- Home
- Our School
- Curriculum
- Subjects
- Drama
Drama
The Drama department at Bishop Justus aims to inspire a passion for Drama, Acting and the Theatre in our young people. To do this the curriculum centres around how practitioners create meaning as Actor`s Director and designers across a wide range of theatrical disciplines. We aim to inspire a life long love of Drama and the Theatre by looking at a delivers range of practitioners, playwrights and performances. We aim to do all of this through Faith, learning and the delivery of an outstanding, knowledge rich Drama curriculum.
Updated VCM details will be available from 22/01/24
Year 7 Term 1
Term 1
What?What are we learning? What’s interleaved? What’s challenging? In their first term at Bishop Justus Church of England School, students will be introduced to Drama through the topic of mime. This allows for students with little to no Drama experience to start with the basics and for those more experienced to refine and learn more context about mime as an art form. Physicality and facial expressions will interleaved throughout all Drama topics up to A Level. The challenging aspect is to accurately tell a story relying solely on the body instead of words to communicate. . |
Why?Why do we need to deliver this (vision statement)? Why now? Mime is the first style of performance we study in Drama as it allows students to focus on just one aspect of performance at a time. By removing the voice, students can put their focus into communicating meaning with their audience using their physicality, facial expressions and interactions without relying on words. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Core knowledge: By understanding what makes a successful mime performance, students learn to make their movements intentional on stage as each movement has meaning in the story and their character. Understanding that facial expressions, physicality and body language must match, and implementing this in performance. Tasks and knowledge to be broken down for SEN students who may need it, and adapted tasks for students who find practical and performance challenging. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can….perform in the style of mime, relying not on words but instead using their physicality and facial expressions to communicate meaning with an audience. What should they be able to know? A wider history and context of mime; famous mime artists such as Marcel Marceau, theatre practitioners such as Steven Berkoff and more modern mime practitioners such as Black Mime Theatre. What should they be able to do? Students will learn how to accurately represent a mimed object; the space, weight and object permanence of it, how to perform effectively to music and to communicate a story in mime. Learning checkpoints and assessment: Students will have fortnightly quizzes set on Show My Homework set by the Subject Leader to check knowledge and understanding. They will have in-class performances through the topic with verbal feedback given from their teacher and peers with reference to a success criteria. |
Where next?
Where do we go from here?
Once students can tell a story in mime, they can begin to add other aspects including the voice, set, costume, lighting etc to communicate meaning with an audience. They build on each new skill and prior knowledge to continue to improve their skills as a performer.
Year 7 Term 2
Term 2
What?What are we learning? What’s interleaved? What’s challenging? Students will study Shakespeare’s Romeo and Juliet to develop their understanding of characterisation in a familiar narrative. Physicality, body language, gesture and facial expressions will all be revisited from Term 1 to continue to improve on characterisation, with the addition of vocal expression as well as the added challenge of Shakespearean language. Students will be taught strategies for line learning which they will be encouraged to do for this term’s assessment. |
Why?Why do we need to deliver this (vision statement)? Why now? Having completed a term on mime, students can now learn how to develop characters different from themselves, using their characterisation. They will develop an understanding of status and how to demonstrate this on stage using levels, stage positioning as well as their characterisation and presence. They will understand the language of key scenes from within the play and develop strategies so that they can do this for themselves in the future with different texts (giving early experience of text study that is done both at GCSE and A Level).
|
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Core knowledge: By studying key scenes from the play and understanding subtext and relationships between characters students will be able to show that in a performance and assess the performance of others. Students learn history about Elizabethan theatre, societal structures in Elizabethan England, and how and why Shakespeare was such an influential playwright of the time. All learning will be accessible, with modern versions of scripts available for those who require them, as well as plenty of activities helping those who thrive in a practical setting. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can… perform a character that is different from themselves, remain in character throughout the performance and deliver lines as best they can in a performance in the final lesson of the term. What should they be able to know? How characterisation is important when performing a character and that physicality, body language and voice all play a key role in this. What should they be able to do? Students should be able to understand text from a script, and perform the meaning Learning checkpoints and assessment: Students will have fortnightly quizzes set on Show My Homework set by the Subject Leader to check knowledge and understanding. They will have in-class performances through the topic with verbal feedback given from their teacher and peers with reference to a success criteria. |
Where next?
Where do we go from here?
After studying a play, learning lines and following stage directions, students will go on next term to explore storytelling and Poor Theatre as a genre. They will use their skills and knowledge acquired in the first two terms to tell stories themselves.
Year 7 Term 3
Term 3
What?What are we learning? What’s interleaved? What’s challenging? In year 7 students will focus on European Theatre and storytelling, they will look at the practitioners of Complicite and Phillipe Gaulier in order to gain an understanding of how Theatre and storytelling can be created from nothing and how it can be non-naturalistic and fun at the same time. |
Why?Why do we need to deliver this (vision statement)? Why now? At this stage in their Drama education students have looked at Mime as in introduction and then at Elizabethan Theatre to introduce them to both Shakespeare and Naturalistic Character. At this stage we introduce them to a specific style of Theatre that can be regarded as non-naturalistic and feeds into the devising element of their GCSE.
|
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have lessons which focus on each of the key elements of meaning as well as the narrative and action of the plays. They will also learn how to focus on this themselves.
