drama at shirley boys’ high schoolcoursebook+y12... · two performances outside the school...

Drama at Shirley Boys’ High School

Year 12 : Level 2 NCEA

Welcome to this year‟s year 12 drama course. If you haven‟t taken drama before be

prepared for one of the most invigorating subjects in your school career! Drama,

once you are fully engaged, is a huge adrenaline rush. It combines the physicality of sport, the sensitivity and timing of music, the intellectual creativity of English and oh,

so much more!

For those who have taken Drama at a lower level, this is where you start to approach

play-making in a mature and adult way, confronting themes that are very powerful through characters that can be scary, disturbing, pathetic or hateful. This is done

(like any of the arts) to explore the human condition and make sense of our dreams

frailties, fears and outrage.

It is a very common experience for those who have been in a drama

production to suffer from a strong „winding down‟ sadness when it finishes.

That‟s because, apart from anything else, drama is immense fun . . . and very addictive!!

The course

Term 1

AS90301v2 (2.3) Level 2: 4 credits

Structure, record and perform devised drama using elements and conventions (“Inside Out – Devised Stories”). For this you will work in groups to devise your own drama based on a supplied theme. Internal.

Term 1/2


Apply drama techniques in a group within a scripted context (“What Are You Saying?”). This achievement standard requires applying drama techniques involving a combination of voice, body, movement and use of space to interpret and present a scripted drama. Internal.

AS90303v2 (2.5) Level 2: 5 credits Perform a substantial acting, technical or production role This requires developing and sustaining a substantial acting, technical or production role for an audience. It will require being a significant part of the senior production. Internal. This is for students who choose to be a part of the main school production.


Apply knowledge of a drama/theatre form or period through performing a role within a presentation (“The Wooden O”). This achievement standard requires the demonstration of applied knowledge of a drama/theatre form or period through the

identification and referencing of its features within a presentation that includes appropriate performance. Internal.

Term 3


Perform a substantial acting, technical or production role (“Treading the Boards/High Tech”). This requires developing and sustaining a substantial acting, technical or production role for an audience. Internal.

This is for students who chose not to be a part of the main school production.

AS90304v2 (2.6) Level2: 5 credits

Apply knowledge of and make judgements about drama processes and performance in a new context. External.

COURSE PLANNER – 2011 : 12 DRAMA (22 Level 2 Credits) TERM 1

1

2 AS90301v2 (2.3) Devised drama using elements and conventions [4]

3 -|| -

4 -|| -

5 -|| -

6 -|| -

7 -|| -

8 2.3 Assessment

9 AS90300v2 (2.2) Apply drama techniques within a scripted context [3]

10 -|| -

11 -|| -

TERM 2

1 -|| -

2 -|| -

3 2.2 Assessment

4

5 AS90302v2 (2.4) Apply knowledge of theatre form/period through performance [5]

6 -|| -

7 -|| -

8 -|| -

9 -|| -

10 2.5 Assessment for those in major production

11 2.4 Assessment for those not in major production

TERM 3

1 AS90303v2 (2.5) Perform substantial acting, technical or production role

2 2.4 Assessment for those in major production

3 AS90304v2 (2.6) Drama processes and performance in new context (external) [5]

4 -|| -

5 -|| -

6 -|| -

7 -|| -

8 -|| -

9 2.5 Assessment for those not in major production

10

TERM 4

1 Revision for External

2 NCEA begins Thursday 10 November

Course Statement The course is based on the Drama discipline of the Arts Curriculum and offers 22 credits at Level 2 towards NCEA qualifications. All Achievement Standards are derived from The New Zealand Curriculum, Ministry of Education (2007), with the achievement objectives of:

Understanding the Arts in Context; Developing Practical Knowledge; Developing Ideas; and Communicating and Interpreting; at level 6/7.

Assessment tasks will be both formative, for learning and development, and summative for credit in national qualifications. Assessment Details All internal assessments are practical and most involve group work so commitment and flexibility are essential to the success of all concerned. Most important is that you attend all classes. Your absence will put unfair pressure on other group members who will be depending on you. The performance aspects of this course require out-of-class rehearsals/technical work. You will document the processes and evaluate the

presentations of your own performance or production work. This written work is necessary as supporting evidence of achievement and also to prepare for the external examination, AS90304v2. Over the course of the year you are expected to attend at least two performances outside the school context and write reviews which are also preparation for the external examination.

Late Assessments

1. Assessment work must be handed in by the due date. If there is an acceptable reason for absence that is, ill health or family reasons, then work is due on the first day of return to school. A parental note must verify the legitimacy of the absence and be accepted by the NZQA Principals Nominee. The school is entitled to ask for a Medical Certificate. This will be actioned by the NZQA Principal‟s Nominee where she become concerned about frequent use of this situation.

2. Penalty for late work is a grade of “Not Achieved”. 3. Students who are unable to attend the assessment due to, family reasons or ill-

health can apply for compassionate consideration to the NZQA Principal‟s Nominee (Miss Nesbit). The form for this is available from the Student Office. This must be done within five school days of their return to school. If granted a decision will be made about which one of the following alternatives will apply:

extension of time

another assessment opportunity

if there is sufficient evidence a judgement will be made of the level of attainment

no other assessment opportunity is available 4. If an extension is being requested due to a known event the application must be

received by Miss Nesbit at least 3 school days prior to the assessment deadline.

Resubmission or Collection of Evidence Under NCEA no estimated marks are to be awarded for compassionate consideration. If the teacher can provide evidence that the student is capable of achieving that specific standard through work done previously then students can be given the appropriate grade. Students should be given at least one opportunity for resubmission (where practical) or alternative evidence. Students may resubmit in an area to achieve a higher grade. 1 Other assessment opportunity should be available when: (a) factors beyond the student's control may have adversely affected

performance (b) grounds for appeal concerning results have been established 2 For any formal assessment, students should be given at least one opportunity for

resubmission or reassessment or further evidence 3 In the situation where the HOD considers resubmission or reassessment for NCEA is

not practical then approval must be gained from the NZQA Principals Nominee

Appeals

Students have the right of appeal for any particular assessment

The following process is to be followed when a student wishes to appeal a result or grade for a particular assessment.

