cambridge technicals level 3 performing arts

Unit 3 – Influential performance practice DELIVERY GUIDEVersion 1

Cambridge TECHNICALS LEVEL 3

PERFORMING ARTS

ocr.org.uk/performingarts

http://www.ocr.org.uk/qualifications/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite/

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CONTENTS

Introduction 3

Related Activities 5

Key Terms 10

Misconceptions 11

Suggested Activities:

Learning Outcome (LO1) 13




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INTRODUCTIONThis Delivery Guide has been developed to provide practitioners with a variety of creative and practical ideas to support the delivery of this qualification. The Guide is a collection of lesson ideas with associated activities, which you may find helpful as you plan your lessons.

OCR has collaborated with current practitioners to ensure that the ideas put forward in this Delivery Guide are practical, realistic and dynamic. The Guide is structured by learning outcome so you can see how each activity helps you cover the requirements of this unit.

We appreciate that practitioners are knowledgeable in relation to what works for them and their learners. Therefore, the resources we have produced should not restrict or impact on practitioners’ creativity to deliver excellent learning opportunities.

Whether you are an experienced practitioner or new to the sector, we hope you find something in this guide which will help you to deliver excellent learning opportunities.

If you have any feedback on this Delivery Guide or suggestions for other resources you would like OCR to develop, please email [email protected].

Please note The activities suggested in this Delivery Guide MUST NOT be used for assessment purposes. The timings for the suggested activities in this Delivery Guide DO NOT relate to the Guided Learning Hours (GLHs) for each unit.

Assessment guidance can be found within the Unit document available from www.ocr.org.uk. The latest version of this Delivery Guide can be downloaded from the OCR website.

UNIT AIMThis unit will give you the framework that will stay with you for your entire career, placing your in the optimum position for employment and further training and providing the attitude and professional perspective to build a firm foundation in the changing and dynamic working environment that is the Performing Arts.

You will learn about genres, styles and periods, social, cultural and historical influences and significant theatrical/performance developments and practitioners. To help understand the demands of performing a piece of repertoire, you will need to be familiar with the context in which the piece was created and the stylistic conventions of the style or genre into which the piece fits. You will become familiar with a range of different styles and periods, e.g. Classical, Modern and Post-modern, within their social, cultural and historical contexts and will be able to select, adapt and apply elements of your research into your performance concept and practical performance.

In addition to learning about performance contexts, you will also develop research skills. These will enable you to access a wide range of resources through which you will be able to explore contexts, periods, styles, conventions and methodologies relating to production/performance. You will experience being able to select, organise and analyse the material you access, enabling you to present a reasoned argument and, in turn, adapt and apply this knowledge into your own performance practice, directorial concept, choreographic concept or presentation concept, dependent on the discipline being studied.

The build-up across this unit will demonstrate an exciting journey that culminates in a practical performance and evaluative task that will be able to assist your future engagement in the arts.

OPPORTUNITIES FOR ENGLISH AND MATHS SKILLS DEVELOPMENT AND WORK EXPERIENCEWe believe that being able to make good progress in English and maths is essential to learners in both of these contexts and on a range of learning programmes. To help you enable your learners to progress in these subjects, we have signposted opportunities for English and maths skills practice within this resource. We have also identified any potential work experience opportunities within the activities. These suggestions are for guidance only. They are not designed to replace your own subject knowledge and expertise in deciding what is most appropriate for your learners.

English Maths Work

mailto:resources.feedback%40ocr.org.uk?subject=

http://www.ocr.org.uk

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Unit 3 Influential performance practice

LO1 Know the historical context of performance material

LO2 Understand the work of practitioners

LO3 Be able to demonstrate practical ideas in context

LO4 Be able to present and evaluate research findings

To find out more about this qualification, go to: http://www.ocr.org.uk/qualifications/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite

2016 Suite• New suite for first teaching September 2016• Externally assessed content• Eligible for Key Stage 5 performance points from 2018• Designed to meet the DfE technical guidance

http://www.ocr.org.uk/qualifications/cambridge-technicals-performing-arts-level-3-certificate-extended-certificate-foundation-diploma-diploma-05850-05853-2016-suite



http://www.ocr.org.uk/qualifications/by-type/cambridge-technicals/cambridge-technicals-2016/

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This unit (Unit 3) Title of suggested activity Other units/LOs

