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Year 12 ATAR Drama Program 2020WeekKey teaching points and AssessmentsSyllabus contentAssessments/ Resources1Overview of key teaching points for Unit 3 and the ways in which the content will progress from Unit 1 and Unit 2.Emphasise this unit is about the possibility of taking familiar texts and reinterpreting them for contemporary audiences by adapting forces, approaches to design and performance.Handout syllabus documents, programs and scheme of assessments.Re-cap on prior knowledge and drama terminology.Introduce Anne Bogart: Practical warm ups and brief synopsis on her theory. Students to read When the rain Stops Falling at home. physical and text-based approaches to voice and movement preparations for particular texts, forms and styles and contexts of performancecontemporary approaches to the role of the director, that manipulate the elements of drama and relationships between drama roles, through improvisation and other rehearsal processesreinterpretation of historical and contemporary forms and styles by manipulating the elements of drama and directing and design processes through improvisation and collaborative processesSyllabusProgramLaminated Viewpoints CardsThe Viewpoints Book: Anne Bogart2–4Introduction to Anne Bogart, moment theatre and viewpoints: Refer to ‘View points’ book.“Engaging with class discussion: ask students what their favourite moment was in a piece of theatre they have seen. Share answers and see if there are any similarities.Practical activity: Get students to go on stage and start by saying “I begin” have a moment then end with “ I end”. Watch the moment and see what stories begin to unfold. Next step is to change the tempo (speed ) which relates to view points.At the end of the workshops get students to record what they did, how they did it and why. In a table hand-out. Introduce Anne Bogart and her methods. Continue to do Anne Bogart exercises. (choose workshops from Viewpoints book) Show PPT on Anne Bogart. Discuss When the rain Stops Falling in terms of context, themes, characters, relationships and situations (using the elements of drama)Use excerpts from the ‘When the rain Stops Falling’ and apply techniques of viewpoints. Week 3: PPT on When the rain Stops Falling: context, forces, characters, audience theory, text based approaches, style and form. Go through the PPT with students. Students will participate in activities which explore the text and link to performance assessment. Week 4: improvisations looking at a theme and selected force from ‘When the rain Stops Falling’ Write up looking at the rehearsal process. Theory focusing on using graphic organisers in the written exam.voice techniques (posture, breathing techniques, voice production, articulation, pace, pause, pitch, projection, phrasing, tone and accent as appropriate and dynamics) for clarity, control and flexibility of voice in performance appropriate to text, forms and stylesmovement techniques (facial expression, posture, gesture, gait, weight, space, time, energy and proxemics) to achieve precision and control of movement in performance appropriate to text, forms and stylesstrategies and approaches to performance developmentphysical and text-based approaches to voice and movement preparations for particular texts, forms and styles and contexts of performancefocus and spatial awareness in reinterpreting dramatic texts, contexts, forms and stylesdynamic relationship between drama conventions and their historical, social and cultural contexts, at the time of creation and in subsequent performancesforces that contribute to the reinterpretation of drama for contemporary audiencesimpact of changing historical, social and cultural values on drama production for audience receptionforces that contribute to the reinterpretation of drama for contemporary audiencesthe elements of drama (role, character and relationships, situation, voice, movement, space and time, language and texts, symbol and metaphor, mood and atmosphere, dramatic tension) focusing on characterisation developed through the combination of physical and psychological approaches to role and dramatic action refined through improvisationthe elements of drama to create dramatic action by exploring choices (varying light and darkness, sound and silence, stillness and movement, colour and space) to support selected themes, approaches and theoriesthe elements of drama used in historical and contemporary preparation processes including physical and text-based approaches in the re-interpretation of drama for contemporary audiencesthe elements of drama shaped through improvisation to critically engage with role, character, situation and themes in reinterpreted drama for contemporary audiencesrelationships between selected forms and styles appropriate to chosen texts shaped by viewpointstechniques of structuring and reinterpreting drama texts based on forms and styles for audiences Table on workshops.The