work program - matt

Centenary State High School

Senior Drama Work Program

QSA 2007 Syllabus

“A large, very well resourced inner western suburbs state high school with a predominantly committed,

working class parent base”

Written by: Matt Jensen (42299381) November 2010

EDUC6785 – Drama: STA 1 Matthew Jensen (42299381)

Centenary SHS Senior Drama - Two Year Course Overview

Year 11

Unit title and unit features Time

(weeks) Dramatic

perspectives General

objectives Task conditions

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Year 11 Unit: 1 - Identity

Dramatic Languages and Perspectives

Define and examine dramatic languages and perspectives

Explore the elements of drama, skills of performance and styles and their conventions through games, exercises and workshops

Ensemble building

Process drama

Exploring pictures, sounds, objects and texts as pre-text

Acknowledge and engage with improvisational theatre on video, such as Whose Line is it Anyway or Thank God You’re Here as an enriching experience

Develop and workshop improvisation skills

Using the dramatic languages to devise and build improvised drama

Begin to engage with simple stage design and theatre technology to give context as well as the role of director and dramaturge

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(weeks) Dramatic



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Year 11 Unit: 2 - Vision

Stanislavsky and Australian Realism

Dramatic languages include: role, relationships, tension, focus, acting, ensemble, voice, realism, fourth wall, script, real context

Examine and interpret the characteristics of scripted drama and traditional dramatic structure

Explore realism through practical workshops on acting and rehearsal

Engage with and workshop Stanislavski’s actor training methods and theories

Method acting techniques and exploring the work of method actors i.e. Meryl Streep and Dustin Hoffman

Examine, analyse and evaluate examples of heritage realism from Ibsen and Chekhov

Examine, analyse and evaluate examples of contemporary Australian Indigenous realism i.e. Up the Ladder, The Cherry Pickers and Cookie’s Table

Examine the conventions of Australian Indigenous theatre and performance, including their social, historical and real contexts

Developing and protecting the voice

Characterisation exercises in preparation for performance

Annotating scripts for performance

Prepare polished performance of contemporary text for an audience

Use of realistic sets, props, costumes and theatre technology to create context

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(weeks) Dramatic



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Year 11 Unit: 3 – Insight

Documentary Theatre

Dramatic languages include: situation, language, place, mood, space, reviewing, scriptwriting, documentary drama, script, student-devised drama, cultural context

Exploration of documentary drama as a dramatic genre and its dramatic, social and real contexts.

View and analyse live and recorded documentary drama, including Aftershocks and Days of the Roses as an enriching experience

Workshop the dramatic structure and languages of documentary drama.

Reader’s Theatre

Begin to appreciate the one person play and its conventions including monologues

Identify, discuss and interpret issues, dramatic languages and perspectives in playtext and performance

Read and analyse dramatic structure of playtexts, including contemporary texts My Name is Rachel Corrie and The Laramie Project.

Essay writing skills

Justify particular interpretations

Research issues or themes as a starting point for documentary drama scriptwriting

Interview and gather primary source materials for scriptwriting

Explore the conventions of documentary drama scriptwriting eg. Writing dialogue, synopses, stage directions, subtext etc.

Explore more advanced design and theatre technology conventions

Explore simple directing techniques and the role of the dramaturge.

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Year 11 Unit: 4 - Intent

Classic Theatre

Dramatic languages include: relationships, symbol, time, movement, acting, voice, designing, ensemble, reviewing, Elizabethan theatre, Greek theatre, script, historical context

Study a variety of Greek and Shakespearean plays e.g. Oedipus, Antigone, Hamlet, Macbeth and A Midsummer-Night’s Dream.

Workshop the styles of Greek and Elizabethan theatre and investigate their history.

Exploration of dramatic languages and perspectives in Greek and Elizabethan theatre

The role of the Chorus in Greek and Elizabethan theatre.

Contemporising Elizabethan text using modern forms, styles and practices.