LO1 Famous repertoire throughout the years Unit 3 Influential performance practice

LO2 Understand the work of practitioners LO3 Be able to demonstrate practical ideas in contextLO4 Be able to present and evaluate research findings

Unit 4 Combined arts LO3 Be able to rehearse and perform in a combined arts performance

Workshop Unit 3 Influential performance practice

LO2 Understand the work of practitioners LO3 Be able to demonstrate practical ideas in context

Influences that made changes to the genre over time Unit 3 Influential performance practice

LO2 Understand the work of practitioners LO3 Be able to demonstrate practical ideas in context

Unit 8 Performing repertoire LO4 Be able to perform from a repertoire

Unit 10 Classical theatre performance

LO2 Know the stylistic features of classical textsLO3 Be able to rehearse a classical roleLO4 Be able to perform a classical role

Unit 14 Dance performance LO3 Be able to perform dances demonstrating application of physical and interpretative skillsLO4 Be able to evaluate own dance performance

Unit 25 Music performance LO2 Be able to rehearse music for performanceLO3 Be able to perform as a soloist

Unit 27 Singing performance LO2 Be able to rehearse for singing performanceLO3 Be able to perform as a soloist

The event effect Unit 3 Influential performance practice

LO2 Understand the work of practitioners LO3 Be able to demonstrate practical ideas in contextLO4 Be able to present and evaluate research findings

Historical timelines Unit 3 Influential performance practice

LO2 Understand the work of practitioners

The Suggested Activities in this Delivery Guide listed below have also been related to other Cambridge Technicals in Performing Arts units/Learning Outcomes (LOs). This could help with delivery planning and enable learners to cover multiple parts of units.

RELATED ACTIVITIES

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LO2 Prominent people Unit 3 Influential performance practice

LO1 Know the historical context of performance materialLO3 Be able to demonstrate practical ideas in contextLO4 Be able to present and evaluate research findings

Why did they do that? Unit 3 Influential performance practice



Unit 10 Classical theatre performance

LO3 Be able to rehearse a classical roleLO4 Be able to perform a classical role

Unit 15 Dance choreography LO4 Understand a range of choreographic methodologies and compositional form

Unit 18 Production and stage management processes

LO3 Be able to evaluate safe working practices for a production

Unit 19 Stage lighting design and operations

LO4 Be able to review lighting design and operations in live performance

Unit 20 Stage sound, design and operations

LO4 Be able to review sound design and operations in live performance

Unit 21 Character design and realisation

LO4 Be able to review design and realisation processes for live performance

Unit 22 Set design and realisation LO4 Be able to review set design and realisation processes for live performance

Essay preparationLearner presentationLocal performance



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LO3 Old to new Unit 2 Proposal for a commission brief

LO2 Be able to plan and develop a project from a commissioning briefLO3 Know how to write a final proposal for a project


LO1 Know the historical context of performance materialLO2 Understand the work of practitionersLO4 Be able to present and evaluate research findings

Unit 5 Current issues in performing arts

LO1 Understand issues that affect the performing arts industry

Unit 6 Improvisation LO3 Be able to perform in improvised performances


Unit 9 Acting technique LO4 Be able to evaluate own acting technique

Unit 10 Classical theatre production LO3 Be able to rehearse a classical roleLO4 Be able to perform a classical role

Unit 12 Theatre directing LO4 Be able to review own directing practice



Unit 18 Production and stage management processes


Unit 19 Stage lighting, design and operations







Unit 23 Create music to perform LO3 Be able to analyse own compositions or arrangements



Production meeting to contemporise a historical piece of repertoireRehearsal journalRehearsal to stageIdeas and themes relevant to today’s audience


LO1 Know the historical context of performance materialLO2 Understand the work of practitioners LO4 Be able to present and evaluate research findings

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LO4 Why did we do that? – A reflection on the past production meeting

Unit 2 Proposal for a commission brief



LO1 Know the historical context of performance materialLO2 Understand the work of practitionersLO3 Be able to demonstrate practical ideas in context









Unit 18 Production and stage management Processes












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LO4 Practical performance evaluation Unit 2 Proposal for a commission brief



LO1 Know the historical context of performance materialLO2 Understand the work of practitionersLO3 Be able to demonstrate practical ideas in context









Unit 17 Deliver dance and movement workshops

LO4 Be able to evaluate own performance

Unit 18 Production and stage management Processes












The final summary Unit 3 Influential performance practice

LO1 Know the historical context of performance materialLO2 Understand the work of practitioners LO3 Be able to demonstrate practical ideas in context

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KEY TERMSExplanations of the key terms used within this unit, in the context of this unit

Key term Explanation

Concept An abstract or general idea for an art form.