Viewpoints book: Anne BogartPPT Anne BogartWhen the rain Stops Falling scene excerptsPPT: When the rain Stops FallingGraphic Organisers hand-out5-8Introduction to Task 2: Reinterpretation of When the rain Stops FallingDue: Term 1 Week 8Go through task sheet with students.Read When the rain Stops Falling as a class and discuss themes and issues in the text. Explore the forces of the play through class discussions, research and improvisation workshops. Workshop to experiment with the elements of drama, spaces of performance and selected design principles to support making meaning in the context of the external examinationStudents rehearse and block chosen scene from ‘When the rain Stops Falling’ in groups.Students incorporate Anne Bogart’s methods into their scenes: Review her methods and apply to work.Students use a text based approach in shaping their performances.Students will participate in improvisation workshops. Students review Theatre spaces and scenographer choices – selecting non-purpose/manipulating built spacesGo through interview questions with students and get them to revise over structure and drama terminology. Students create stage manager’s prompt copy and review metonymic design conceptsStudents read chapter 3 and discuss Audience Theory (Identification, aesthetic distance)Review marketing/publicity and Management skillsFinal rehearsal of Task 1 with a technical and dress rehearsal.Students perform scenes and showcase to an external audience. Due: Week 8Week 8: NO CLASSES due to Year 12 Retreat Review performances and give feedbackReview key content relevant for Task 2: Extended response. Due: Week 9Review of key skills and processes in writing an extended response.conventions of improvisation (breaking routines, dynamic use of space) in reinterpreted drama for contemporary audiencesconventions of interpreting a script explored through improvisation in reinterpreted drama for contemporary audiencesthe collaboration of director and scenographer with the actors, dramaturge, lighting designer, sound designer and costume designer in reinterpreted drama for contemporary audiencesprinciples of design (balance, contrast, emphasis, harmony, repetition, unity, variety, movement, scale/proportion, pattern, rhythm), visual elements (line, shape, texture, colour, tone/value, 3D form and space) and design technologies appropriate to design roles, chosen text, available technologies and performance spaceimpact of design and technologies on the reinterpretation of devised and scripted dramaways that performers and spectators can interact in a given space, such as shaping and directing the role of the audience during dramaways that different performance spaces (conventional theatre spaces, found or adapted spaces) shape audiences’ interpretations of drama through the social, historical and cultural values they representadaptation of purpose-built spaces for specific performance purposesconventions of recording reinterpreted drama for a contemporary audience (stage manager’s prompt copy, metonymic design concept overviews)audience theory, such as identification and aesthetic distance, appropriate to reinterpreting drama for contemporary audiencesintellectual property rights and performance rights in drama in a 21st century contextsafe working practices in drama in purpose-built/found performances spacesvisual elements and principles of design in publicity of set text performancesTask 1: Due Week 8When the rain Stops FallingChapter 10: Spaces of performance (Nicole Stinton)Sample questions Interview questions Chapter 3: Audience(Nicole Stinton)Chapter 11: Arts Marketing(Nicole Stinton)9-11Week 9: Students begin searching for monologues for Task 3: Dramaturgical Report. Due Term 2: Week 1.Week 10 – Week 11: Monologue development Review of practical examination marking key Exploring designer choices for monologueThe collaboration of director and scenographer with the actors, dramaturge, lighting designer, sound designer and costume designer in reinterpreted drama for contemporary audiencesRelationships between selected forms and styles appropriate to chosen texts shaped by viewpointsdevelopment of theoretical approaches to drama, with a focus on particular approaches, in the context of historical and contemporary social and cultural trendsdramaturgical processes related to reinterpretation of scripted drama, such as historical, social and cultural customs and their meanings in contextTask 2: Due Week 9Task 3: Task sheetDramaturgical report PPTPractical exam marking keyDesigner roles PPTTerm 21-3Review term 1: Anne Bogart’s ‘View Points’ and ‘Moment Theatre’.Workshop to explore the features of an effective scripted monologue for the purposes of the examination that demonstrate syllabus content.dramaturge role: How would you support your own performance as a dramaturge? Due end of Week 1Workshop to explore, through improvisation, contemporary forces that connect with scripted monologue and, where possible, the