Explore the acting conventions of Elizabethan theatre through games, exercises and text workshopping

Experiment in rehearsal with several interpretations of the same scene

Annotate a script for performance

Prepare a polished performance of heritage text for an audience

Production, design and technical theatre skills

View and critically analyse live theater

Pre and post performance workshops, games and exercises

Present an oral analysis (Seminar) of a professional performance critically evaluating the use of dramatic languages

Devise a PowerPoint presentation to support seminar

Justify interpretations

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Centenary SHS Senior Drama - Two Year Course Overview

Year 12


(weeks) Dramatic



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Year 12 Unit: 5 - Engineering

Absurd Theatre

Dramatic languages include: movement, mood, tension, focus, space, directing, ensemble, reviewing, absurdism, script, political and sociocultural context

Study a variety of plays in an “Absurdist” style, including, Waiting for Godot, Play, The Chairs, The Homecoming and Rosencrantz and Guildenstern are Dead

Discussion of the social, cultural and historical contexts of their styles and forms

Research the origins of Theatre of the Absurd and other surreal and political theatre styles.

Exploration and workshopping of the various acting techniques that are associated with Theatre of the Absurd, especially in voice and movement

Workshop exercises to develop skills in directing

Provide directorial feedback to during rehearsal

Creation of a directors’ annotated script with simple design and technical aspects of performance

Read, evaluate and compare dramatic criticism

View and critically analyse live theater

Identify and analyse dramatic conventions and languages which create and engage dramatic meaning

Pre and post performance workshops, games and exercises

Analytical writing skills

Justify particular interpretations

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(weeks) Dramatic



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Year 12 Unit: 6 - Building

Comedic Styles

Dramatic languages include: relationship, role, movement, language, symbol, acting, voice, ensemble, performance technology, dramaturgy, comedy of manners, music, script

Explore comedic theatre styles such as Farce, Comedy of Manners, Restoration Comedy, Shakespearean Comedy and Clowning as aesthetic learning

Explore Comedy of Manners in heritage and contemporary perspectives e.g. The Importance of Being Earnest, The Way of the World, The Little Dog Laughed and Six Degrees of Separation

Workshop the acting techniques of Comedy of Manners (i.e. ‘the aside’) though games, exercises, improvisations and text workshopping

View live and recorded examples of Comedy of Manners as an enriching experience

Explore character and vocal development in the context of various comedic styles

Experiment in rehearsal with several interpretations of the same scene

Annotate a script for performance

Prepare a polished performance of heritage text for an audience

Production, design (sets, props, costumes) and technical theatre skills

Engage with the role of dramaturge with reference to a particular contemporary Comedy of Manners script and given arts context.

Explore various arts organisations and their requirements, budgets, philosophies etc.

Workshop various design elements, including set design and costuming in role as dramaturge

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Year 12 Post Verification Unit: 7 - Using

Post-modern Theatricality and the One Person Play

Dramatic languages include: situation, role, time, place, space, acting, designing, performance technology, reviewing, post-modern theatricality, multiple roles, technology, script

Explore and engage with various post-modern theatrical conventions including, cyberdrama, theatre technology, visualisations and the one person play

Explore one person plays such as Fires in the Mirror and I love you, Bro considering how these conform to post-modernism and could be enhanced through theatre technology and visualisations.

Workshop and research various theatre technology techniques and create these using various software

Students will choose to explore either design, scripted monologue or analysing playtext for their assessment:

Design Concept:

Research play context and issues in role as designer

Create visual images to support design concepts

OR

Scripted Monologue:

Rehearse and present polished contemporary monologue for an audience.

Use movement, voice and design and theatre technology to enrich the viewing experience

OR

Playtext Analysis:

Identify, discuss and interpret issues, dramatic languages and perspectives in playtext.

Engage in a viva around analysis of a particular playtext, including its use of dramatic languages. Justify Interpretations.

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Centenary SHS Senior Drama Assessment Overview – Year 11

General Objectives Conditions

YEAR

UNIT

ASSESSMENT INSTRUMENT

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Unit: 1 - Identity Dramatic Languages and Perspectives

1. Group Improvisation

Unseen, teacher intervention during performance, 10 mins preparation time, 2-3 mins per student.

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Unit: 2 - Vision Stanislavsky and Australian Realism

2. Scripted Performance

Teacher input during rehearsal, 2 weeks in class/home preparation time, rehearsed, 2-3 mins per student.

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Unit: 3 - Insight Documentary Theatre

3. Playtext Analysis: Extended Analytical Writing

Teacher task consultation, 3 weeks class/home prep. time, no more than 2 drafts, 800-1000 words.

