The KING’S Medium Term Plan - Drama

Y10 LC2 Programme – 2015-2016

Module Scripted Performance

In this module students will develop their skills as performers through applying knowledge and understanding of drama to

the production of a full length play. Each student will be cast as a character through an audition process, experiencing first

hand the pressures of an audition room. In addition to rehearsing and performing the full length play in front of an open

audience, each student will develop their ability to critically analyse their own performance and the performance of others.

Students will develop their ability to self evaluate and peer assess to high level. In addition to this students will create

strategies to improve their own practice and master the ability to advise and direct others. Students will be working form the

Peter Hall version of ‘Animal Farm’.

Building on

prior learning

Students have developed skills in improvisation and rehearsal techniques over the last learning cycle. They are beginning to

develop their acting skills and understanding how character, setting and objectives impact on acting truthfully. Students have

developed focus skills and understand when and why focus and anarchy should be used. Students have developed skills in

performing with masks and are competent at creating diverse archetypical characters.

Overarching

Challenge

question

Who is the most important, the actor or the audience?

Lines of

Enquiry

Week 1: What does an audition process look like?

Week 2: What is an ensemble production?

Week 3: How do you play naturalistically in an ensemble production? – Task and tactic

Week 4: How do you play the ‘Given Circumstances’? – Give Circumstances

Week 5: How can the ‘Magic If’ help me? – Magic If

Week 6: How do I add colour to my performance? – Dynamic Staging

Week 7: Is acting possible without an audience?

Exam board

links:

Topic

Progress

Statement

Weeks’ 1-5: GCSE Drama (AQA 4240 – Unit 2 – Option 1: Acting) Progress objectives: by the end of this modules students will have developed skills to evaluate their own successes and failures. They will be able to identify good and bad practice and be able to develop strategies to improve their own practice and the practice of others. Students will analyse in detail various scripts from that are studied in the English curriculum. AO1: Create and develop ideas to communicate meaning for theatrical performance. AO2: Apply theatrical skills to realise artistic intentions in live performance. AO3: Demonstrate knowledge and understanding of how drama and theatre is developed and performed. AO4: Analyse and evaluate their own work and the work of others. Students will also develop their skills in answering the Unit 1 part of their course through a midterm and end of term written assessment.

Learning

strategies

Literacy: Literacy will be present throughout every lesson. Every student will engage with a written workbook that will be updated every week. They will be assessed every week and any SPAG issues will be highlighted and corrected as an additional task. In addition to this students will be working with 2 texts that are set texts on many exam boards syllabuses. Numeracy: Students will use numeracy through good timekeeping during activities, organising group numbers and managing their time at home by using their homework planner. Cognitive Acceleration: Cognitive Acceleration strategies included in this learning cycle are: Socratic questioning Higher level reasoning Problematised discussions Developing metacognition through high level inference evaluation

Knowledge and Skills

Understanding the cultural, historical and political importance of two set texts Critical analysis Peer Assessment Self Assessment Character creation Focus development Development of team work skills Development of high levels of inference Development of evaluation and critiquing skills Development of movement and vocal skills

Week 1

3 hours of

lessons plus 1

hour of home

learning each

week

Line of Enquiry - Week 1: What does an audition process look like?

Students will learn to:

Understand how auditions are conducted

Learn a monologue off by heart

Engage in exercises that aid the understanding of how to deliver monologue

Weekly success criteria across 3 lessons: GP 4 (Theory)

Understand how to emphasise possessive nouns

Understand how to use the add a word on process

Understand how the change of thought process works

GP 5 (Theory)

Use emphasis of possessive nouns

Use the add a word on to process to understand the monologue in more detail

Use the change of thought process to change the colour of your performance

GP 7 (Theory)

Understand which possessive nouns need emphasis and which do not

Use the add a word on process to articulate the effect your delivery has on the monologue

Articulate how the performance has improved by using the change of thought process.

Week 2

3 hours of

lessons plus 1

hour of home

learning each

week

Lesson Hypotheses:

Hypothesis 1 – Monologues are easier to perform than dialogues Home Learning:

Learn monologue by heart

Line of Enquiry - Week 2: What is an ensemble production?

