Drama
Curriculum
D.Howes
Subject Performance Leader
Introduction
The GCSE Drama specification is designed to give you a broad and balanced experience of Drama. You will be given the opportunity to develop not only your performance skills but also your design skills in areas such as: Lighting design Sound design Set design Costume, Hair and Make-Up Design.
Key Skills & Understanding:
Critical Thinking · Research · Conceptualising · Working with Abstract Ideas · Experimentation · Cultural Awareness · Interpretation
let's take a look...
7
YEAR
Theme/Unit
Class Content
Independent Study
Assisted Study
Introduction to Acting
Introduction to acting skills, physical, vocal and interaction workshops. Brief exploration of naturalistic and non- naturalistic performance techniques for storytelling onstage with character.
Lesson 1: Getting to know you worksheet / acting skills ‘matching words to definitions.
Lesson 3: Back-story for character / storyboard.
Lesson 5: bring in relevant costume and props for practical
Optional: Spelling/key terms SMH quiz.
Ensuring character worksheet is completed neatly, lots of personal detail, clear date/title with relevant underlining. Reminding their son/ daughter to bring in appropriate props/costume items and that key-terms are used correctly, e.g. storyboard work/exercise books.
Brecht and Epic Theatre
Exploration of Brecht’s alienation technique for performance and political/issue based theatre, exploring ‘slap and tickle’ (juxtaposition), Gestus, breaking the 4th wall and vocal/physical character work. Looking at Brechtian set design onstage and using stimuli (lyrics to ‘Mack the Knife’) as starting points to create our own mini-Brecht performances.
Lesson 1: Background/facts research activity on Brecht
Lesson 4/5: Bring in relevant costume/props for formal assessment.
Supporting student with Brecht research (differentiated outcomes). Reminding their son/daughter to bring in appropriate props/costume items – this will be a formal assessment, they will need this for recorded performance.
Darkwood Manor
Continued development of non- naturalistic drama exploration via genre work and ‘mystery’ as a storytelling device in literature. Aiming students to take leadership roles as per curriculum aims and work with script and stylized, melodramatic character. A fun,
‘mysterious’ whodunit-style storytelling scheme.
Lesson 3: back-story spider gram for their chosen character.
Lesson 7 Word/Meaning/When I Used This - self-evaluation.
Please support your son/daughter with accurate, interesting ‘back-story’ character ideas, this homework will serve as ‘flipped learning’, the ideas for this homework transfer to practical the following lesson.
Please ensure their self-evaluation work at the end of this unit is completed neatly (date/underlined properly with a ruler/clear title.
Darkwood Manor
"Rehearsal techniques and script work. Analysis of ‘given circumstances’,
‘subtext’, ‘units and objectives’. A skill- building unit on how rehearsal techniques build character pictures and develop individual performance. Emotion Memory, Imagination exercises, Hot Seating, Thought Tracking "
"This unit mirrors C2 (scripted) for Eduqas GCSE, an entirely practical unit with little written content.
On-going: Line-learning for 2 contrasting scenes for performance.
Lesson 6/7: Write-up of ‘artistic intentions’ sheet for character performance "
"Students will benefit their child through line learning support, parents to test their cues and that they have fully learnt the order of their dialogue in the scene.
Artistic Intentions are clear, as per the homework, 2 examples of action are written in the 120 word write-up. "
Set and Stage Design
Evaluating the stage space and its meaning in a production via scenery, set dressing, furniture, props, stage items (fixed and movable) and exploring our own interpretation on existing plays and ideas for staging.
"Lesson One: look at the designs you completed in lesson and write down the changes that would need to be made for a Traverse,
Lesson 4: Completion of set design project booklets from home. "
This is a theory unit, students will need to come up with their own ideas and research past productions, they may need pointing in the right direction for help with concepts.
Theatre Through the Ages
Modern European Theatre from its roots in Ancient Greece, ‘Restoration’ Theatre and Shakespeare, a ‘taster’ on Stanislavski in the 20th Century, recap on Brecht work from Year 7.
"Lessons 1-6: Show My Homework quizzes on below, these will reflect the learning aims.
Greek Theatre, Restoration Theatre Shakespeare, Stanislavski, Brecht "
Students have the chance to improve their quiz score and can take the quiz again, encourage students to identify errors.
Drama
Y7 | Key Stage 3
Drama
KS3
Steven Berkoff
A scheme of work helping students explore the methods and key ingredients to Berkoff’ s physical style of theatre. The scheme aims to enrich student appreciation of how this style can be used to tell stories – both devised and scripted. Berkoff is heavily workshopped at KS4.