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4. Scriptwriting

Teacher task briefing, 3 weeks in class/home preparation time, no more than 2 drafts, 600-800 words.

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Unit: 4 - Intent Classic Theatre



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6. Live Performance Analysis: Seminar

Teacher task briefing, 3 weeks in class/home preparation time, 1 draft, rehearsed, 4-6 mins.

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Centenary SHS Senior Drama Assessment Overview – Year 12

General Objectives Conditions

YEAR

UNIT


FORM

ING

PRES

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RESP

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INDI

VIDU

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YEAR

12

SUM

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IVE

Unit: 5 - Engineering Absurd Theatre

7. Directing Workshop

Teacher feedback up to assessment day, 2 weeks home preparation time for director, none for actors, NOT rehearsed, 6-8 mins directorial input.

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8. Live Performance Analysis: Extended Analytical Writing

Teacher task briefing, 3 weeks in class/home preparation time, NO draft, 1000-1200 words.

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Unit: 6 - Building Comedic Theatre



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10. Dramaturgical Folio

Teacher task briefing, 4 weeks in class/home preparation time, NO drafts, 1000-1200 words.

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Verification: Instruments 7, 8, 9, 10 Post Verification: Instrument 11 A, B or C

Unit: 7 - Using Post-modern Theatricality and the One Person Play

11A. Design Concept

Teacher task briefing, 2 weeks preparation, 1 draft, 800-1000+ words OR

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11B. Scripted Monologue

Teacher rehearsal input, 2 weeks preparation, rehearsed 5-7 mins OR

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11C. Playtext Analysis: Viva voce

Teacher task briefing, 2 weeks preparation time, rehearsed, 4-6 mins.

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Student Profile Centenary SHS - Year 11 Drama

Term

Year 11 Formative assessment Fo

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1 1. Group Improvisation

B

2


A

3. Playtext Analysis: Extended Analytical Writing

C

3 4. Scriptwriting

C

4


A

6. Live Performance Analysis: Seminar

B

Overall standard in each criterion C A B

Proposed LEVEL OF ACHIEVEMENT at Monitoring HA


Student Profile Centenary SHS - Year 12 Drama

Term

Year 12 Summative assessment Fo

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1 7. Directing Workshop

B

2 8. Live Performance Analysis: Extended Analytical Writing

B


A

3 10. Dramaturgical Folio

B

Interim standards in each criterion B A B

Verification interim level of achievement HA

Post verification submission

4 11A. Design Concept OR 11B. Scripted Monologue OR 11C. Playtext Analysis: Viva voce

B

Exit standard in each criterion B A B

EXIT LEVEL OF ACHIEVEMENT HA


Year 12 Unit Plan

TIME: 15 Weeks

Unit Title and General Objectives Unit Features Suggested Learning Experiences, including Affective

Possible Assessment Tasks

Unit 6: Building: Comedy of manners “Comedies of Manners are bursting with life, and it is life, it is the giving and the restoring of life, that is the job of the theatre”

- Simon Callow In this unit students will investigate the history of Comedic Theatre, looking specifically at Heritage and Contemporary examples of Restoration comedy and Comedy of manners. Students will also be exposed to and

Dramatic languages: Elements of Drama: • Relationships • Roles • Movement • Language • Symbol Skills of Performance: • Voice • Ensemble • Acting • Dramaturgy • Designing Dramatic perspectives: Heritage Styles: • Restoration Comedy • Comedy of manners Contemporary Styles: • Reader’s Theatre Conventions Include: • Use of music • The aside • Command of ones physicality,

props and costumes

Students will: Understand and appreciate comedy as a style of drama, including, comedy of manners, Restoration comedy, satire, farce and Ancient Greek and Roman comedy. Examine and research the key features of comedy of manners playtexts. Examine how the elements of drama can be applied to Restoration comedy and comedy of manners. Acknowledge and engage with Restoration comedy and comedy of manners as an aesthetic learning tool. View, enjoy and appreciate recorded and live performances of Restoration and comedies of manners as an enriching experience. Discuss heritage and contemporary examples of comedy of manners plays and how they differ. Investigate themes in heritage and contemporary comedy of manners scripts and how this relates to the time they were written. Research Restoration England, how this period influenced the development of comedy of manners as a dramatic genre, and to value the diversity of drama in different times and contexts.