The student discusses the concern with the class teacher or the HOD within five school days of the return of the grade. If the concern is not resolved then:

The student completes an “Application for an Appeal” form. The forms are available from the Student Office. The form should be completed within seven school days of the return of the grade. The form should be returned to the NZQA Principals Nominee (Miss Nesbit).

students have right of appeal to NZQA who will check that the school policy has been followed

Authentication of Student Work

Material completed and handed in for assessment must be the student‟s own work. For any assessment work in which the student makes use of another person‟s work or has assistance from another person this must be appropriately acknowledged. These two statements will appear on the instructions for all assessment done outside the classroom.

Drama is . . .

Drama expresses human experience through a focus on role, action, and tension,

played out in time and space. In drama education, students learn to structure these elements and to use dramatic conventions, techniques, and technologies to create

imagined worlds. Through purposeful play, both individual and collaborative, they

discover how to link imagination, thoughts, and feelings.

As students work with drama techniques, they learn to use spoken and written language with increasing control

and confidence and to communicate effectively using

body language, movement, and space. As they perform, analyse, and respond to different forms of drama and

theatre, they gain a deeper appreciation of their rich

cultural heritage and language and new power to examine attitudes, behaviours, and values.

By means of the drama that they create and perform, students reflect and enrich the

cultural life of their schools, whānau, and communities.

(Engaging with the NZ Curriculum, tki)

“You've got to contrive a way to convincingly bring action before

an audience. Shakespeare – he has a character come on saying

„Look, in this play, we're going to have to see thousands of horses and warriors, and we're going to have galleons sailing

across... we can't (really) do that, in this little wooden O! But if

you, the audience give us your imagination, then we'll see the

fields of France, we'll be seasick going over the channel – which is exactly what theatre is. It is about play, it's the things that

kids do. „Can we do our play for you?‟ All right, that's the Queen

of Sheba, he's Tony Blair, she's Margaret Thatcher, this is Africa, and over there on that carpet is the moon, bang. And they do

the play, and it's always fantastically convincing. Whereas you

sometimes go to a theatre, you look at kind of 19th Century

theatre, where the set was everything, where they were trying to create the illusion on stage, and it's often mind-blowingly boring. Because it

doesn't say to the audience, „come, let's play‟.”

(Willy Russell on Developing a Play; The Open University)

Achievement Objectives

Understanding Drama in

Context (UC)

Developing Practical Knowledge in Drama

(PK)

Developing Ideas in Drama

(DI)

Communicating and Interpreting in Drama

(CI)

Level 5

Investigate the characteristics, purposes, and function of drama in a range of contexts.

Select and use techniques, conventions, and relevant technologies for specific drama purposes.

Select and refine ideas to develop drama for specific purposes.

Present and respond to drama and describe how drama combines elements, techniques, conventions, and technologies to create structure and meaning in

their own and others' work.

Level 6

Investigate the forms and purposes of drama in different historical or contemporary contexts, including New Zealand drama.

Select and use techniques, conventions, and technologies in a range of dramatic forms.

Research, evaluate, and refine ideas in a range of dramatic forms to develop

drama.

Perform and respond to drama and make critical judgments about how elements, techniques, conventions, and technologies are used to

create form and meaning in their own and others' work.

Level 7

Research the purposes of production, performance, and technologies of drama in a range of contexts,

including New Zealand drama. Explore how drama reflects our cultural diversity.

Select and refine the use of techniques, conventions, and technologies in

specific dramatic forms.

Research, critically evaluate, and refine ideas to develop drama

in specific dramatic forms.

Rehearse and perform works in a range of dramatic forms. Respond to and make critical judgments about

rehearsal processes and performances.

Level 8

Research, analyse, and critically evaluate how

drama, including New Zealand drama, interprets, records, or challenges social and cultural discourse.

Research, analyse, and integrate

elements, techniques, conventions, and technologies in dramatic forms for specific purposes.

Research, critically

evaluate, and refine ideas to create original drama work.

Analyse, rehearse, and perform works in a range

of dramatic forms, assuming a variety of artistic or technical responsibilities. Reflect on and critically evaluate a wide range of works and performances.


http://artsonline.tki.org.nz/engageinarts/drama/glossary.php#technique

http://artsonline.tki.org.nz/engageinarts/drama/glossary.php#conventions

http://artsonline.tki.org.nz/engageinarts/drama/glossary.php#technologies

http://artsonline.tki.org.nz/engageinarts/drama/glossary.php#elements




http://artsonline.tki.org.nz/engageinarts/drama/glossary.php#meaning

http://artsonline.tki.org.nz/engageinarts/drama/glossary.php#form





http://artsonline.tki.org.nz/engageinarts/drama/glossary.php#idea







http://artsonline.tki.org.nz/engageinarts/drama/glossary.php#meaning


http://artsonline.tki.org.nz/engageinarts/drama/glossary.php#culture













The Basic Elements of Drama

FOCUS The frame that directs attention to what is most significant and intensifies the

dramatic meaning

ACTION What each person in role is doing and thinking, alone and with others.

ROLE Accepting & presenting the physicality, attitudes and beliefs of the characters

TIME "real time" or "dramatic time"

TENSION The force that engages the performers and audience in the dramatic action

SPACE Placing of character. Use of stage space and distance between characters, props and

audience

Drama Conventions Plot, action and content

The plot of the drama is shown in the 'through-line' of the drama - its beginning, middle and end - although it doesn't have to be presented in a linear [linear: To follow a series of events in real-time without the use of flash-backs or flash-forwards ] structure. The characters in a play are also

part of the plot. The action of the drama consists in the events that the characters take part in as they act the

play. The content of the drama lies in the themes it deals with, eg bullying, the responsibilities of power, the bravery of ordinary people etc. Dramatic form

The form of a drama is the way that the story is told, the way the characters play their parts, and/or the way the themes are explored.