Context Set of facts or circumstances that surround a situation, event or practice.

Convention Pattern or set of rules around an art form.

Devising/choreographing/composing

The act of creating, planning or constructing sequences of new arts material/performance material such as acting pieces or scripts, musical compositions, songs, opera, dance routines/drills/pieces, ballets, physical theatre pieces.

Genre Style or discipline of an art form in dance, music, acting, voice or art/craft. This can also be a discipline within a genre: for example jazz in music, ballet in dance or physical theatre as an acting technique.

Practitioner Someone who practises an art profession or activity (for example a choreographer, director, musician, composer, vocalist, actor, dancer, set or sound designer).

Rehearsal log/journal A record of significant development, decisions, rationale and results in the creation/learning process. Used to remember developments, progression, issues; written log of reasoning and reflection on personal and group development.

Repertoire A collection of or piece of work for performance in an arts discipline or a piece of past work incorporating combined arts.

Theme Unifying idea or recurring effect in an art form; for example the theme of the musical Cats is TS Eliot’s book of poems about cats.

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Some common misconceptions and guidance on how they could be overcome

What is the misconception? How can this be overcome? Resources which could help

Boys don’t dance! Asking learners to produce a fact sheet of famous sportsmen that danced will enlighten them as to the similarities and transitional skills between sport and dance. Introducing learners to this mindset will show that dance has the same transitional skills as sport and is an ‘acceptable’ activity for boys.

Learners should acquire an understanding of the comparative skills and of how dance can assist sport, strengthen, and improve flexibility and agility, thus reducing injury and improving skills. Focussing on the strengths, fitness and precision boys require to lift, trick and jump will lead to discussion of the comparable if not tougher training regime required by a male dancer.

Strictly Come Dancing – BBChttps://www.youtube.com/user/boysinballethttps://www.youtube.com/watch?v=cwhWeZOnrUAhttps://www.youtube.com/watch?v=JTccLuRsD9c

Importance of research skills and reflective practice

Learners will be new to this process at this stage of their learning so step-by-step explanation of the concept of research will need to be guided. Being able to reflect on your performance is vital to improve as a performer. Some learners find being able to compliment or criticise themselves difficult especially if in a peer pressured environment; helping them to overcome this barrier and understand how reflection will inform positive change is key to a deeper understanding of what they aim to achieve. This is a good time to tackle confidence issues, especially for learners who are new to performing, and draw out the best in them. Peer observations can be very useful to boost learner confidence, observation skills and good behaviours.

Google Images has excellent flow chart and process formats for research skill processes.

Peer observation discussions, watching and discussing learners’ work are useful.

Reflective sheets that have gentle leading questions are useful to train a reflective mind and engrain a reflection process. These could be as simple as: ‘What did I do well today or how can I improve?’ entries in learners’ logs/journals.

Urban to classical thinking – trying new skills that might not be ‘on trend’

Introducing learners who are interested in urban dance to classics is can be practically achieved by modernising classics/choreographing historical repertoire to modern music or conventions.

Connecting learners with comparable storylines is a gentle introduction. More recent films such as Step Up and Centre Stage provide great stories that highlight the positives of classical genre with urban culture. There are very interesting developments in the use of contemporary and classical in a lot of new urban works.

Watching modern films can assist with mindset and lead to useful meaningful discussion; examples:• Romeo and Juliet – Leonardo De Caprio film version• Grease and West Side Story – films and musicals• Step Up – film

Examples of popular culture using contemporary dance can be found by watching the dancers’ choreography in Take That live concerts or The Clothes Show’s choreography.

The degree courses offered by The Place enable many cross genre learners to become very skilled physical theatre artists.

MISCONCEPTIONS

https://www.youtube.com/user/boysinballet

https://www.youtube.com/watch?v=cwhWeZOnrUA

https://www.youtube.com/watch?v=JTccLuRsD9c

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Some common misconceptions and guidance on how they could be overcome

What is the misconception? How can this be overcome? Resources which could help

World wars killed the theatre Introducing learners to researching the effects on performing arts of world war or economic disaster will enable them to explore how companies and art forms survived, changes they made to continue and how arts can be a support in difficult times.