Students will learn to:

Understand what is meant by an ensemble production

Identify a good use of ensemble

Master how to participate in ensemble work

Recognise the importance of music in ensemble work

Create the opening section of Animal Farm

Weekly success criteria across 3 lessons:

GP 4

Understand what is meant by an ensemble production

Understand how music is a benefit to an ensmble

Take part in the opening section of Animal Farm

GP 5

Understand how an ensemble production has benefits

Week 3

3 hours of

lessons plus 1

hour of home

learning each

week

Use music to enrich your performance

Commit to your performance in the opening section of Animal Farm

GP 7

Contribute to the ensemble using focus and energy

Articulate why music is beneficial to ensemble work

Offer suggestions of how to improve the performance of the opening section

Lesson Hypotheses:

Hypothesis 1 – Creating an ensemble is easy

Week 3: How do you play naturalistically in an ensemble production? – Task and tactic

Students will learn to:

Understand the 5 W’s and how to apply them to drama

Understand the meaning of ‘Perfection Partner’

Understand the process of critical analysis

Use Task and Tactic in their performance

Develop skills in actioning

Use voice and movement that suits their character

Weekly success criteria across 3 lessons: GP 4 (Theory)

Understand what the 5 W’s are (AO3)

Understand the meaning of the ‘Perfection Partner’ (AO4)

Understand what is meant by the term critical analysis (AO4)

GP 5 (Theory)

Articulate how to use the 5 W’s in drama (AO3)

Articulate the importance of a perfection partner (AO4)

Articulate how critical analysis works (AO4) GP 7 (Theory)

Explain the 5 W’s for your character in All My Sons (AO1)

Critique your partner effectively in their performance of All My Sons (AO4)

Critically analyse the performance of others and offer them advice on how to improve (AO4) GP 4 (Practical)

Use simple tactics to achieve my task (AO2)

Use simple actioning techniques to play my character (AO1)

Use voice and movement to play a simple character (AO1 & AO2)

GP 5 (Practical)

Use dynamic tactics t achieve my task (AO2)

Use dynamic actioning techniques to play my character (AO1)

Use voice and movement to play a dynamic character (AO1 & AO2) GP 7 (Practical)

Use complex but readable tactics to achieve my task (AO2)

Use complex but readable tactics to play my character (AO1)

Use voice and movement to play a complex character (AO1 & AO2) Lesson Hypotheses:

Hypothesis 1 – A character should always have Aspirations

Home Learning:

Complete the flow diagram entitled ‘My Objective Analysis”

Week 4

3 hours of

lessons plus 1

hour of home

learning each

week

Line of Enquiry - Week 4: How do you play the ‘Given Circumstances’?

Students will learn to:

Establish the given circumstances of a scene

Establish the given circumstances of a character

Identify how important knowing the given circumstances are

Articulate the given circumstances of ‘Mother’ in the scene Weekly success criteria across 3 lessons: GP 2 (Theory)

Describe what is meant by the given circumstances in a scene (AO2)

Describe what is meant by the given circumstances of a character (AO2)

Describe the given circumstances of ‘Mother’ (AO2)

GP 4 (Theory)

Identify the given circumstances of a scene (AO2)

Identify the given circumstances of a character (A02)

Identify how the given circumstances of ‘Mother’ will aid your playing of the character (ao2) GP 7 (Theory)

Articulate how the given circumstances will effect the way you play a scene (AO3)

Articulate how the given circumstances will effect the way you play a character (AO3)

Articulate how the given circumstances of ‘Mother’ will impact on character relationships (AO3) Further personalised success criteria will be allocated by the perfection partners following the rubric attached below

Lesson Hypotheses:

Hypothesis 1 – To understand a character we need to know the back story

Week 5

3 hours of

lessons plus 1

hour of home

learning each

week

Line of Enquiry - Week 5: How can the ‘Magic If’ help me?