There are various dramatic forms, for example: mime chorus, choral readings commedia dell'arte (improvised theatre), clowning, farce masks puppetry melodrama physical theatre [physical theatre: A mime technique in which actors use their bodies to create

props or part of the set ] combinations of various forms and styles

Climax/anti-climax

The use of climax and anti-climax (the building and releasing of tension) in a drama is crucial, as it creates a sense of expectation in the audience. We can become incredibly tense as we wait to see what's going to happen in a play, and then we're relieved when things turn out well. It all

adds to an interesting experience.

For example, will the guard notice that the escape tunnel entrance is partly uncovered? If the action is slowed down - perhaps because he sits down and talks for a while - the tension rises as we watch him. If the guard leaves without noticing the tunnel, the tension releases and we sigh with relief. It's up to the director of a drama to create the climax and anti-climax that make sure

this happens.

Contrast

The use of contrast in drama productions - eg stillness contrasted with activity, or silence contrasted with noise - is a useful way to focus the audience's attention. A drama being played with no change of pace or rhythm doesn't usually hold our interest, but most can be brought to life with the use of contrasting sights and sounds.

An example of such contrast could be in a courtroom drama. At first there's the hustle and bustle of bringing in the prisoner, with everyone scurrying around trying to see and hear the

http://www.bbc.co.uk/schools/gcsebitesize/drama/creating/elementsrev_print.shtml


judge's pronouncement. Then there's the sound of the gavel banging on his desk - and the resulting quiet before he pronounces the sentence. The audience can't fail to be interested!

Characterisation

The way an actor plays a role, using his/her acting skills to create a character in a drama, is known as characterisation.

Think about how we describe someone. Of course everyone looks a bit different, but a person's character can be shown in many ways, and this is where the actor's skill comes in. You can show a character in the way they walk and move (body language [body language: The non-verbal way in which a person communicates their physical and mental state through using facial expressions, gesture and posture ]), in the way they speak (vocal qualities) and in their reaction to events in

the drama.

When creating a character we may use techniques such as hot-seating [hot-seating: To question an individual while they remain in character ] to develop the role, but we also need to think about these other aspects of presenting the character so they can 'come alive' within the drama.

Role on the Wall involves representing the character as a series of pictures or symbols to provide background, psychological states and moments of confrontation.

Dramatic conventions (techniques)

There's a range of dramatic conventions (techniques) that have been used to create dramatic effects in plays and spectacles for centuries. Among these are:

slow motion freeze-frame audience aside narration soliloquy [soliloquy: A speech performed by an individual, often depicting that person thinking

or talking aloud ]

thought-tracking (similar to soliloquy but can be a continuous device). establishing one part of the space as one location, and a different part of the space as another

location Symbols

Dramas are produced to a great extent through the use of symbols - or representations - standing in for real things. Many of the following can be understood as symbols.

props (eg a torn wedding photograph to represent a divorce) gestures (eg finger on lips as a symbol of silence; a silent scream) expressions (eg open mouth to represent surprise) costume (a white costume as a symbol of innocence) lighting (eg blue lighting to represent night-time) setting (dry ice vapour to represent a snowy wood)

- BBC




Drama Techniques voice, body, movement and use of space

VOICE

Pitch the highness or lowness of a sound

Pace the rate at which words are spoken

Pause where sound stops, how often and for how long

Projection enables audience to hear the voice

Volume how loudly/softly the words are spoken

Articulation clarity of voice

Tone the feeling/emotion in the voice

Cueing when to speak

Inflection the rise and fall of a voice

Accent particular to a country/society/culture

Breathing

to allow a controlled use of voice, to convey a feeling e.g a sigh or gasp

Repetition repeating a sound or words for emphasis

Emphasis

choosing to stress particular words to convey meaning

BODY

Posture stance, way of standing

Gesture

movement of any part of the body to express idea, feeling or mood

Body awareness

ability to select appropriate use of body on stage, choosing to use the whole body, or isolated parts of the body expressively

Facial expression

using the face to show mood, emotion, feeling and responses

Eye contact

establishing eye contact with another actor or the audience

MOVEMENT

Timing

fast or slow tempo, when you move (kinaesthetic response), duration (length) of movement

Direction

where you are going: forwards, backwards, diagonal, sideways

Energy

how you move, the amount of force, the mood expressed through movement

Ensemble awareness

moving as part of a group, proximity to other actors, responding to other actors‟ movement

Pathways

the pattern of movement you create in the space, e.g curved, straight or zig-zag pathways

Repetition

Repeating a movement or recycling a movement for emphasis

SPACE

Levels low, medium, high

Personal space

your own space, the bubble immediately around your body, how you use this space

General space all other space in the room, how you use this space.

Architecture the physical structures of the space you are in and within the space, how you use and interact with these structures

Proximity the amount of distance or space between actors, the amount of space between actors and audience

(SMT, Nelson College for Girls)

Glossary

These definitions reflect current usage in the New Zealand drama education context. Many of the terms are used differently in other drama contexts. accent: a way of speaking particular to a country, society or culture. action: (element) what each person in role is doing and thinking, alone and with others. a day in the life: a process convention that works backwards from an important event in order to explain or give clues about the event; groups create freeze frames of significant moments in the past that cast some light on the event. These freezes are then examined by the participants. agitprop theatre: a form of street theatre that uses humour, satire, symbolism, song and audience participation to influence audience point of view. āhua: form, as applied in Māori performing arts. alienation effect: the creation of a sense of distancing audiences from emotional identification with dramatic action for the purpose of making political or social comment through drama. (Verfrumdungseffekt) alter-ego: a process convention in which students work in pairs, one as the role, one as that role‟s thoughts. The role plays out the action and dialogue and the alter-ego plays out the inner thoughts and feelings. annotate: make notes on the script about performance details such as interpretations, motivations moves, blocking and intonation patterns. antagonist: the character who is a foil to the protagonist, providing the obstacle or opposing force against which the protagonist must work. art work: a product of art-making activity (e.g. a devised drama, play script, comedy sketch). articulation: the use of the lips, teeth and tongue to make sounds or the clarity with which words are uttered. aside: a performance convention in which a line spoken by a character directly to the audience is not heard by other actors onstage. back to back: a process convention in which two people explore ideas in drama while seated or standing back-to-back. blanket role: a process convention in which all the participants take the same role within a whole-group role play. It is often used with younger students because it is a non-threatening way for them to begin to work in drama. body language: communication that uses gestures, posture and facial expression instead of or as well as words. building belief: the period spent in developing understanding and belief in the dramatic context; also called the initiation phase. caption: a process convention in which audience groups reflect on the image by creating a caption, headline or title.