Exploring the problems performers faced in wartime, such as lack of money and the need for grand performance spaces and resources, will assist learners with their own production planning and can draw out the comparative issues the learners will face with their own devised work in school/college. It will enable them to learn how to overcome realistic issues with creating and performing and highlight the flexibility of dance as an art form in terms of spaces, time and its simplicity when required. Exploring these backgrounds will be helpful in collating and forming the ideas of budding choreographers or directors.

Areas of interest to explore:• History of the Ballets Russes• The positive effect of communism on the arts• Entertainment in wartime• The influence of war on film production and

songwriting.

Ballet in the Blitz: http://www.telegraph.co.uk/culture/tvandradio/tv-and-radio-reviews/10679140/Ballet-in-the-Blitz-How-World-War-Two-Made-British-Ballet-BBC-Four-review.html

The recession has depleted arts funding

Giving the learners the opportunity to understand how the recession affected the arts and how the industry has had to make changes (funding itself to give longevity to art forms and forming new partnerships) will allow learners to understand the reality and diversity of challenges the industry faces.

It is important for young artists to understand that they will need to work with change throughout their careers and that the economy, cultural views and other extrinsic effects will determine how they work in the future. Equally it is important to focus on how the industry has survived; what people did to keep theatre alive!

www.artscouncil.co.ukhttp://www.theguardian.com/culture/2009/mar/14/recession-arts-funding-cutshttp://www.huffingtonpost.com/michael-kaiser/what-happens-after-the-re_b_1142903.html

http://www.telegraph.co.uk/culture/tvandradio/tv-and-radio-reviews/10679140/Ballet-in-the-Blitz-How-World-War-Two-Made-British-Ballet-BBC-Four-review.html




http://www.artscouncil.co.uk

http://www.theguardian.com/culture/2009/mar/14/recession-arts-funding-cuts

http://www.theguardian.com/culture/2009/mar/14/recession-arts-funding-cuts

http://www.huffingtonpost.com/michael-kaiser/what-happens-after-the-re_b_1142903.html

http://www.huffingtonpost.com/michael-kaiser/what-happens-after-the-re_b_1142903.html

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SUGGESTED ACTIVITIESLO No: 1

LO Title: Know the historical context of performance material

Title of suggested activity Suggested activities Suggested timings Also related to

Famous repertoire throughout the years

Tutors could provide visual examples of famous repertoires from contrasting eras to open a discussion on the differences the learners had seen and noted. Learners could be asked questions such as:• What did they like and why? • What did a practitioner do to show their intention? • How was this different from how others portrayed their intention? • What are the different impacts of the different styles of performance?• How can we use these ideas?

Learners could source ideas from:http://www.opensourceshakespeare.org/views/plays/plays.phphttp://www.vam.ac.uk/page/t/theatre-history/

Learners could also search the Internet for ‘history and practitioners’ of selected genres.

Useful books:Anderson, J. (1994) Ballet and Modern Dance: A Concise History. Dance Horizons Inc. ISBN: 0871271729Adshead–Lansdale, J. and Layson, J. (1994) Dance History: An Introduction. Routledge. ISBN: 041509030XGoodall, H. (2013) The Story of Music. Vintage. ISBN: 978-0099587170Abbate, C. and Parker, R. (2012) A History of Opera: The Last Four Hundred Years. Allen Lane. ISBN: 978-0713996333

1 hour Unit 3 LO2, LO3, LO4Unit 4 LO3

Workshop Tutors could set up a practical session for learners on a piece of repertoire from an influential practitioner in their chosen genre. This is an opportunity for learners to try new skills and discover new techniques. This work could be replicated from a DVD or, if skills and finance allow, could be delivered by a workshop practitioner. Time and space will need to be given to learners to fully engage and work on recreating and practising a piece of work. Various strategies such as setting a performance date, allocating director or dance captain roles, or working in smaller groups, pairs or as a soloist could enable learners to work more effectively depending on the cohort involved and method of delivery.

If external practitioners are involved, to maximise potential it would be useful to allow time for them to deliver the work to the learners and then have a verbal debrief or Q&A session.