Presenting: Students will present a heritage comedy of manners playtext in groups of 3-4. Students will need to consider relationships, symbol and movement in their presentation. Conditions: Group task, teacher input during rehearsal, 2 weeks in class/home preparation time, rehearsed, 4-6 mins per student. Forming: Students will research a contemporary play written in the style of comedy of manners. They will then develop a


evaluate, but not be assessed in, Reader’s Theatre throughout this unit. General Objectives: Presenting

Forming

Responding

Resources: Contemporary Playtexts: Beane, D. The Little Dog Laughed Guare, J. Six Degrees of Separation. Heritage Playtexts: Congreve, W. The Way of the World. Wilde, O. The Importance of Being Earnest

Films: Acting in Restoration Comedy with Simon Callow [Master class]

BBC Play of the Month: William Wycherley’s The Country Wife with Helen Mirren [Film]

Dangerous Liaisons [Film]

Greenwich Theatre’s The School for Scandal [Filmed Play]

Seinfeld [TV Series]

What is Dramaturgy? [YouTube Video]

Journal Articles: Pierson, D. Seinfeld and the Modern Comedy of manners.

Research how comedy of manners has evolved and what parts of it we can identify in contemporary dramatic styles. Discuss how contemporary audiences respond to comedy in general and comedy of manners specifically. Research and value the elements of Reader’s Theatre as a contemporary dramatic style. Workshop and develop skills of performance in Reader’s Theatre Explore gesture, movement, relationships and symbol in Restoration comedy and comedy of manners. Explore the importance of language, both verbal and non-verbal, in Restoration comedy and comedy of manners and the possible challenge this poses for modern actors. Discuss and explore ‘the aside’ and its role in comedy of manners and its implications for the contemporary audience and actor. Workshop voice and accents and their importance to acting in Restoration and comedy of manners Workshop the skills of performance for Restoration and comedy of manners and how these differ from more contemporary drama genres, documentary drama for example. Examine, workshop and appreciate the role of music and heightened physicality in creating mood in a Restoration comedy. Workshop different characters from comedy of manners

dramaturgical folio for a public performance of the piece, considering the specific needs of an identified arts organisation’s philosophy, budget restraints, director’s vision etc. Conditions: Individual task, teacher task briefing, 4 weeks in class/home preparation time, NO drafts, 1000-1200 words plus referencing and annotated sketches.


Performance Notes for Educators: Queensland Theatre Company. The Little Dog Laughed Performance Notes for Educators.

Textbooks: Crawford, J. Acting in Person and in Style in Australia.

Schanker. The Stage and the School

Strube et al. Dramatexts : Creative Practice for Senior Drama Students. Physical Resources: • Computer and internet access • Workshop Space • Simple theatre technology Human Resources: Classroom Drama Teacher

playtexts and their context, to better understand how to ‘act’ them. Develop rehearsal skills, such as delivery and responding to cues, committing text to memory, use of costumes and props. Engage in ensemble performance work to appreciate the benefits of group work for collaborative learning and task management. Present scripted playtext by controlling and manipulating the dramatic languages. Appreciate the role of the Dramaturge in modern theatre and work independently as a Dramaturge to experience the benefits of autonomous learning and self-management. Explore various arts organisations and their requirements, budgets, philosophies etc. in student’s role as dramaturge. Explore various formats for a dramaturgical folio and which might be the best for a comedy of manners playtext and the given arts organisations context. Workshop various design elements, including set and costuming in role as a dramaturge. Engage with the role of actor and dramaturge to acknowledge and develop confidence in student’s creative and critical abilities.


General Objective: Forming Presenting Responding

Style: Heritage Contemporary

Task: Guidelines: Individual Small Groups Large Group Stimulus material given weeks prior to assessment. Unseen Task Briefing Class Own Teacher Input:

Rough Draft Rehearsal Time None ! Yes 4 - 6 Minutes per student

No more than 2 No Words

Not Applicable Not Applicable

! Extra Documentation: Copy of Script with student’s lines highlighted

Date Handed out: 18 July 2011 Date Due: 1 August 2011

DRAMA

YEAR TASK


Task: “Comedies of Manners are bursting with life, and it is life, it is the giving and the restoring

of life, that is the job of the theatre” - Simon Callow Students will present a Heritage comedy of manners playtext in groups of 3-4. Students will need to consider relationships, symbol and movement in their presentation as well as use of simple design components, including sets, props and costumes.