ceremony: a process convention in which students, either in small groups or as a whole group, plan and carry out a ceremony to celebrate something of significance. chorus (of) movement: a convention in which a group moves together with a sense of purpose to heighten the moment or to create a particular visual or spatial effect chorus/chorus of voice: a convention used in performance and process drama in which individuals or groups provide spoken explanation or commentary on the main action of a drama. circular role: a process convention in which groups of participants choose roles as particular characters and a leader in role as a central character improvises drama with each group in turn, linking the characters and getting a variety of responses to a common concern; also sometimes called circular drama. collage of voice: a convention used in performance and process drama in which participants in role select a line of dialogue and improvise layering of voices. collective character: a process convention in which a group speaks for a character, with one person representing the character without speaking while the rest of the group improvises his or her words. Alternatively an individual takes on the role while the rest of the group whisper advice and offer lines of dialogue to be spoken by the person in role. It can work as a dialogue. collective mapping: a process convention in which a group draws a map together to represent the place where the drama is set, providing a concrete representation for the ideas that are being developed; also known as making maps. commedia dell'arte: an improvised style of comedy popular during the sixteenth to the eighteenth century, originating in Italy and involving stock characters and the use of masks. compilation: a devised drama structure that explains an idea or theme or subject through the use of self-contained scenes or vignettes. Each scene is independent of the others but unified by its connection to the central idea or theme. (montage) conventions: established ways of working in drama (e.g., hot seating, role on the wall, freeze-frame images) that explore meaning or deepen understanding; or established practices in theatre (e.g. the soliloquy, aside). cue: the signal (verbal or physical) for an actor to deliver his/her next line; the signal for a lighting change or sound effect. culture: understandings, patterns of behaviour, practices, values, and symbol systems that are acquired, preserved, and transmitted by a group of people and that can be embodied in art works. defining space: the process by which participants discuss, plan and set up the physical environment in which their drama will occur. Negotiation and decision-making are important aspects because they help participants to build their belief in and commitment to the drama. This is also known as shaping space. devised drama: drama that is developed for performance without originating from a script, although a script may be developed as part of the process. direction: where an actor moves to on the stage. This will often have meaning or effect for the audience. doughnut circle: a process convention in which the participants carry out paired conversations in two groups standing in two concentric circles, with each participant representing a different person‟s perspective.

dramatic space: the physical environment in which drama occurs. elements of drama: the key ingredients of drama (i.e. role, time, space, action, tension, focus). energy: the intensity of the movement or voice rather than just speed or volume. A movement could be slow and still have high energy: an utterance soft but still delivered with high energy. epic theatre: a theatre genre developed by Bertolt Brecht which uses a particular set of conventions and where the performance is presented directly to the audience which is encouraged to respond intellectually to the issues in the play rather than emotionally identifying with characters or action. fale'aitu: traditional Samoan comic theatre, usually addressing social issues or problems. flashback or flashforward: a structural convention which involves shifting backwards or forwards in time so that participants or the audience can experience or investigate action or context from another perspective. focus: (element) the concentration of meaning and the giving of shape to experience in order to form drama. focus: (2) the specific point of attention on stage at any moment created by the shaping of any aspect or aspects of the dramatic experience in such a way as to purposefully direct the attention of the audience.

focus ( 3) personal concentration and commitment to the role and action. form: the compositional structure or structures that shape a dramatic work; or a broad category of drama, which may include within it a number of styles (e.g. puppetry is a form, and glove puppets, marionettes, and shadow puppets are styles). forum theatre: a theatre form created by Augusto Boal in which a problem or dilemma is enacted by a group while others observe. The observers (spectactors) have the right to stop the action whenever they feel it is losing direction or authenticity. The person who stopped the drama then steps in and takes over the role in order to redirect the action. found object: a process convention in which drama is inspired by objects found in the environment. frame: the viewpoint or perspective of a role on the central dramatic action, usually from within the action or on the edge or outside the action, distanced by time or place. freeze-frame image: a convention used in performance and process drama in which a person or the members of a group use their bodies to make an image capturing an idea, theme, or moment in time; also called a group sculpture or still image or frozen image. games: games or variations of games can be used to highlight human situations within the context of a process drama. gesture: a movement of any part of the body that expresses an idea. gestus: a major function of Brecht‟s epic theatre. Gestus refers to physical actions which expose an underlying main social theme of a play. given circumstances: the term that Stanislavski gave to the essential information about characters‟ past lives and relationships and the circumstances and incidents which are revealed by the playwright. gossip chorus/circle: a convention in which the group speaks the rumours about an event in the drama, sharing fragments of conversation which can be developed into a chorus work. groupings: how characters are placed in groups onstage to create an effect or to communicate an idea.

guided depiction: a dramatic reconstruction of a key moment with an accompanying commentary, either by one of the characters or by someone outside the action. hakari: a Maori celebratory meal or feast. hot seating: a process convention in which class members question or interview someone who is in role (e.g. as a character from a play, a person from history) to bring out additional information, ideas, and attitudes about the role. The class members may or may not be in role. idea: a visual, auditory, or kinaesthetic concept, or a combination of these, within an arts discipline. improvisation: spontaneous invention and development of drama without use of scripts or preparation. inflection: the rise and fall in pitch of the voice. Inner action: the private thoughts, motivation or intention of a character. interpretation: analysis or appreciation of meaning in an art work by a viewer or listener; or the particular meaning communicated by the performer of an existing art work. interview: a process convention in which a face to face meeting of two parties in role takes place to ascertain particular information for a purpose. Intonation: patterns of rising and falling of pitch in sound. A rising intonation can signal a question. A falling intonation can signal a person has finished speaking. issues-based drama: a devised drama structure used to explore and discuss some issue important to the participants. It usually employs the techniques of one of, or a combination of, three noted drama practitioners: Bertolt Brecht, Augusto Boal and Dario Fo. korero paki: storytelling and riddles. levels: the use of different heights on the stage achieved by platforms, rostra or stairs; the use of different heights in a group by actors standing, sitting or lying down. mantle of the expert: a process convention in which the participants become characters endowed with specialist knowledge relevant to the situation of the drama. The situation is usually task-oriented so that expert knowledge or understanding are required to perform the task. mapping: a process convention in which maps or diagrams are made in order to develop or reflect on drama.