"Lesson 2: Key terms spelling and knowledge quiz, SMH.
Lesson 3/4: Performance grid challenge – label, in no more than 6 frames, your performance and the techniques you used today.
Lesson 5: Complete evaluation of performance
Lesson 10-12: Bring in relevant props/ costume for ‘Silent’ performances and / or Metamorphosis scripted performance. "
Ensure incorrect spelling is amended and written in to books / quizzes re-taken.
Evaluations follow writing frames advice and apply key terms from relevant worksheet.
Charles Causley’s ‘Timothy Winters’
A scheme of work looking at ‘kitchen-sink’ realism, specifically focused on 40s / early 50s in England and working class living conditions and the impact on young children during the early foundations of the ‘welfare state’. Students use poetry as a stimulus for their Drama work. They also develop script-writing skills, a skill needed for C1 GCSE (Devising).
Lesson 1: Background/facts research activity on Brecht
Lesson 3: Students review this before their script lesson
https://www.bbc.co.uk/bitesize/guides/ zqwycdm/revision/6
Lesson 5: Students complete their Timothy Winters evaluation.
Please ensure students read the Bitsesize advice in Lesson 3 (see link), that welfare state research is not copy/pasted from Wikipedia and their own words. Evaluations follow writing frame advice and students aim to apply new key terms from the relevant worksheet box.
Scripted 2: Blue
A scheme of work that advances script
This unit mirrors C2 (scripted) for Eduqas
Students will benefit their child through line learning support, parents to test their cues and that they have fully learnt the order of their dialogue in the scene.
Set Design projects are fully completed and include stage type justifications (as per work booklet instructions).
Research is accurate for mood board creation, these are neat and clear.
Students may need support
when writing about ‘process’, not just the evaluation of performance.
Aim for them to write in the first person and identify individual contributions to ideas as per the writing frames.
Remembered Skills
Exploration from Year 7 with the WW2-set Blue Remembered Hills TV-play. Using adult actors as children, this is an affectionate drama, capturing the traumas of childhood beneath the apparently innocent surface. We are reminded that adults are children who have simply substituted subtly for spontaneity. Our affection for rose-tinted youth is not always justified. Throughout the scheme, work further explores rehearsal techniques used at KS4 as well as developing artistic intentions for the stage (both acting and design).
GCSE:
Lesson 3: Complete set design ideas for your chosen scenes, including stage type justification.
Lesson 5: Research WW2 fashion, create a moodboard of outfits of primary school uniform and men and women’s fashion of the late 30s/early 40s.
Lesson 6: Learn lines for final assessment in Lesson 7.
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Hillsborough Tragedy- devising from a stimula.
A scheme of work building on leadership 'creatin' skills and devising ideas from the true story stimulas Hillsborough Students build on Berkoff 'physical' performance techniques (unison,canon, mime) and explore montage, flashback as storytelling devices, they also hone 'rehearsed' improvisations for the stage and use empathy to respond to the real time unfolding events leading up to the tragedy as well as stories from survivors/ victims.
Lesson One: POV research project.
Lesson 5: Evaluation of process and final performance pieces.
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Y8 | Key Stage 3
Drama
Theme/Unit
Class Content
Independent Study
Assisted Study
8
YEAR
Y9 | Key Stage 3
Drama
Theatre Review
(of students’ own performance work)
"This scheme of work builds on prior lesson exploration (theatre through the ages, character work and set design) as they analyse the importance of audience interpretation to an acting performance and set design.
We look further in to rehearsal techniques but most importantly refine our ‘responding’ skills through peer review of performances and analysis of effective live theatre (historic plays, contemporary).
This links to C3 Section B of Eduqas’ GCSE Drama where students are asked to review a live piece of theatre (27% of their final GCSE!).
It is also a useful consolidation of prior written assessment work from Berkoff evaluations, Timothy Winters and BRH and Hillsborough. "
Final Lesson:
Write a full theatre review of a production you’ve seen this term in your Drama lesson. Choice of acting or set design.
Students will need to follow appropriate writing frames and use and make notes to support their review work.
These notes must be returned the following lesson.