2 hours Unit 3 LO2, LO3

http://www.opensourceshakespeare.org/views/plays/plays.php

http://www.vam.ac.uk/page/t/theatre-history/

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Influences that made changes to the genre over time

Tutors could source a repertoire from a contrasting era to that in the activity above. Learners could complete an Internet search, exploring the visual evidence and identifying the contrasts in material from the different eras. This task could be set as independent homework if the activity is spread over more than one session. Learners could consider:• Socio-historical context e.g. classical, modernism, post-modernism, cultural, belief, environmental

and social gang/groups, general acceptance of arts as a career.• Political context e.g. the Lord Chancellor’s role and the removal of censorship in the 1960s;

Shostakovich composing propagandist material for the Stalin regime, the development of the Arts Council and third sector funding; how arts are perceived in education, from PE to standalone qualifications (http://www.artscouncil.org.uk/).

• Economic context e.g. Shakespeare’s King’s Men, patronage and its influence, history of arts funding, Arts Council, environmental change, the effect of war on theatres’ survival.

• Technological contexts e.g. the printing press/growth of literacy and moving from an oral tradition to the written, electricity, the Internet, cyberspace, invention of electricity, lasers vs. candlelight.

1 hour Unit 3 LO2, LO3Unit 8 LO4Unit 10 LO2, LO3, LO4Unit 14 LO3, LO4Unit 25 LO2, LO3Unit 27 LO2, LO3

The event effect A useful topic to highlight the effects of events on theatre is ‘The effects of war’. Using the slide presentation below, tutors could ask the learners to record in their journals the specific effects that war has had on theatre, both ‘positive’ and ‘negative’.http://www.slideshare.net/pavoct/how-did-world-war-i-i-affect-the-theatre

1 hour Unit 3 LO2, LO3, LO4

Historical timelines

See Lesson Element Historical timelines

Tutors could ask the learners to compare a timeline of historical events with the timeline of a particular art form. This could enable learners to identify connections between hostorical events and how they may have affected the arts, including direct links to various economic, cultural, political and social events.

This activity could be delivered in an IT room where learners can have access to the Internet for research.

Useful resource:http://www.bbc.co.uk/history/british/launch_tl_british.shtml

Learners could also search the Internet for historical timelines (there are some great examples where you can compare primary and secondary sources).

1 hour Unit 3 LO2

http://www.artscouncil.org.uk/

http://www.slideshare.net/pavoct/how-did-world-war-i-i-affect-the-theatre

http://www.bbc.co.uk/history/british/launch_tl_british.shtml

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LO Title: Understand the work of practitioners


Prominent people Following on from the Historical timelimes activity in Learning Outcome 1, learners could create a historical timeline showing the effects of events on practitioners. Tutors could introduce various historical people of influence in the arts and contrast this with a timeline of historical events, allowing learners to identify connections.

Working in small groups, learners could be asked to research, discuss and put together a 5-minute presentation on a practitioner, theatre company or set of prominent people and the influences they had. Tutors could provide names of the practitioners they require learners to explore.

The presentations could be followed by a group discussion on which practitioners would produce the most interesting contrasts. Learners could then select two of these practitioners to be studied in greater depth. Tutors could provide further guidance on how external influences affected the work of practitioners, providing context to learners on why artists produced works in a specific form or style.

Useful resources:

Morgenroth, J. (2004) Speaking of Dance: Twelve Contemporary Choreographers on Their Craft. Routledge. ISBN: 978-0415967990

Ashley, L. (2008) Essential Guide to Dance. Hodder Education. ISBN: 0340968383

Bremser, M. and Sanders, L. (eds) (1999) Fifty Contemporary Choreographers: A Reference Guide. Routledge. ISBN: 0415103640

Blom, L.A. and Chaplin, L.T. (2010) The Intimate Act of Choreography. Dance Books Ltd. ISBN: 978-1852730109

The Globe Discovery Space http://www.shakespearesglobe.com/education/discovery-space

The Royal Shakespeare Company Education Resources http://www.rsc.org.uk/education/resources/

http://www.classical-music.com/great-composers

3 hours Unit 3 LO1, LO3, LO4

http://www.shakespearesglobe.com/education/discovery-space

http://www.rsc.org.uk/education/resources/

http://www.classical-music.com/great-composers

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Why did they do that? Tutors could provide examples of repertoires from two practitioners. These repertoires should be selected in order to comply with the boundaries of the cohorts’ physical ability and skill base.