marking the moment: A process convention where, in reflection, participants choose a moment from the drama that had impact for them and use another convention (eg sculptures, frozen images, overheard thoughts) to reveal the impact. meaning: what an artist expresses in an art work; or what a viewer or listener understands and interprets from an art work. meeting: a process convention where students in role take part in a gathering where they might hear information, discuss issues, plan action, make decisions or solve problems. melodrama: a style of drama which uses stock characters and always portrays a tale of good triumphing over evil. It was an extremely popular form of entertainment throughout the nineteenth century. mime: a form of theatre performance in which action and character are suggested using gesture, movement, and facial expression without words or sounds.

mokowā: space, as applied in Māori performing arts. monologue: a lengthy speech for one person. Often a monologue is required for audition. montage: a series of brief scenes showing contrasting angles on a drama or story and juxtaposed to emphasise the different viewpoints and to add interest to the devised piece. mood: the emotional dimension or feeling of a play scene or moment in the action. motif: a distinctive idea, image or sound that is repeated throughout a work, or that underpins a work, so that the theme of the motif resonates through the work. narration: a performance convention in which a person narrates the action that occurs within a drama. narrative: a devised drama structure which tells a story with events linked by cause and effect and usually leads to a climax. The narrative structure may be chronologically linear or employ flashbacks or flash-forwards to tell the story. naturalism: a theatre form requiring the actor to identify with the psychology and consequent behaviour of their character. The naturalist plays of writers such as Ibsen and Chekhov provided the fundamental building blocks for Stanislavski‟s system for acting. negotiated text: a process convention in which students independently write a line of dialogue. The lines are redistributed so that no one has his/her own line. In groups, students negotiate a scene making sense of the lines. As a variation, this negotiation can be done silently (silent negotiation). news reports: a process convention in which students in role as either radio or television news readers present a news item they have written. open script: a script that has few or no stage directions, set or character description. Often characters are merely identified as „A‟, „B‟, „C‟ … outer action: what the actor does physically to achieve what a character wants. The outer action is affected by the inner action. It is the manifestation of the inner action. overheard conversation: a convention used in performance and process drama in which a conversation that would not normally be overheard by others is disclosed in order to add tension or provide information. The conversation can be heard in a variety of ways – a telephone conversation, one side of a telephone conversation, in groups, in pairs or individually. pace: the speed with which a character speaks or with which a body of text is delivered (e.g. how fast the cues are). paired conversation: a convention used in performance and process drama in which two characters in a drama carry out a conversation expressing their different perspectives on a central topic. pause: a break between words in a character‟s speech or between the end of one character‟s speech and the beginning of the next. performance poetry: interpreting a poem using voice and movement to portray meaning through performance. personal space: the space around an individual that makes him/her feel uncomfortable if someone else intrudes; this will vary with different characters and relationships. pitch: the relative highness or lowness of tone of the voice.

playing against: when an actor plays a scene or lines with an emotion that is contrary to what he/she is really feeling (e.g. being very angry but delivering the lines in a quiet and measured way). posture: describes the way a person stands or sits (slumped, upright, stooped). presentational: a style of performance in which actors in the drama recognise and directly address audiences by such devices as asides, documentary commentary and Brechtian devices. prepared improvisation: invention and development of drama with limited preparation. Rehearsal of lines is not part of this process. pretext: the “hook” that activates the drama. It could be a story, an image, a headline, a song or any number of different things. projection: the control of the volume and the quality of the voice so that it can be heard clearly. process: the sequence of steps needed to achieve a dramatic outcome (e.g. devising a play, putting on a production, making puppets). process conventions: strategies for working in process drama. process drama: a form of drama in which the purpose is to participate in learning, inquiry, or discovery rather than to present drama to an external audience. props: (properties): real life objects that characters use in drama. protagonist: the first, the principal character; originally the only character who stood out from the chorus in ancient Greek drama. reflective circle: a process convention in which students stand in a circle and one at a time contribute a sentence reflecting on the drama work. realism: a theatre form based on the notion of art impersonating life. Realist theatre is traditionally performed on a proscenium arch stage. reo: voice, as applied in Māori performing arts. representational: a style of drama where actors seek to portray reality through dramatic action by creating a world which the audience observe but are separate from. Restoration Theatre: a period of English drama dating from 1660 (with the re-opening of the theatres after the Commonwealth) to the early 1700s. ritual: this convention used in performance and process drama involves stylised enactment bound by traditional rules and usually repetitious in nature. It is a powerful means of moving participants more deeply into the drama because it enables them to recognise the importance of their actions. role: (element) the imaginative identity taken on by an actor. role-in-role: a convention used in performance and process drama in which the participants act as actors acting. role on the wall: a process convention in which an important role is represented in picture form "on the wall" (usually on a large sheet of paper) so that information can be collectively read or added to as a drama progresses. role-playing: using the imagination to identify with someone else in order to explore and represent experience from their perspective or viewpoint; also called being in role.

