informal drama:
Dramatic activity of any sort that is not designed for presentation, but is for the experience or
educational value.
Interpretation:
Analysis or appreciation of meaning in an art work by a viewer or listener; or the particular
meaning communicated by the performer of an existing art work
Linguistic registers:
The modification of pronunciation, articulation and word choice to reflect changes in status in
situation (e.g. formal vs. slang usage and pronunciation).
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50
Masks:
Coverings worn over the face or part of the face of an actor to emphasise or neutralise facial
characteristics
Melodrama:
A popular dramatic form characterised by an emphasis on plot and physical action (versus
characterisation), cliff hanging events, heart-tugging emotional appeals, the celebration of virtue,
and a strongly moralistic tone
Meaning:
What an artist expresses in an art work; or what a viewer or listener understands and interprets from
an art work
Mime:
A form of theatre performance in which action and character are suggested using gesture,
movement, and facial expression without words or sounds.
Monologue:
A long speech by a single character
Mood:
The emotional tone of the play
Motif:
A recurrent thematic element in an artistic or literary work
Motivation:
The reason behind a specific character behaviour; the inner drive that causes a character to act in a
certain way. The objective or what the character wants.
Musical theatre:
A type of entertainment containing music, songs and usually dance
Movement:
An expression of ideas or thought through gesture, transfer of weight, physical expressiveness or
movement through space
Narration:
A convention in which a person narrates the action that occurs within a drama
Obstacle:
That which delays or prevents a character from achieving a goal, thereby creating conflict
Pacing:
The tempo of an entire theatrical performance
Pan-African:
All African, inclusive of Africa in the Diaspora
Performance:
Any dramatic activity presented to an audience of at least one other person.
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51
Pitch:
The highness or lowness of the voice
Playing Space:
The area where dramatic activity occurs
Playmaking:
A term used to describe dramatic activities that lead to improvised drama with a beginning, middle
and end employing the general form and some of the elements of theatre.
Playwriting:
Playwriting is the act of creating the plot, theme, characters, dialogue, spectacle and structure of a
play and organising it into a playscript form.
Playwright:
A person who writes plays
Plot:
The story as revealed through the action and dialogue of the characters Plot structure usually
includes a beginning, middle and end with a problem, complications and a solution.
Point of View:
The perspective from which the story is told
Portfolio:
Collected evidence representative of a student’s work to include journal entries technical design
work, programs, original scripts or critiques, performances videos, research papers and other items
related to theatre study.
Process drama:
A form of drama in which the purpose is to participate in learning, inquiry, or discovery rather than
to present drama to an audience
Production:
The play or dramatic event mounted for performance.
Production organisation chart:
A written and / or pictorial representation that demonstrates the structure and flow necessary to the
development and presentation of a theatrical production
Production Concept:
The unified production/design that fulfils the director's thematic ideas of the play
Projection:
The placement and delivery of volume, clarity and direction, lighting, costuming, sets and makeup
Properties/Props:
Any decorative or functional object used on the stage (excluding scenery, lights and costumes) such
as furniture, utensils, ornaments and personal possessions.
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Proscenium Stage:
A traditional stage with a permanent framed opening (arch) through which the audience views the
play
Protagonist:
The main character of a play and the character with whom the audience identifies most strongly.
Puppetry:
The animation of objects, ranging from hands and paper bags to dolls while creating characters in
dramatic situations.
Reader’s theatre:
A performance created by actors reading a script rather than working from memory.
Rehearsal:
Practice sessions in which a cast prepares for performance through exploration and repetition.
Rising action:
The middle part of a plot consisting of complications and discoveries that create conflict
Regionalism:
Speech or manners representative of a specific geographical location
Resolution:
The part of the plot in which the dramatic problem is resolved
Response:
An actor's or character's reaction to any stimulus presented by character, event, or environment.
Role:
A character in a play or dramatic activity. Also the characteristics and expected social behaviour of
an individual in a given position (e.g. mother, employer, etc.)
Role-Playing:
Portraying a character in an informal dramatic activity in order to explore and represent experience
from their perspective or viewpoint; Role portrayal is likely to be more predictable and onedimensional than character portrayal.
Run-through:
A rehearsal moving from start to finish without stopping for corrections or notes
Scene:
1. A sub-division of an act; 2. An excerpt from a scripted work; 3. An improvisation having a
beginning, middle and end
Scenery/set:
The scenery constructed for a theatrical performance to represent the locale or visual environment
for the performance.
Script:
The written text of a play, including the dialogue, descriptions and directions provided by the
playwright.
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53
Self-concept:
A sense of knowing and appreciating oneself, an awareness of one’s potential, values, strengths and
weaknesses, an understanding of one’s image as perceived by others.
