Download Year 10 Drama Program 2017

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