sculpting: a process convention where, either individually or as a group, the participants create a sculpture to convey meaning. silent negotiation: a process convention where, after students write a line of dialogue independently, the lines are redistributed so that no one has their own line. Then, in small groups, students silently negotiate the sequence of these lines to make a scene. situation: the set of circumstances at a particular moment in the action. slow motion: a convention used in performance and process drama in which movement, expressions and gestures are slowed down and exaggerated to heighten tension or isolate an important moment. social text: an art work that refers to the society or culture in which it is made and that reflects the dynamics within that society or culture. soliloquy: a performance convention where a speech delivered by a character alone onstage reveals that character‟s innermost thoughts. soundscape: a sequence of sounds shaped to enhance action and mood in a drama. source: poems, stories, newspapers, books, artefacts, diaries, personal experiences, songs, visual art, film clips or anything a pretext is sourced from. space: (element) the place where, imaginatively, the action occurs within a drama. speaking thoughts aloud: a convention used in performance and process drama in which the action freezes and a character speaks his/her thoughts aloud in order to add tension, provide information, or for some other purpose; also can be called spoken thoughts spectactors: what the audience become when to enter the dramatic action in order to transform its outcome. It is an innovation used mainly for political purposes by Augusto Boal and others. split focus: having two different dialogues or actions happening simultaneously on stage. Split focus can be used deliberately to strong effect but may also occur unintentionally in an improvised context spoken diary: a convention, used in performance and process drama for reflecting on the action in the drama, in which the character writes a diary or letter speaking the contents aloud and thereby explaining his /her feelings to the audience or other participants. statementing: A process convention. Students stand in a circle. A chair in the middle has a prop on it to signal role. Those in the circle take the role of someone who knows the person signalled in the chair, eg, family friend, neighbour, family member. Everyone moves and stands in relation to the chair according to how well they know the “chair” person. The teacher moves round the group and collects a statement from the roles about the “chair” person. storytelling: a performance convention in which a story is presented through action, dialogue, and narration (by an external narrator or by characters within the drama). style: a specialised type of drama within a broader form (e.g. commedia dell'arte is a style within the form of mask comedy); or the recognised manner or distinguishing way in which a particular type of drama is created and presented and according to which it is interpreted. Style often relates to a particular historical period, movement, writer, or performer. subtext: the unspoken thought or motivation underlying dialogue. symbol: the use of a character, prop or aspect of the set to exemplify an idea (e.g. a red rose to represent love; white as a sign of purity or innocence).

tag role: participants in an improvisation can be tagged or appeal to be tagged and so replaced in the improvisation by another group member. The object is to keep the flow of the improvisation no matter how many people participate. tauhanga: body stance, as applied in Māori performing arts. teacher in role: a process convention and teaching strategy where the teacher manages a class from within a drama by taking a role to deepen and extend students' inquiry and learning. technique: a particular method or procedure used to achieve a specific purpose. In drama, the term relates to the use of voice, body (e.g. facial expression and gesture), movement and use of space. technologies: equipment that helps to create, present, explain, document, analyse, view, interpret, or learn about dramatic work (e.g. puppets, masks, lighting, props, sounds, costumes, recording equipment). telephone conversations: a one way conversation where the group only hears one side of the dialogue; or a two-way conversation devised in pairs to illuminate a situation or to inform or to advance plot. Telephone conversations may be used to create outside pressure or to introduce new information. tension: (element) where mental pressure or emotional intensity is used to provoke a response, focus attention, or heighten involvement. text: any expressive work (artistic or otherwise) that can be "read", whether it uses words, images, or sounds. Theatre of the Absurd: a form of theatre in which language is unconventional and in which political and social problems are examined and presented in unconventional ways. Theatre of Oppression: a form of theatre, developed and used by Augusto Boal, which examines the problems of oppressed peoples. (Theatre of the Oppressed) theatre piece: a process convention where the teacher or a small group prepares and rehearses a piece of theatre as a pretext. this way/that way: a convention used in performance and process drama that highlights different characters‟ interpretations of the same event by enacting versions from different perspectives with especial attention to details. thought tapping: a process convention in which the action freezes and a leader moves among the participants, tapping individual‟s shoulders to activate the speaking aloud of the thoughts of that role. thought tracking: a reflective process convention that reveals the private thoughts of roles at specific moments in the action. time: (element) when (time of day, year, period) the dramatic action takes place; or the action can take place in “real time” or “dramatic time” when the action is shorter or even longer than real time. timing: the execution of a line or movement at a specific moment to achieve the most telling effect. vignette: an improvised scene refined to capture a snapshot of a moment. voices in the head: a process convention in which a participant who is not in role speaks the thoughts of another person who is in role. It can be facilitated by a teacher freezing the action in a scene and nominating a student from the audience to stand beside or make physical contact with a student in the frozen scene and speak the “voice in the head” of that role. volume: describes how loud or soft the voice or sound is.

wall of thought: a process convention in which participants stand in two rows and, as a character walks between them, the participants speak the thoughts that may be in the character‟s head or offer the character advice, or make comments about the character, either as themselves or in role as other characters; also known as conscience alley or wall of conscience. whole-group role play: a process convention in which all the participants are in role and in an imagined setting so that everyone is involved in the drama at the same time and shaping the drama while it is in progress. This strategy can be very powerful when a teacher works from within the action. writing in role: a convention that involves writing as the character, using the character‟s voice to express his/her thoughts and/or feelings about the situation. The writing may take different forms; dairies, letters, reports, text messages, reviews, statements.


NCEA DRAMA

LEVEL 2 ACHIEVEMENT STANDARDS

Achievement Standard AS90299 Subject Reference Drama 2.1

Title Apply drama techniques in an improvised group context

Level 2 Credits 2 Assessment Internal

Subfield Drama

Domain Drama Performance

Registration date 20 October 2004 Date version published 20 October 2004

This achievement standard requires applying drama techniques involving a combination of voice, body, movement and use of space in an improvised group context. Achievement Criteria

Achievement Achievement with Merit Achievement with

Excellence

Demonstrate appropriate combination of voice, body, movement and use of space in an improvised group context.

Demonstrate appropriate and sustained combination of voice, body, movement and use of space in an improvised group context.

Demonstrate appropriate, sustained and effective combination of voice, body, movement and use of space in an improvised group context.