9
YEAR
Theme/Unit
Class Content
Independent Study
Assisted Study
AUTUMN 1
Rehearsal, Performance, Style,
Component 1 (week 1-8)
Weeks 1-5: GCSE Drama: Rehearsal and Performance Techniques Workshops
Component 1 Study:
Weeks 5-8; Practitioner/Genre Study – Stanislavski & Brecht
Week 7-8: C1 Portfolio Skills Part 1 (Schemes of work include opportunities for short assessed performances, introducing C1 as a unit - formally assessed in Year 11 – aims are to develop student knowledge of performance conventions, rehearsal techniques, introduce mark scheme for the portfolio / performance sections).
This will depend on the unit being studied each half term. 3 units make up the GCSE qualification, all 3 units are officially assessed (internally and externally) in Year 11 as per the above course breakdown.
When students study each unit, wesend home a lot of support materials;
Tracking sheets (students fill in their working grade for each unit each term in line with their KST, setting targets and acknowledging strengths)
Writing frames
Exemplar responses to past papers
Devised log books
Photocopies of scripts
Past student portfolio andevaluation examples with annotations on good practice
Component 1 (Devised, Portfolio, Evaluation) 40% of GCSE
Please ensure:
Independent research on practitioner has been written in their own words and the practitioner’s ethos, background, aims, techniques is clear to understand
Portfolio re-drafts show an improvement by responding to teacher marking (feed forward).
Line learning is being undertaken during practical assessment
Checking spelling, punctuation, grammar (SPAG), dates/titles on work
Independent after school rehearsals are taking place
AUTUMN 2 Style Exploration &
Continuation of Component 1"
*Update pending*
Week 9 - 13: Practitioner/Genre Study –Frantic Assembly & Steven Berkoff Week 14-15: C1 Portfolio Skills Part 2 /C3 Read through of the opening scenes of DNA (Schemes of work continue to explore C1 assessment criteria and choice of genre/styles and how the performance/portfolio works)
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SRING 1 Component 3 Study – Section A DNA
Component 3 Study:
Week 1-6: Section A: practical study of DNA, Dennis Kelly – C3 Set text
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Component 2 (Scripted) 20% of GCSE Please Ensure:
Independent after school rehearsals are taking place with their group/partner and rehearsal calendar is known to yourselves (tech/dress rehearsals etc)
On-going line-learning – helping test their dialogue, cues etc
Their Artistic Intentions match their verbal description of how they intend to perform their characters onstage, this is no more than 400 words and uses key physical/vocal terms as often as possible in the write-up (key terms sheet will be given to them). That they write this up in line with the writing frame given to them Discuss with them their motivation for their character(s) – does this match their AIs?
Sourcing of props, set, costume if necessary
Controlled Assessment / C3 Review
Week 7-8: Controlled Assessment for C3 and DNA (Section A of the written exam): (Development of exam technique – structuring of answers for questions in this exam, timing, use of key terms in content of written answers, review of strengths/areas for improvement for summer mocks)
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Component 2 “Mock”
Run – A Performance from a Text
Component 2 Study:
Weeks 9-13: C2 Performing from a Text – Developing knowledge and understanding of acting skills in relation to a text, getting to understand the mark scheme (this is an externally assessed unit by a visiting examiner in Year 11), learning how to write an ‘artistic intentions’ form and outlining performance intentions.
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SUMMER 1 Component 2
“Mock”
Weeks 1-2: Mock C2 Performing from a Text Mock Exam
Tech/dress/ performance fortnight, possible public performances
Component 3 Study:
Weeks 3: Section B “Interpreting Theatre” Live Theatre Review Evaluating the work of others (based on theatre visit OR C2 performance by another group, looking at mark scheme for Section B on writing a Theatre Review)
Component 1 Study
Week 4-5-: Practitioner/Genre Study –Antonin Artaud and ‘Theatre of Cruelty*
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Component 2 (Scripted) 20% of GCSE
Please Ensure:
Independent after school rehearsals are taking place with their group/partner and rehearsal calendar is known to yourselves (tech/dress rehearsals etc)
On-going line-learning – helping test their dialogue, cues etc
Their Artistic Intentions match their verbal description of how they intend to perform their characters onstage, this is no more than 400 words and uses key physical/vocal terms as often as possible in the write-up (key terms sheet will be given to them).
That they write this up in line with the writing frame given to them
Discuss with them their motivation for their character(s) – does this match their AIs?
Sourcing of props, set, costume If necessary.