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During rehearsal only

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Year 12 Drama: Unit 6 Comedy of Manners – Scripted Performance

Student Name: ________________________________________________________________________ Teacher: Mr Jensen

Standard A Standard B Standard C Standard D Standard E

Pres

entin

g The student work has the following characteristics: • discerning selection and

meaningful application of dramatic languages informed by the dramatic perspectives, to demonstrate an independent and insightful understanding of the purpose and function of drama

• perceptive and coherent communication of effective and intended action and meaning to engage an audience

• planned, rehearsed, polished skills of performance, convincingly and consistently demonstrated.

The student work has the following characteristics: • appropriate selection and

application of dramatic languages informed by the dramatic perspectives to demonstrate a clear understanding of the purpose and function of drama

• communication of effective action and intended meaning to an audience

• planned, rehearsed and polished skills of performance.

The student work has the following characteristics: • selection and use of

dramatic languages informed by the dramatic perspectives to demonstrate an understanding of the purpose and function of drama

• communication of action and intended meaning to an audience

• planned and rehearsed skills of performance.

The student work has the following characteristics: • use of dramatic languages

and the dramatic perspectives related to the function of drama

• communication of action and elementary meaning to an audience

• some skills of performance.

The student work has the following characteristics: • use of dramatic languages

related to the basic function of drama

• attempted communication of dramatic meaning and action

• some skills of performance occasionally demonstrated.

Comments: Level of Achievement:


General Objective: Forming Presenting Responding

Style: Heritage Contemporary

Task: Guidelines: Individual Small Groups Large Group Stimulus material given weeks prior to assessment. Unseen Task Briefing Class Own Teacher Input:

Rough Draft Rehearsal Time ! None Yes Minutes per student

No more than 2 No 1000 - 1200 Words

Not Applicable ! Not Applicable

Extra Documentation

Date Handed out: 22 August 2011 Date Due: 15 September 2011

DRAMA

YEAR TASK


Task: Students will research Guare’s Six Degrees of Separation, a Contemporary play written in the style of comedy of manners. They will then develop a dramaturgical folio for a public performance of the piece during the 2012 Brisbane Festival. Students will need to familiarize themselves with the specific needs of the Brisbane Festivals’ philosophy, budget restraints, venues etc. and must include references and annotated sketches.

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Task briefing

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Year 12 Drama: Unit 6 Comedy of Manners – Dramaturgical Folio

Student Name: ________________________________________________________________________ Teacher: Mr Jensen

Standard A Standard B Standard C Standard D Standard E

Form

ing

The student work has the following characteristics: • evidence of extensive

knowledge and insightful understanding of the interrelationship of dramatic languages informed by the dramatic perspectives

• innovative and discerning exploration of ideas to create, shape and interpret dramatic action and meaning

• competent management and proficient structuring of the dramatic languages, creating engaging and challenging interpretation and judgment about dramatic action and meaning.

The student work has the following characteristics: • evidence of thorough

knowledge and a significant understanding of the dramatic languages informed by the dramatic perspectives

• meaningful exploration of and experimentation with ideas to create, shape and interpret dramatic action and meaning

• skilful management and purposeful structuring of the dramatic languages, providing an individual interpretation and judgment about dramatic action and meaning.

The student work has the following characteristics: • evidence of knowledge

and understanding of the dramatic languages, informed by the dramatic perspectives

• exploration of ideas to create and shape dramatic action and meaning

• management and application of the dramatic languages to justify dramatic action and meaning.

The student work has the following characteristics: • evidence of some

knowledge of dramatic languages related to the dramatic perspectives

• replication of ideas to shape elementary dramatic action and meaning.

• use of some dramatic languages when applied to dramatic action.

The student work has the following characteristics: • knowledge of a few

dramatic languages • shaping simple dramatic

action.

Comments: Level of Achievement:


Annotated Resource List:

Unit: 6 - Insight Documentary Theatre

Films: Burton, G. (Director). (1998). Aftershocks [Motion Picture]. Canberra: Ronin Films

This documentary film, based on the aftermath of the 1989 Newcastle

earthquake, uses news footage from the time as well as actors speaking the

words of earthquake survivors. The film will illustrate the documentary drama

genre, showing students the types of acting skills they need to employ in

order to engage their audience in the narrative of a documentary play.