Explanatory Notes

1 This achievement standard is derived from The Arts in the New Zealand Curriculum,

Learning Media, Ministry of Education, 2000, and relates to the strand Developing Practical Knowledge in Drama, Level 7, and Ngā Toi i roto i te Marautanga o Aotearoa, Learning Media, Ministry of Education, 2000.

2 Drama techniques must include use and combination of voice, body, movement and space. Examples of appropriate techniques for use in an improvised group context could include:

body – using gesture, body language, eye contact, facial expression, recognising and maintaining focus

movement – showing energy, making and accepting physical offers

space – choosing levels and grouping, using exits and entrances. For voice the student should demonstrate appropriate application through using: pace, pausing, projection, tone, cueing, listening (eg accepting offers).

3 Appropriate refers to establishing a role and situation, advancing a story, listening to

and interacting with others to develop a scene or situation. 4 Sustained refers to maintaining character and situation through using techniques,

for the full duration of the improvisation. 5 Sustained and effective refers to, in addition to the above, the layers of belief, the

element of surprise, originality, spontaneity, highly flexible performance. 6 Improvised group contexts could develop within: textual studies, cultural studies,

thematic studies, story telling, performance poetry, response to music. 7 Improvisation may be spontaneous or with a short preparation time (eg one class

period). 8 While opportunities for learning and exploring drama techniques, and for formative

assessment, may isolate the separate techniques, the summative assessment opportunities should require all techniques to be applied in the one assessment task.


Title Apply drama techniques in a group within a scripted context


Subfield Drama



This achievement standard requires applying drama techniques involving a combination of voice, body, movement and use of space to interpret and present a scripted drama. Achievement Criteria


Excellence

Demonstrate appropriate combination of voice, body, movement and use of space to interpret and present interactive scripted drama.

Demonstrate appropriate and sustained combination of voice, body, movement and use of space to interpret and present interactive scripted drama.

Demonstrate appropriate, sustained and effective combination of voice, body, movement and use of space to interpret and present interactive scripted drama.

Explanatory Notes 1 This achievement standard is derived from The Arts in the New Zealand Curriculum,

Learning Media, Ministry of Education, 2000, and relates to the strands Developing Practical Knowledge in Drama and Communicating and Interpreting in Drama, Level 7, and Ngā Toi i roto i te Marautanga o Aotearoa, Learning Media, Ministry of Education, 2000.

2 Drama techniques must include use and combination of voice, body, movement and space. Examples of appropriate techniques for use in an improvised group context could include:

body – using gesture, body language, eye contact, facial expression, recognising and maintaining focus

movement – showing energy, ensemble awareness, controlling movement and stillness

space – choosing levels and grouping, positioning the actors. For voice the student should demonstrate appropriate application through using: pace, pausing, projection, tone, listening (eg responding to cues).

3 Appropriate refers to interpreting a role, relationships and situation, from a given

script. 4 Sustained refers to maintaining character and situation through using techniques,

for the full duration of the performed text. 5 Sustained and effective refers to, in addition to the above, the depths, layers of

belief, originality, conviction and truth. 6 Interactive scripted drama refers to a script which involves a group working together

to create a scene or situation, rather than working independently eg in a series of related monologues.

7 The script chosen may be a short one-act play with a small cast (2-3 people), or an

extract from a larger play, or an open script ie about 2-3 pages in length. 8 The script chosen should be of sufficient substance, and the roles/characters of

comparable contribution, to provide an opportunity for students to achieve at any grades of achievement. Where a script offers only a minor role for some characters/students, and does not allow for opportunities for achievement with merit or excellence, a further assessment opportunity should be made available.

9 While opportunities for learning and exploring drama techniques, and for formative

assessment, may isolate the separate techniques, the summative assessment opportunities should require all techniques to be applied in the one assessment task.

10 For assessment, students need to develop their own interpretation and

independently select appropriate techniques to convey this interpretation.


Title Structure, record and perform devised drama using elements and conventions


Subfield Drama

Domain Drama Creation


This achievement standard requires structuring devised drama by selecting appropriate elements and conventions, recording key decisions and intentions, and performing the devised drama. Achievement Criteria


Excellence

Structure devised drama by selecting elements and conventions to create dramatic meaning.

Structure devised drama coherently by selecting elements and conventions to create dramatic meaning.

Structure devised drama coherently and perceptively by selecting elements and conventions to create dramatic meaning.

Record key decisions and intentions of the devised drama.



Perform the devised drama to realise the intention.

Perform the devised drama to realise a clear intention.

Perform devised drama to realise an effective and clear intention.

Explanatory Notes


Learning Media, Ministry of Education, 2000, and relates to the strands Developing Practical Knowledge in Drama and Developing Ideas in Drama, Level 7, and Ngā Toi i roto i te Marautanga o Aotearoa, Learning Media, Ministry of Education, 2000.

2 Elements could include: role, situation, time, place, mood, symbol, tension, focus. 3 Structural conventions could include: freeze-frame, flashback, narration, mime,

spoken thoughts, slow motion, chorus, overheard conversation, soundscape, collage/montage, motif.

4 Theatre conventions could include: actor/audience relationship, exits/entrances,

theatre technologies. 5 Textual conventions could include: soliloquy, monologue, dialogue, aside, stage

directions. 6 Process Drama conventions (eg mantle of the expert, teacher-in-role, role-on-the-

wall, hot seating, visualisation, mapping) may be useful conventions in the devising process for assessment of this achievement standard.

7 Recording key decisions and intentions refers to recording of the process by which

decisions are made and intentions are formulated and refined. This could be written and/or visual, and/or oral and should include:

a justification of the final structure and a record of its development. This could be presented as a series of diagrams

reflective material showing how original ideas and production components were modified or extended. Typically, a student will record what was added or rejected in order to achieve a desired effect.

8 In group devising, each student must make a significant contribution to provide

sufficient evidence for assessment. The contribution of the individual student must be clearly identifiable and assessable.


Title Apply knowledge of a drama/theatre form or period through performing a role within a presentation


Subfield Drama

Domain Drama Creation


This achievement standard requires the demonstration of applied knowledge of a drama/theatre form or period through the identification and referencing of its features within a presentation that includes appropriate performance. Achievement Criteria


Excellence

Identify features of a drama/theatre form or period.