SUMMER 2 Component 1
study – Antonin
Artaud
C1 Evaluation
Weeks 6-9: Practitioner/Genre Study –Antonin Artaud and ‘Theatre of Cruelty (opportunities for assessing of an Artaud piece this term, completing the process of understanding of how C1 works in Year 11 – Portfolio, Performance, Evaluation)
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Preparation for Year 11 assessment for C1
Week 10: C1 Evaluation Skills Scheme of work should span 1-3 lessons, a weeks’ worth of learning. Students learn how to evaluate their drama performance using mark scheme/exemplar material.
(This will be a controlled assessment in Year 11).
Weeks 10-12: Introduction of C1 groups for Year 11, September stimulus, choice of style/genres, summer research set.
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Drama
Y10 | Key Stage 4
10
YEAR
Theme/Unit
Class Content
Independent Study
Assisted Study
AUTUMN 1
Below is typical week-to-week structure of foci of lessons before final exams. Week 1: Reminder of objectives for C1 and how to begin the devised process, teacher-led workshop reminder of key elements of key practitioners
Week 2: 1-3 lessons on ‘how to’ write about rehearsals (Coursework Portfolio) and examples of illustrative material (“Supporting Evidence”) requirements. Weeks 3-8: Devised process begins, students given differentiated advice/guidance during these lessons to develop their work for the end of October/November C1 exam – teacher to give out a student calendar of dates to structure the term – this includes information on after-school rehearsals, tech/dress dates, public performance, final exam details, 1:1 teacher rehearsal nights, lunchtime catch-up club.
This will depend on the unit being studied each half term. 3 units make up the GCSE qualification, all 3 units are officially assessed (internally and externally) in Year 11 as per the above course breakdown.
When students study each unit, we send home a lot of support materials;
Tracking sheets (students fill in their working grade for each unit each term in line with their KST, setting targets and acknowledging strengths)
Writing frames
Exemplar responses to past
papers
Devised log books
Photocopies of scripts
Past student portfolio and
evaluation examples with
annotations on good practice
Component 3 – DNA set text 27% of GCSE
Please ensure:
DNA Q’s – students follow suggested writing guides and ensure they are comparing their responses to exemplar ones, they can communicate verbally to you what will improve their current answer/ what they are going to be writing about, this matches the expectations of the worksheet.
They have read the play and can locate key scenes from the breakdown guide, showing they know where to look for key moments independently
They can annotate in pencil/ post-it notes revision work.
They have responded to teacher marking where possible (feed forward) and that this improves their original essay
They are carrying out independent research / practising past questions when asked to.
They have all the appropriate materials in their folder and are actively using these during revision for mocks/ finals.
Writing frames
DNA Revision Guide
Missing words games Highlighting exemplar
They have mark schemes for questions and have read these before answering practise Q’s.
They are filling in their tracking sheet each term.
AUTUMN 2
Weeks -9-13: Devised process continues week-to-week in lesson, after school ‘dress’ rehearsals in the build up to November C1 exam
Week 13: Oct/Nov (date TBA) = assessment of C1 Devised Performance
Week 14: C1 Devising Supporting Evidence Deadline (Portfolio) /C3 mock exam preparation
Week 15: Controlled Assessment (Evaluation) / C3 mock exam preparation
Week 15: Preparation lesson, making notes on Live Theatre.
Note: It is highly likely during this term the class will take a trip to see some local live theatre, this production will be written about in the summer of Year 11 for their C3 Written Exam (Section B).
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SPRING 1
Week 1: (1 -2 hours) Embedding theatre review notes lesson, making notes on Live Theatre. / Reflection of C3 mock exam – analysis of answer paper and taking notes
Week 2: 1-2 lesson workshop/C2 preparation ‘Performing from a Text’ assessment (teacher to choose appropriate texts for Year 11s and workshop using advice of Component 2 scheme of work from Year 10, found here)
Weeks 2-6: Preparation for C2 Performing from a Text
This will depend on the unit being studied each half term. 3 units make up the GCSE qualification, all 3 units are officially assessed (internally and externally) in Year 11 as per the above course breakdown.
When students study each unit, we send home a lot of support materials; Tracking sheets (students fill in their working grade for each unit each term in line with their KST, setting targets and acknowledging strengths)
Writing frames
Exemplar responses to past papers
Devised log books
Photocopies of scripts
Past student portfolio and evaluation examples with annotations on good practice
Component 3 –Live Theatre Review 13% of GCSE.
Please ensure:
THEATRE REVIEW – They have a folder of notes from the show we’ve seen
They update these notes whenever we’ve been to the theatre
They have writing frames for acting and design questions
They can use key terms in their response without looking at the relevant key terms sheets! They can respond to a question and write more than a page and a half of writing in 25-30 minutes.