Students will learn to:

Understand the meaning of the ‘Magic If’ process

Identify how the ‘Magic If’ can be used to improve performance

Develop an appreciation for subjective analysis

Weekly success criteria across 3 lessons: GP 4 (Theory)

Understand the meaning of the ‘Magic If’ (AO1)

Understand the meaning of subjective analysis (AO3) GP 5 (Theory)

Identify 3 ‘Magic If’ questions that will impact on your performance (AO1)

Create a realistic subjective analysis of your character (AO3) GP 6/7 (Theory)

Articulate how the 3 ‘Magic If’ questions have impacted on your performance (AO1)

Articulate how the subjective analysis has improved your performance (AO3) Further personalised success criteria will be allocated by the perfection partners following the rubric attached below Lesson Hypotheses:

Hypothesis 1 – It is easy to imagine yourself in the place of a character Home Learning:

Complete the section named: “My Subjective Analysis”

Week 6

3 hours of

lessons plus 1

hour of home

learning each

week

Week 7

3 hours of

lessons plus 1

hour of home

Week 6: How do I add colour to my performance? – Dynamic Staging

Students will learn to:

Peer assess in more detail

Offer constructive advice that improves performance with reference to staging

Develop own performance using the advice of their perfection partner

Align their performance using the complete success criteria

Weekly success criteria across 3 lessons: Personalised success criteria will be allocated by the perfection partners following the rubric attached below

Lesson Hypotheses:

Hypothesis 1 – By helping others to improve, I improve

Line of Enquiry - Week 7: Is acting possible without an audience?

Students will learn to:

Be an appreciative audience member

Apply their knowledge of peer assessment to assess their partners performance

learning each

week

Analyse their own performance in a viva-voce Weekly success criteria across 3 lessons: GP 3/4

Write a basic response to the question

Include some analysis of their performance in their response

Use a writing frame to structure a simple answer

GP 5/6

Write a detailed response to the question

Have a detailed analysis of their performance in their response

Use a writing frame to structure a detailed response

GP 7/8/9

Write a fully detailed response to the question

Have a detailed analysis that makes specific reference to the audience in their response

Use a writing frame to structure a full and detailed response

Lesson Hypotheses:

Hypothesis 1 – A drama essay should be a step by step guide to acting a part

Extended Learning

Learning Cycle Success Criteria

Students will consolidate their learning in their workbooks. They will constantly self evaluate and test their

knowledge through the completion of these workbooks. In addition to this they will be graded on 4 areas each

lesson. Rehearsal, Contribution, Skill and Homework. Each student will be pushed to improve their ability in each

and will be monitored throughout. Workbook is available for viewing by email: m.bowden@kingswarrington.com

Students will be working through the works of:

Stanislavski

Peter Hall

Max Stafford-Clark

Bertolt Brecht

Texts written by Stanislavski are available from Mr Bowden for further research

Needs Work

(GP1-3)

Bronze

(GP4-5)

Silver

(GP6-7)

Gold

(GP8-9)

Voice Little to no variety in pitch,

volume or tone

Words are not always heard they

may be mumbled

The voice does not fit the

character

An attempt is made at changing the

tone, pitch and volume of speech

All words are clear

The voice does not fit the character

completely

The tone, pitch and volume

change throughout and fit with

the script

All words are clear

The voice fits the character

The tone pitch and volume change a lot

during the performance, the actor uses

pauses to raise the tension in the scene and

an attempt is made at using accent

Every word is clear to the audience

Tempo of the scene Very little change in the tempo of

the scene

An attempt to change the tempo of

the scene

A good use of tempo change that

adds excitement to the scene

Tempo changes constantly throughout and

fits with the script

Staging Mistakes are made throughout

with actors being blocked and the

audience view being obscured

The actors always face the audience,

but the staging is dull and

uninteresting

Staging is interesting to look with

the actors using all of the stage

space

Staging is dynamic, with a use of levels,

proxemics and the audience view is never

impaired

Facial expression No attempt is made at changing

facial expressions

Facial expressions are used, but are

either too subtle or too over the top

Natural facial expressions are

used that fit with the script

Facial expressions are used throughout that

complement the script and the character

Understanding It is evident that the actor does not

understand what they are saying

The actor has an awareness of what

they are saying and uses a task that

fits with what they saying

The actor completely understands

what they are saying and this is

reflected in the tactics that they

choose

The actor understands the character and

script in full detail which is reflected in the

choice of tactics used

Physicality No attempt is made at changing

the physicality for performance

The physicality stays the same

throughout

An attempt is made at changing the

physicality but it may be to subtle,

or too obvious to seem realistic

A change of physicality is used

that is clear and not too over the

top

The physicality of the character has changed

and it fits with the profile of the character