whole play’s forces.Workshop to experiment with the elements of drama, spaces of performance and selected design principles to support making meaning in the context of the external examination.Presentation of scripted monologues for feedbackTask 4: Scripted Monologue Due end of Week 3.Techniques of structuring and reinterpreting drama texts based on forms and styles for audiencesDynamic relationship between drama conventions and their historical, social and cultural contexts, at the time of creation and in subsequent performancesConventions of interpreting a script explored through improvisation in reinterpreted drama for contemporary audiencesAudience theory, such as identification and aesthetic distance, appropriate to reinterpreting drama for contemporary audiencesRelationships between selected forms and styles appropriate to chosen texts shaped by viewpointsWays that different performance spaces (conventional theatre spaces, found or adapted spaces) shape audiences’ interpretations of drama through the social, historical and cultural values they representImpact of design and technologies on the reinterpretation of devised and scripted dramaTask 3: Due Week 1Task 4: Scripted Monologue Due Week 34Practical exam in Week 4 TBA Go through Practical examination process: ImprovisationsInterviewWeek 4 Revision week: Revise over Section 1 of the exam: Analysis of unseen scriptRevise over Section 2 of the exam: Extended responseLink back to the syllabus for Unit 3.Written Exam in Week 5&6Students are expected to develop skills and abilities in multiple drama‐based forms of communication, including:short- and extended-answer formsgraphic organisers, diagrams and illustrations with appropriate annotations and colourinterviews and other oral presentationsStructuring of ideas and responses.Conventions of improvisation (truthfulness, advancing the scene) in contemporary and devised dramaVoice and movement techniques in contemporary and devised dramaTask 5: Practical Exam Due Week 5Task 6: Written Exam Due Week 6/77-9UNIT 4Hand back & Go over Task 6&7 Practical and Written ExaminationWhat were the strong pointsWhat were the weaknessesHow can we improve?Review of Unit 4: Contemporary and devised DramaReview of key content from Unit 3: reinterpreting drama and finding connections between forces past and present to help make meaning in drama for audience.Students will be spending less time on realising a scripted performance of End Game as a large portion of the unit will be focused on the original solo performance and the external examination expectations.Task 7: Due Week 9 -Analysis of an Unseen scriptIntroduction to Task 9: Scripted interpretation of a key scene with design support. Reading End Game and discussing the themes and the context.Selection of key scene for Task 8 and the nomination of a role: director, dramaturge or designer different from Unit 3. Go through diagrams, annotating and graphic organisers to support designer role. Scheduling rehearsal processes to allow time for acting role work and non-acting role work for Task 8.Go through selection and adaptation of non-purpose performance spaces. Students are expected to develop skills and abilities in multiple drama‐based forms of communication, including:short- and extended-answer formsgraphic organisers, diagrams and illustrations with appropriate annotations and colourinterviews and other oral presentationsstructuring of ideas and responses.Techniques of manipulating audience perspectives (selection, omission, subversion and emphasis) through the elements and conventions of dramaConventions of improvisation (truthfulness, advancing the scene) in contemporary and devised dramaDynamic relationships between existing and emerging drama conventionsVoice and movement techniques in contemporary and devised dramaSeclection and adaptation of non-purpose performance spaces.Drama forms and styles?? selection of dramatic forms and styles to create dramatic meaning for audiences and contexts by manipulating and controlling the elements of drama, directing and design processes?? personal style informed by existing forms, styles and contemporary approaches?Drama conventions?? techniques of manipulating audience perspectives (selection, omission, subversion and emphasis) through the elements and conventions of drama?? conventions of improvisation (truthfulness, advancing the scene) in contemporary and devised drama?? dynamic relationships between existing and emerging drama conventions?? conventions of interpreting a script explored through improvisation in contemporary and devised drama?? conventions of documenting contemporary and devised drama (creating a performance vision for self-devised and original drama)?? audience theory including techniques for manipulating and directing audience responses appropriate to contemporary and devised drama?Values, forces and drama practice?? impact of drama that reinforces, shapes and/or challenges historical, social and cultural