They have responded to teacher marking where possible (feed forward) and that this improves their original essay.
They have all the appropriate materials in their folder and are actively using these during revision for mocks/finals.
They are attending theatre trips
SPRING 2
Examination Fortnight: C2 Performing
from a Text Rehearsals / Exam
Weeks 9-12: Component 3 Interpreting
Theatre Section A and B revision
Complete DNA scheme of work is here &
Section B Theatre Review Support is here)
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SUMMER 1
Students at some point towards the end of this half term go on study leave. Weeks 1-5: preparation of C3 Interpreting Theatre Written Examination Examination: C3 Interpreting Theatre Written Examination
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SUMMER 2
Weekss 6-12 Course Complete
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11
YEAR
Drama
Y11 | Key Stage 4
Theme/Unit
Class Content
Independent Study
Assisted Study
Study Guides, Resources & Extra Support
*updates pending*
Drama & Theatre Studies
A LEVEL
KS5
What is Art at Key Stage 5?
Drama and Theatre Studies AS and A level is a subject which combines both the practical and academic study of classic and modern theatre practice.
Who is it for?
The course is aimed at students who either studied Drama at GCSE level or have acting/stage experience beyond the classroom and are interested in developing their knowledge and skill-set further.
12&13
YEARS
What will i study?
This is a 2 year course that expands on the creative, practical work undertaken at GCSE. Set text work will be explored practically and all students will be given their own copies of the literature mentioned (above). This is an improved syllabus from the old WJEC A Level, its collaborative nature is an exciting chance for actors, designers, directors, creators to open new doors to new ideas and theatrical projects. There will be an expectation for the group to go to the theatre during this time, as well as take part in professional workshops by external practitioners to aide exploration of new styles/genres.
Course Content:
Component 1: Theatre Workshop
Learners will be assessed on either acting or design.
Learners immerse themselves into the world of practical ideas via the creation, development and performance of a piece of theatre based on a reinterpretation of an extract from a famous text chosen from a list supplied by Eduqas (also recommended by our teacher).
The piece will be developed using the techniques and methods of an influential theatre practitioner or a recognised theatre company.
Assessment will be on:
• The final performance
• The creative process
Assessment: Non-exam internally assessed, externally moderated - 20% of qualification
Component 3: Text in Performance
Exam:
Sections A and B Open book: clean copies (no annotation) of the two complete texts chosen must be taken into the examination.
Two questions, based on two different texts, one written pre-1956 and one written post-1956. Pre-1956: Cat on a Hot Tin Roof, Tennessee Williams Post-1956: Accidental Death of an Anarchist, Dario Fo
Section C Closed book: a question based on a specified extract from: The Curious Incident of the Dog in the Night-Time Mark Haddon, adapted by Simon Stephens Details of the 10-15 minute extract will be released during the first week of March, in the year in which the examination is to be taken.
Assessment: Written examination: 2 hours 30 minutes 40% of qualification
Component 2: Text in Action
Learners will be assessed on either acting or design. Learners participate in the creation, development and performance of two pieces of theatre based on a stimulus supplied by Eduqas:
1.A devised piece using the techniques and working methods of either an influential theatre practitioner or recognised Theatre Company (a different practitioner or company to that chosen for Component 1)
2. An extract from a text in a different style chosen by the learner (this can include monologue/duologue work). Learners must realise their performance live for the visiting examiner. Learners then produce a “process and evaluation” write-up within one week of completion of the practical work, this is also sent off and assessed.
Assessment: Non-exam externally assessed by a visiting examiner - 40% of qualification.
How will I be assessed?
Component 1 will be assessed in Year 12, Component 2 in Year 13. Component 3, ‘text in performance’, will be assessed in the summer of Year 13 with total marks divided as shown above.
Where can this course take me?
Students of Drama may wish to progress to a number of related post-16 courses that offer such specializations as:
Theatre Dramatics
Acting
Dance
Stage Production
Further Education or vocation based training would significantly help towards freelance practices or careers in:
Acting
Fashion & Costume
Interior/Set Design
Film & Broadcasting
Independent Theatre
Performance Artist
Dancer ...and many more!
For more information of post-school progression please check out our dedicated Careers Page for related links and guidance.
For more information on this course throughout all key stages please contact Mr Howes
d.howes@kimberleyschool.co.uk