Scenario:
A detailed description or outline of the dramatic action in a scene or play.
Setting:
When and where a story or drama takes place.
Situation:
The given circumstances of a scene or improvisation.
Social text:
An artwork that refers to the society or culture in which it is made and that reflects the dynamics
within that society or culture
Social discipline:
Adherence to those beliefs, values and behaviours deemed acceptable by the group.
Soundscape:
A sequence of sounds shaped to enhance action and mood in a drama
Special effects:
Actual or simulated visual or sound elements used to enhance a theatrical performance (scenery,
properties, lighting, costumes, makeup, physical movement, dance)
Spontaneous Dialogue:
Ad-libbed or extemporized speech or conversation.
Stage crew:
The
backstage
technical
crew
responsible
for
running
Stage manager:
The director’s liaison backstage during rehearsal and performance.
responsible for the running of each performance.
the
show.
The stage manager is
Stage left:
The left side of the stage from the perspective of an actor facing the audience.
Stage right:
The right side of the stage from the perspective of an actor facing the audience.
Stock characters:
Established characters, such as young lovers, neighbourhood busybodies, sneaky villains, and
overprotective fathers, who are immediately recognisable by an audience.
Storytelling:
A dramatic convention in which a story is presented through action, dialogue, and narration (by an
external narrator or by characters within the drama)
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54
Style:
1. A specialised type of drama within a broader form (e.g., commedia dell'arte is a style within the
form of mask comedy); 2. The recognised manner or distinguishing way in which a particular type
of drama is written, created and presented and according to which it is interpreted; style often
relates to a particular historical period, movement, writer, or performer. Stylised usually means
anything which deviates from whatever is considered realistic at a given time. It is possible to have
a dramatic style (provided by the playwright) and a theatrical style (provided by the director and
collaborators). /
Subtext:
The unspoken meaning or intention behind the actions and dialogue of a text or a performance,
which is implied by paralinguistics and nonverbal behaviour.
Symbolic representation:
The use of visual objects to represent abstract ideas, thoughts, feelings, or qualities.
Tableau:
A silent and motionless depiction of a scene created by actors. The plural is tableaux.
Text:
Any construct that contains meaning and can be interpreted. In drama, it usually implies the
supplied structure, written or agreed upon, in any dramatic activity. It may be an oral or written
script.
Teacher in role:
A teaching strategy where the teacher manages a class from within a drama by taking a role to
deepen and extend students' inquiry and learning
Technique:
A particular method or procedure used to achieve a specific purpose; in drama, the term relates to
the use of voice, facial expression, gesture, and movement
Tension:
An element of drama in which mental pressure or emotional intensity is used to provoke a response,
focus attention, or heighten involvement
Theatre:
The imitation or representation of life performed for other people; the performance of dramatic
literature; the place where dramatic performances take place.
Theatre of the absurd:
Theatrical movement beginning in the 1950s in which playwrights created works representing the
universe as unknowable and humankind’s existence as meaningless.
Theatrical games:
Spontaneous group activities and non-competitive games, limited by rules and group agreement,
frequently used for warm-up, motivation and exploration of subtext. .
Theatre Heritage:
The historical, cultural and traditional background of all aspects of the theatre, including theatrical
literature, history, lore, conventions and taste.
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Three-Dimensional Character:
A fully-developed characterization reflecting all sides of the character.
Theme:
The central thought, idea or significance of action with which a play deals.
Transformation:
The internal or external changing of a person or object into another through imagination.
Upstage:
Used as a noun, the stage area away from the audience;
Used as a verb, to steal the focus of a scene.
Vocal quality:
The characteristics of a voice, which distinguishes its tone, quality and expression of mood/feeling,
e.g. shrill, nasal, raspy, breathy, booming, musical, warm, and so forth.
Vocal Characteristics:
Qualities of the voice that produce a distinctive sound: including pitch, range, timbre, volume, rate
and pause.
Volume:
The degree of loudness or intensity of a voice.
Warm-up:
An activity in which students limber up the body and voice and prepare to focus on the task at hand.
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ANNEXURE A: COMPOSITE MARKSHEET
GRADE 10 WORKSHOPPED PLAY
NAME:
Vocal
characterisation
Vocal clarity
Physical
characterisation
Stage sense - use of
space
Emotional
connection
Playing of subtext
Interaction –
listening
Interpretation of
Character
Believability
Development of
Relationships
Structure of Story
Development of
Characters
Creation of Dialogue
Development of
Themes
Theatricality /
Creativity
Overall Impact (5)
TOTAL:
[50]
1 = not at all; 2= to some extent; 3 = fully
1 = unsuccessful; 2 = partially successful; 3 = completely successful
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ANNEXURE B: LEARNER SELF-ASSESSMENT FORMS
1.