values?? forces that are challenged by contemporary and devised drama?? development of new/experimental approaches that synthesise practical and theoretical approaches to drama in the context of contemporary social and cultural values?? dramaturgical processes related to contemporary and devised drama including structuring drama for character journey?Hand back Exams.Unit 4 hand-outTask 7 unseenTask 9: Task sheetUNIT 4WeekKey teaching points and AssessmentsSyllabus contentAssessments/ ResourcesTerm 3Week: 1Week one:Task 8: Students will watch a theatre performance and do a review on it focusing on the Principles of Design & Visual Elements of DesignWorkshop exploring the approaches to directing used by and Meyerhold and their physical theatre approaches.Also look at Frantic Assembly and link both. Focus on Robert Lepage and his approaches to design. Rehearsal processes on how to communicate key themes and forces in the scenes selected from End Game.Drama forms and styles?? selection of dramatic forms and styles to create dramatic meaning for audiences and contexts by manipulating and controlling the elements of drama, directing and design processes?? personal style informed by existing forms, styles and contemporary approaches?impact of drama that reinforces, shapes and/or challenges historical, social and cultural valuesDevelopment of new/experimental approaches that synthesise practical and theoretical approaches to drama in the context of contemporary social and cultural values Design and technologies?? the collaboration of director and scenographer with the actors, dramaturge, lighting designer, sound designer and costume designer in contemporary and devised drama?? principles of design (balance, contrast, emphasis, harmony, repetition, unity, variety, movement, scale/proportion, pattern, rhythm), visual elements (line, shape, texture, colour, tone/value, 3D form and space) and design technologies to manipulate the relationship between the elements of drama in contemporary and devised drama?? impact of design and technologies on the reinterpretation of devised and scripted drama?Drama Conventions:*audience theory including techniques for manipulating and directing audience responses appropriate to contemporary and devised drama?Task 8 task sheetNelson Drama for Secondary students: Meyerhold theory and exercises. Pg 30-38Frantic Assembly – book of devising theatre. End Game PPT2–4 Task 9: Scripted interpretation of a key scene with design support. Due Week 3Workshops to consolidate students’ understanding of key content and processes for Task 8 and for the written and practical component of the external examinations.Students will be given opportunities to reflect in oral and written forms on their progress.Students will be encouraged to reflect on past productions of End Game to help identify patterns in approach to directing, acting and design and critically evaluate effective ‘meaning making’ and audience impact.Time will be allocated for technical and dress rehearsals, with a focus on creating a performance with effective transitions and a sustained development in mood, dramatic tension, energy and themes in the key scenes.Final performance will be presented to other drama students from Year 11 and Year 10, as appropriate.Task 10: Extended response on End Game and When the rain Stops Falling. Due Week 3.Revise over extended response structureLook at graphic organisers How do we write about 2 texts in 30 minutes?The elements of drama focusing on role/characterisation in contemporary and devised drama, shaped through the combination of physical and psychological approaches, to the interpretation of role and dramatic action refined through improvisationThe elements of drama to create dramatic action, by exploring choices about varying light and darkness, sound and silence, stillness and movement, colour and space in contemporary and devised drama, to emphasise selected themes, approaches and theoriesImpact of drama that reinforces, shapes and/or challenges historical, social and cultural valuesForces that are challenged by contemporary and devised dramaDevelopment of new/experimental approaches that synthesise practical and theoretical approaches to drama in the context of contemporary social and cultural values.Dramaturgical processes related to contemporary and devised drama including structuring drama for character journeyThe collaboration of director and scenographer with the actors, dramaturge, lighting designer, sound designer and costume designer in contemporary and devised dramaPrinciples of design, visual elements and design technologies to manipulate the relationship between the elements of drama in contemporary and devised dramaImpact of design and technologies on the reinterpretation of devised and scripted dramaTask 9: Due Week 3Task 10: Due Week 35–8Introduction to Task 11: Original solo performance based on one practitioner’s approachReview of samples of past performances that were successful