The learners could record the differences and similarities between the two practitioners in relation to: • Style• Era• Choreography• Setting and staging.

Tutors are advised to ensure that they punctuate the learning with discussions and worksheets to pinpoint specific characteristics.

1 hour Unit 3 LO1, LO3, LO4Unit 8 LO4Unit 10 LO3, LO4Unit 15 LO4Unit 18 LO3Unit 19 LO4Unit 20 LO4Unit 21 LO4Unit 22 LO4

Essay preparation Learners could explore the practical and emotive reasoning behind the development of performance, how works could be used as a voice and reflections on issues in their day. Time and space should be provided for learners to research and explore practical methodologies to give context to their written work.


Learner presentation Tutors could ask learners to choose a practitioner and prepare a short 10-minute presentation about their work and the influence they had on dance genres and why. This could be an opportunity for independent study.

1 hour plus 10 minutes per learner for presentations

Unit 3 LO1, LO3, LO4

Local performance Tutors could supply local newspapers or web resources and ask learners to produce a chart of local performance opportunities. The aim of this activity is to raise awareness of local arts activities and how accessible they could be.

Suggested headings for the chart are:• Performance• When• Where• Cost• Description.


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LO Title: Be able to demonstrate practical ideas in context


Old to new Tutors could ask learners to source repertoire from the past that has been modernised. Learners could then take the latest version of this repertoire and modernise it once more. For example, learners could be asked to turn it into a ‘space age’ version.

Tutors could select appropriate background material, such as:• How Shakespeare’s Coriolanus or A Midsummer Night’s Dream has been re-envisioned over the

centuries including research into what influenced the writing in the first place. • The theatrical and political context of Shakespeare’s day and how subsequent performances

reflected the social and political context of their times. • The process through which Romeo and Juliet developed into West Side Story.• The effect of the First World War on the Ballets Russes.• The impact of American society and economy on the development of the Alvin Ailey dance

company.• The effect of live performance and the influences of the screen on theatre.

Learners could show their ideas of what the work may look like in the future, referring to how it was previously modernised and using this research to shape their futuristic vision.

2 hours Unit 2 LO2, LO3Unit 3 LO1, LO2, LO4Unit 5 LO1Unit 6 LO3Unit 8 LO4Unit 9 LO4Unit 10 LO3, LO4Unit 12 LO4Unit 14 LO3, LO4Unit 15 LO4Unit 18 LO3Unit 19 LO4Unit 20 LO4Unit 21 LO4Unit 22 LO4Unit 23 LO3Unit 25 LO2, LO3Unit 27 LO2, LO3

Production meeting to contemporise a historical piece of repertoire

See Lesson Element Production meeting

Following on from the activity above, learners could share their ideas and make suggestions as to how they could proceed with the project in a practical way. Tutors could organise this in the form of a production meeting. In the meeting, learners could decide upon direction, choreography, schedule for rehearsals and any practical sessions that will be required to devise material working as a cast, small group or solo. Significant decisions could be made such as to how the presentation will be costumed, set and presented. They could also discuss the style, methods and techniques that will be required to contemporise the work.

The meeting could be chaired by the tutor or by a selected learner. It is suggested that the tutor prepare an agenda to set a structure for the meeting.

The meeting could be recorded for use in a future task. One learner (or the tutor) could take minutes and collate the research sources for circulation following the meeting.

1–2 hours Unit 3 LO1, LO2, LO4

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Rehearsal journal Tutors could allow time at the end of each rehearsal, or at times appropriate in the rehearsal process for learners to complete a personal journal. Tutors could start this process by setting questions for learners to answer in their journals and then gradually encourage learners to make independent journal entries that can be used in their final evaluation. The Misconceptions section has advice on how to complete reflective practice for logs.

Useful resources:http://www.teenissues.co.uk/research-secondary-school-learners.html

Google Images has some great examples of the research process, step-by-step guides and flow charts.


Rehearsal to stage Tutors could guide the rehearsal process and explore the concepts and conventions of devising, directing and choreographing the material.