GRADE 11 SELF-ASSESSMENT OF PERFORMANCE IN ENSEMBLE SCENE
1 What did you feel most good about in regard to your performance?
2 What could have been improved in your performance?
3 Assess yourself in terms of the following:
a. Preparation through the process
b. Work in rehearsals
c. Work with the group
4 Assess your teacher in terms of the following:
a. Support and guidance
b. Preparation
c. Direction
d. Creating a good working environment
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5 Assess your performance in terms of the following:
a. Focus/Concentration
b. Detailed vocal characterisation
c. Detailed physical characterisation
d. Detailed psychological/emotional characterisation
e. Sustaining a character
f. Listening / reactions
g. Ensemble work
h. Ability to give meaning to text through pace, pause, emphasis, pitch etc.
i. Emotional connection
j.
Stage presence/ energy
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2.
GRADE 10 SELF-ASSESSMENT OF WORKSHOPPED PLAY
1. What did you feel most good about in regard to your performance?
2. What could have been improved in your performance?
3. Assess yourself in terms of the following:
3.1 Preparation through the process
3.2
Work in rehearsals
3.3
Work with the group
4. Assess your teacher in terms of the following:
4.1 Support and guidance
4.2 Preparation
4.3 Direction/Facilitation
4.4 Creating a good working environment
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5. Assess your performance in terms of the following:
5.1 Focus/Concentration
5.2 Use of Voice
5.3 Use of Body
5.4 Emotional/Psychological characterisation
5.5 Interaction
5.6 Stage presence/ energy
6 What have you learnt about:
a. Structuring a play
b. Creating dialogue
c. Creating characters
d. Developing themes
e. Working as a group
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ANNEXURE C: SAMPLE LESSON PLAN
GRADE 12: TERM 3
Teacher Topic: SA Theatre with specific agenda – Worker’s Theatre
Session No: 1
Grade 12 Dramatic Arts
Learning Outcomes:
LO3: The learner is able to identify and analyse the content, form and context of dramatic processes,
practices and products across a range of periods, cultures and styles.
AS1: evaluates at least three different texts in order to compare the diverse purposes of drama in
society, which include to entertain, to educate, to challenge, to celebrate, to propagate, to debate, to
reconcile and to contribute to personal and national healing
AS3: compares the roles and involvement in the Dramatic Arts of both the privileged and the
disadvantaged from various cultures and periods in terms of access, resources and patronage
Teacher’s
Learner’s activities
Resources
Assessment
Estimated
role
strategies
Time
Set up role
Learners to improvise role plays Copies of the Informal group 80 minutes
assessment of
plays; article
play of
and discuss one another’s
extracts on the role plays –
dispute
presentations
performances What worked?
between
Discussion of kinds of issues
Why? What did
of the plays
management raised by role plays; Discussion
we learn?
and workers
of possible steps which could be (e.g. from
in factory
Politics and
taken to settle disputes; refer to
Performance,
shop-floor
human rights issues – labour
ed. Liz
environment courts, worker’s rights etc.
Gunner)
Look at main reasons for
Facilitate
worker’s theatre – provide
class
discussion of collective bargaining tool;
demand union recognition;
worker’s
juxtapose impimpis with united
theatre
workforce etc.
Hand in group’s 80 minutes
Teacher
Give groups descriptions/copies
work in written
provides
of The Long March and The
form for
historical
Dunlop Play – group to answer
assessment.
background
specific questions:
to creation of Who did the performing?
worker’s
Who was the audience?
theatre in late Where did the performance
70s /early
occur?
80s
For what purpose was the
performance held?
What was the response to the
performance?
Teacher
Each group gives feedback on
assessment
what they have discovered
using rubric
Homework: Imagine you were in the audience at the first performance of one of the plays discussed
today. Write your response to what you have seen.
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This is a possible rubric which could be used to informally assess the role-plays mentioned above:
Assessing Group Role-Plays
Group 1:
Clarity of
Clarity of
NAME:
role taken
situation
developed
Appropriate
use of debate
Ensemble
work
Focus/
Concentration
Total
Impact of
presentation
Total
Cleo
Louis
Mpho
Masilo
0 = not at all; 1 = to some extent; 2 = fully
0 = unsuccessful; 1 = partially successful; 2 = completely successful
Assessing Group Feedback:
Group 1:
Accuracy of Explanation
NAME:
information
of purpose of
piece of
workers’
theatre
Imaginative
engagement
with topic
Ability to
work in group
Cleo
Louis
Mpho
Masilo
0 = not at all; 1 = to some extent; 2 = fully
0 = unsuccessful; 1 = partially successful; 2 = completely successful
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