Fisk, P. (Director). (1998). The Day of the Roses [Motion Picture]. Melbourne:

Umbrella Entertainment.

The Day of the Roses is based on Australia’s worst rail disaster, and is a true

documentary drama. It uses a film narrative to tell a story which is not

disturbed by news footage or other interruptions and is much more like a

piece of documentary theatre than Aftershocks above. Students will use this

film as a practice for the responding task that is required in this unit.

Journal Articles: Carol, M. (2006). Bodies of Evidence. The Drama Review, 50(3), 8-15.

This article provides an excellent background to documentary drama as well

as a discussion of how one might go about creating such a play. Presenting

students with this kind of article will allow them to engage with a type of

writing they have probably seldom encountered. Students will use the article

to aid with their documentary drama scriptwriting task in this unit.


Notes for Educators: La Boite Theatre Company. (2010). My Name is Rachel Corrie Education

Information. Retrieved November 11, 2010, from

http://www.laboite.com.au/_dbase_upl/Rachel_Corrie_Education_Notes.pdf

These notes for educators are based on the 2010 La Boite production of My

Name Is Rachel Corrie and are a valuable resource for students and teachers

alike. The document begins with an introduction to verbatim theatre and the

play, including interviews with a number of people involved in the La Boite

production. The notes also suggest a number of learning experiences for

students linked to the Queensland Senior Drama syllabus as well as a

historical background to the play.

New South Wales Department of Education and Training. (2009). Studies in Drama

and Theatre – Topic 8: Verbatim Theatre Teachers Notes. Retrieved

November 11, 2010, from

http://www.curriculumsupport.education.nsw.gov.au/secondary/creativearts/as

sets/drama/pdf/verbatim.pdf

These teacher notes are based on the New South Wales Year 12 HSC

program but are very relevant to this unit. The document provides a wealth of

information about documentary and verbatim theatre as well as being an

excellent study and exploration companion to The Laramie Project, which

students will study in this unit. The notes also suggest a number of other plays

students could consult for their studies in documentary drama, as well as a

framework for creating such plays.

Play Scripts: Kaufman, M. (2001). The Laramie Project. New York: Dramatists Play Service.

This play will expose students to the genre of documentary theatre and is

based on the kidnapping and death of 21 year old University of Wyoming


student Matthew Shepard in Laramie, Wyoming during 1998. The play was

formulated from more than 200 interviews with people from the town and

exposes students to the issue of homophobic bulling and its deadly

consequences in this case. Students will complete their playtext analysis

responding task for this unit based in The Laramie Project.

Rickman, A. & Viner, K. (Eds). (2005). My Name Is Rachel Corrie. New York:

Theatre Communications Group.

This play script, based on the writings of 23 year old American peace

protestor Rachel Corrie, will expose students to the genre of documentary and

verbatim theatre as well as that of the one person play. Rachel’s dairy entries

and other writings leading up to her death by an Israeli Army bulldozer in

Gaza are edited by Alan Rickman and Katherine Viner in this controversial

and passionate play.

Textbooks

Stinson, M. & Wall, D. (2005). Dramactive Book 2. Sydney: McGraw-Hill.

While Dramactive is aimed at junior students, it includes a fantastic chapter on

Documentary Theatre, which could easily be adapted for a unit in Year 11.

The chapter goes through the process of explaining documentary drama,

looking at scripts, Brecht’s influence, and scriptwriting in terms of

documentary drama. The section on researching and writing documentary

theatre will be particularly helpful to students in completing their forming task

for this unit.

Strube, H., Beh, M., Davis, S., Jones, A., Ryan, S., Yaxley, R. (2010). Dramatexts :

Creative Practice for Senior Drama Students. Brisbane: John Wiley & Sons.

This textbook is an invaluable resource of any drama teacher. It includes

information about various drama styles as well as the basics of drama,

scriptwriting and acting. In the context of this unit, it explores documentary


and verbatim theatre in a number of sections, with a chapter dedicated to

intertextuality exploring the play My Name Is Rachel Corrie which students

study as part of this unit. It also includes a chapter on scriptwriting which

students may find useful when completing the forming task in this unit.

work program - matt

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