Useful resources:

http://www.acting-school-stop.com/acting-techniques.html

http://www.schoolzone.co.uk/resources/articles/GoodPractice/classroom/Drama_skills.asp

Adshead, J. (ed) (1988) Dance Analysis: Theory and Practice. Dance Books. ISBN: 1852730031

Banes, S. (1987) Terpsichore in Sneakers. Wesleyan University Press. ISBN: 0819561606

Carter, A. (ed) (1998) The Routledge Dance Studies Reader. Routledge. ISBN: 0415164474

Smith-Autard, J. (2010) Dance Composition – A Practical Guide to Creative Success in Dance Making. Methuen Drama. ISBN: 978-1408115640


Ideas and themes relevant to today’s audience

As part of the review process individual learners should be able to show how they can use research evidence to support a line of argument or rationale.

Tutors may find it useful to punctuate the production process with mini seminars or forums in which individuals are called upon to use their research notes to establish and defend a simple proposition e.g. ‘The work contains ideas/themes that are relevant to today’s audiences’. This could get the learners used to the idea of supporting/defending/justifying arguments and discussing the context of the piece as they work on it.

This interaction does not necessarily imply that the production should be ‘modernised’; if an authentic approach is preferred great benefit may still be had from adhering rigidly to historical precepts.

2–3 hours Unit 3 LO1, LO2, LO4

http://www.teenissues.co.uk/research-secondary-school-students.html

http://www.acting-school-stop.com/acting-techniques.html

http://www.schoolzone.co.uk/resources/articles/GoodPractice/classroom/Drama_skills.asp

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LO Title: Be able to present and evaluate research findings


Why did we do that? – a reflection on the past production meeting

See Lesson Element Why did we do that?

Learners could watch the recording of their original production meeting in the Production meeting to contemporise a historical piece of repertoire activity in Learning Outcome 3. They could make notes on the research that was shared, and how and why ideas were brought forward, to be able to produce a rationale as to how the repertoire took its form and the changes that were made during the process.

1 hour Unit 2 LO2, LO3Unit 3 LO1, LO2, LO3Unit 5 LO1Unit 6 LO3Unit 8 LO4Unit 9 LO4Unit 12 LO4Unit 14 LO3, LO4Unit 15 LO4Unit 18 LO3Unit 19 LO4Unit 20 LO4Unit 21 LO4Unit 22 LO4Unit 23 LO3Unit 25 LO2, LO3Unit 27 LO2, LO3

Practical performance evaluation

Learners could complete an evaluation of the process and end result of their practical work. This evaluative process could be broken down (guided by the tutor) to ensure that learners fully understand it and are able to use their research and rehearsal log to provide evidence from within their written work.

This task can be broken down into six significant sections (tutors could choose to cover two sections of the research process per session):• Establish the topic• Identify key words/general reading• Formulate a statement ‘thesis’• Gather information and data• Evaluate findings• Conclusion.

Tutors could oversee the learners’ practical and academic build-up to their final productions, all the time reviewing progress with the learners so that they may perceive clearly how their research process is feeding in to the production. Learners should be constantly challenged to consider and review the contextualisation process and to reflect on their individual understanding and contribution.

3 x 1 hour sessions Unit 2 LO2, LO3Unit 3 LO1, LO2, LO3Unit 5 LO1Unit 6 LO3Unit 8 LO4Unit 9 LO4Unit 12 LO4Unit 14 LO3, LO4Unit 15 LO4Unit 17 LO4Unit 18 LO3Unit 19 LO4Unit 20 LO4Unit 21 LO4Unit 22 LO4Unit 23 LO3Unit 25 LO2, LO3Unit 27 LO2, LO3

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The final summary This last activity is to assist with learners’ rationale for their work. Tutors could complete the research process by hosting an informal viewing and discussion of one of their final performances in order for learners to discuss rationale and evidence for the summary of their research project. It is advised that tutors chair the discussion in order to pose questions that will lead learners to discuss their own thoughts on how the production went, their own contributions and what practice was influential in their work.

Tutors should remember that the unit is about influential practice and influences, as it is easy at this stage for the learners (and tutor) to conclude the project with an evaluation of the learners’ performance and performance skills, rather than an evaluation of what affected and influenced them.


The

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nt Cambridge Technicals Level 3

Performing Arts textbook

Developed in partnership with Hodder Education this book covers a range of units within this qualification. http://www.hoddereducation.co.uk/Product/9781471874888

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