in terms of making meaning and audience impact, including Performing Arts Perspectives performance from previous years.Workshop processes to allow students opportunities to explore the approaches taken by practitioners, VE Meyerhold and Anne Bogart.Discussion about the process of aligning theme and audience impact with the approaches taken by particular practitioners.Students are given time to research, plan, collaborate, experiment and refine their approach to their original solo performances, including use of design to support making meaning.Students will draft their statements outlining the major themes, approaches and impact based on their emerging understanding of their original solo performances.Students may explore the use of a technician in the practical examination and external examination.Students will regularly present improvisations following a typical practical examination scenario relevant to their original solo performances; peers will use the marking keys to provide feedback on individual student performances.Drama Night: Tuesday Week 8Reflect on the Drama Practical (Performance) Examination Requirements.Techniques of manipulating audience perspectives (selection, omission, subversion and emphasis) through the elements and conventions of dramaDynamic relationships between existing and emerging drama conventionsConventions of documenting contemporary and devised drama (creating a performance vision for self‐devised and original drama)Audience theory including techniques for manipulating and directing audience responses appropriate to contemporary and devised dramaImpact of drama that reinforces, shapes and/or challenges historical, social and cultural valuesForces that are challenged by contemporary and devised dramaDevelopment of new/experimental approaches that synthesise practical and theoretical approaches to drama in the context of contemporary social and cultural valuesDramaturgical processes related to contemporary and devised drama, including structuring drama for character journey.Drama processes and the elements of drama?? strategies and approaches to performance refinement processes?? the elements of drama (role, character and relationships, situation, voice, movement, space and time, language and texts, symbol and metaphor, mood and atmosphere, dramatic tension) focusing on role/characterisation in contemporary and devised drama, shaped through the combination of physical and psychological approaches, to the interpretation of role and dramatic action refined through improvisation?? the elements of drama to create dramatic action, by exploring choices about varying light and darkness, sound and silence, stillness and movement, colour and space in contemporary and devised drama, to emphasise selected themes, approaches and theories?? the elements of drama used in strategies and processes to rehearsing and directing (improvisation, systematic corrective rehearsal, shaping, pacing) in contemporary and devised drama?Voice and movement?? voice techniques (posture, breathing techniques, voice production, articulation, pace, pause, pitch, projection, phrasing, tone and accent as appropriate and dynamics) to achieve clarity, control, flexibility and modulation of voice in performance in contemporary and devised drama?? movement techniques (facial expressions, posture, gesture, weight, gait, shape, space, time, energy and proxemics) to achieve precision, control and flexibility of movement in performance in contemporary and devised drama?? practical and theoretical approaches to voice and movement preparations for contemporary and devised drama?? focus and spatial awareness in self-devised and contemporary drama?Oral Communication??interviews and other oral presentations?? structuring of ideas and responses.?Task 11 OSP: Task sheetDue Week 7 Performed at Dramed NightWeek 9-10Task 12: Drama Practical Examination Due: Week 8 TBA. Reflect on the Drama Practical (Performance) Examination Requirements.Spontaneous improvisations.Interview.Script format.Week 10: Hand back results and go through what’s working and what needs work.Revising over the Drama syllabus Revising for the Written Examination.Developing skills and abilities further in multiple drama‐based forms of communication, including:short- and extended-answer formsgraphic organisers, diagrams and illustrations with appropriate annotations and colourinterviews and other oral presentationsStructuring of ideas and responses.Practical exam Task 12: Due Week 8Written Exam Task 13: TBA Study skills: Note taking and annotatingHighlighting important notes from handoutsUse the planner to record homework / due dates for assessmentsUsing graphic organisers Review and revise materials before testTesting terminology on a weekly basisRecording work-shops and activities done in class. Watching and reflecting on performance work. Asking for feedback from teacher and students. ................
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