Identify an extended range of features of a drama/theatre form or period.

Identify a comprehensive range of features of a drama/theatre form or period.

Reference some features of appropriate selected text(s) to performance within a presentation.

Reference key features of appropriate selected text(s) to performance within a presentation.

Reference key features of appropriate selected text(s) to performance within a presentation.

Apply features during performance of selected text(s) within a presentation.

Apply features effectively during performance of selected text(s) within a presentation.

Apply features perceptively during performance of selected text(s) within a presentation.

Explanatory Notes


Learning Media, Ministry of Education, 2000, and relates to the strands Developing Practical Knowledge in Drama, Communicating and Interpreting in Drama and Understanding Drama in Context, Level 7, and Ngā Toi i roto i te Marautanga o Aotearoa, Learning Media, Ministry of Education, 2000.

2 Referencing features requires the student to use and link appropriate features of the chosen drama/theatre form or period to the performance and/or within the presentation.

3 Text(s) could be a scripted play, an extract or linked extracts from a longer scripted

play, or devised text(s) eg Commedia dell‟Arte. 4 Within a presentation requires that the student must clarify the intent of the role

performed and how it represents features of the form or period, as well as understanding about the form or period which have not been able to be demonstrated through the role. The student may use written, oral or visual communication to produce this supporting evidence.

5 The chosen specific form and/or period of drama/theatre needs to have clear

distinguishing features and accessible resources. Suggested specific forms and/or periods of drama/theatre: Greek, Medieval,

Elizabethan, Restoration, Contemporary New Zealand, Realism, Epic, Musical. 6 Presentation should be assessed individually. The performance may be completed

in pairs or groups. In group presentations, each student must have the opportunity to provide sufficient evidence for assessment of individual performance of a role and contribution to the presentation. The contribution of the individual student must be clearly identifiable and assessable.


Title Perform a substantial acting, technical or production role


Subfield Drama



This achievement standard requires developing and sustaining a substantial acting, technical or production role for an audience. Achievement Criteria


Excellence

Participate appropriately in the production process and actively support the production team.



Record developing understanding of role.

Record developing understanding of role with detail and insight.

Record developing understanding of role with extensive and perceptive detail and insight.

Develop and sustain an acting, technical or production role.

Develop and sustain an acting, technical or production role with confidence.

Develop and sustain an accomplished acting, technical or production role.

Explanatory Notes


Learning Media, Ministry of Education, 2000, and relates to all four strands in Level 7, and Ngā Toi i roto i te Marautanga o Aotearoa, Learning Media, Ministry of Education, 2000.

2 Record refers to documentation and evaluation of key decisions and development.

This could be visual, oral and/or written.

3 The production should have sufficient depth and length, or be significant enough to merit attention, or have an established critical reputation, which will provide the opportunities for students to meet the requirements of different and substantial roles for this achievement standard.

4 The production must be scripted but could be either by a published playwright or

devised and recorded or scripted and „workshopped‟. A production may be the school „major production‟ for the year or may be a separate production mounted specifically to provide assessment opportunities for this achievement standard.

5 Each student will need to have an opportunity to perform a substantial acting,

technical or production role within the production which will enable the student to meet the requirements of any grade of achievement.

6 Specific requirements of the acting, technical and production roles will need to be

detailed in separate assessment activities and schedules. Although the production is a group/team effort, each student is assessed individually on the performance of their role.

7 Technical/production roles could include:

stage manager

assistant director

choreographer

script writer

set design

costume design and/or construction

lighting design and operation

music/sound design and operation

properties creation and management. 8 For the performance of this production, there must be an audience other than the

class. The audience could be invited or public, eg another class, family and friends, wider school community, community, general public.


Title Apply knowledge of and make judgements about drama processes and performance in a new context

Level 2 Credits 5 Assessment External

Subfield Drama

Domain Drama Studies


This achievement standard requires applying knowledge of drama and drama processes in a new context, and responding to and making judgements about drama, drama processes and performance. Achievement Criteria


Excellence

Apply knowledge of drama and drama processes in a new context.

Apply wide knowledge of drama and drama processes in a new context.

Apply comprehensive knowledge of drama and drama processes in a new context.

Respond to and make judgements about drama, drama processes and performance.

Respond to and make judgements about drama, drama processes and performance with substantial supporting detail.

Respond to and make

judgements about drama,

drama processes and

performance with extensive

and perceptive supporting

detail.

Explanatory Notes 1 This achievement standard is derived from The Arts in the New Zealand Curriculum,

Learning Media, Ministry of Education, 2000, and relates to the strands Developing Practical Knowledge in Drama and Understanding Drama in Context, Level 7, and Ngā Toi i roto i te Marautanga o Aotearoa, Learning Media, Ministry of Education, 2000.

2 New context means that the student, in an external assessment situation, will be required to apply knowledge gained from experience and texts/material studied in class to unfamiliar text(s) and/or scenario(s), including visual images.

3 Processes and performance refers to the techniques, elements, conventions and

drama/theatre forms (such as Greek theatre, Elizabethan theatre, Restoration theatre, Commedia dell‟Arte and clowning, melodrama, street theatre and dance-drama) experienced through a programme of work and/or preparation for assessment for AS90299, Drama 2.1, AS90300, Drama 2.2, AS90301, Drama 2.3, AS90302, Drama 2.4 and AS90303, Drama 2.5, or equivalent (eg unit standards covering similar aspects of drama). Processes may be associated with the devising of drama or the production of an established script.

4 Respond to and make judgements about signifies engagement with, analysis of and

justifiable conclusions about drama processes and performance. At excellence level, perceptive includes the authoritative relating of the processes or performance to a wider context or practice.

5 The external assessment may involve one or more of the following activities to

apply:

analysis of and response to a video performance

analysis of and response to photographic or graphic images

annotating a given script

extended written response

production/performance review

personal reflection.

drama at shirley boys’ high schoolcoursebook+y12... · two performances outside the school...

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