All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the text. Core knowledge: How actors, directors and designers create meaning. How to create narrative and characters without text. Use of non-naturalistic and devising skills |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Perform a story in a non-naturalistic way and in a way that allows them to eplore the fun of storytelling. What should they be able to know? The difference between naturalism and other styles of performance as well as what the fourth wall is and how to break it. What should they be able to do? Perform in a variety of styles. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
The students move on to a scheme of work on Greek theatre, where it all is believed to have been started. This SOW feeds directly into their ability to create non-naturalistic Drama and to devise at both GCSE and A level.
Year 7 Term 4
Term 4
What?What are we learning? What’s interleaved? What’s challenging? Students will look at Greek Theatre and learn that for a long time it was believed that Greek Theatre was the earliest known form. This will then be subverted by them learning about the fact that the Egyptians were the earliest theatre makers. They will learn about the role of the Greek chorus in terms of both their movement and voice as well as the two main types of play Comedy and Tragedy. The challenge comes in students using all of their knowledge of the Chorus to create a cohesive piece of theatre with all elements. |
Why?Why do we need to deliver this (vision statement)? Why now? Having built up a base knowledge of the 2 main styles of Drama (Naturalistic and Non-Naturalistic) they then look specifically at a period of history very important to the world of Theatre and the basis for a huge amount of fictional literature. This allows them to further their knowledge on performance as well as different was to perform whilst also reflecting on the history of the Theatre itself.
|
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have lessons which focus on each of the key elements of meaning as well as the narrative and action of the plays. They will also lean how to focus on this themselves.
All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the text. Core knowledge: How actors, directors and designers create meaning. The history of Greek Theatre and its importance. The social, cultural and historical context of the Theatre. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
This links directly to the devising parts of both the GCSE and A level and leads directly into a scheme of work on physical theatre. Both the mime SOW and this SOW feed into this in terms of the use of the body to tell a story to the audience.
Year 8 Term 1
Term 1
What?What are we learning? What’s interleaved? What’s challenging? Students study a play chosen by the teacher, this is normally Face by Benjamin Zephaniah, they study the play from the point of view of the actor, director and designer and how each of the creative team create meaning for an audience. This is interleaved with all SOW as the core knowledge of Drama is how these different people create meaning for an audience. Students engage with challenge particularly when thinking about the role of the director as this is holistic and has to take into account style and the play`s overall message. |
Why?Why do we need to deliver this (vision statement)? Why now? This is important as it is the core knowledge of Drama, relating to plays or devised works Drama students must always consider how these different roles in Theatre and Film create meaning for an audience. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have lessons which focus on each of the key elements of meaning as well as the narrative and action of the plays. They will also lean how to focus on this themselves. All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the text. Core knowledge:
|
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Perform considering how an actor creates meaning using physical and vocal skills. Tell me know design elements create meaning. Direct others on how to create meaning for an audience. What should they be able to know? How meaning is created by actors directors and designers. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
Year 8 next study a scheme of work on Stanislavski and the creation of naturalism, this links to the role of the actor and they will apply their knowledge of this in the creation of naturalistic performances.
Year 8 Term 2
Term 2
What?What are we learning? What’s interleaved? What’s challenging? Students study famous practitioner Stanislavski, the father of naturalism which is now the worlds most popular form of Drama. This is interleaved with all schemes of work that focus on how to create meaning as an actor and director. The challenge in this SOW is to be able to create a character that is physically and vocally different from themselves in a convincing way. |
Why?Why do we need to deliver this (vision statement)? Why now? After the solid foundation of year 7 Drama it is time for students to challenge themselves to apply their knowledge of how actors create meaning in a more difficult setting. This feeds directly from their SOW I year 7 on characterisation and Romeo and Juliet and leads into their Naturalism SOW in year 9. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have lessons which focus on each of the key elements of meaning as well as the narrative and action of the plays. They will also lean how to focus on this themselves.
All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the text. Core knowledge: How actors, directors and designers create meaning. The message, structure and language of the text. The narrative and characters within the text. The social, cultural and historical context of the texts. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Perform as a character that is physically and vocally different from themselves. What should they be able to know? Who Stanislavski was and what naturalism is. What should they be able to do? Create naturalism through a range of different techniques. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
Students go on to think about how actors create work in a non-naturalistic way, they look at the use of masks in world theatre and how this style differs from the naturalistic plays which are so popular in the modern theatre.
Year 9 Term 1
Term 1
What?What are we learning? What’s interleaved? What’s challenging? In term 1 of year 9 we study the techniques of several theatre companies and how they create meaning for audiences based on their specific style. We study physical theatre company Frantic Assembly, Urban rap based company Highrise Theatre and Theatre Du Complicite who create dynamic storytelling style performances. The interleaving comes from interpreting the specific styles as the way a director might create meaning within different specific styles. The challenge comes when students are asked to make comparisons between styles and identify how meaning is created in different styles of theatre. |
Why?Why do we need to deliver this (vision statement)? Why now? The style of theatre at forefront of the Theatre industry at present is that created by companies, their work changes and develops and allows students to see the best and newest theatre work and explore the techniques that go into making it. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have two lessons focussing on the artistic approach and techniques of each company exploring this both practically and theoretically. All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the text. Core knowledge:
|
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Perform using the styles of the performance of the referenced companies. What should they be able to know? Who the companies are and their ways of creating performance work. What should they be able to do? Performance work that is reflective of the styles being studied. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
This SOW leads into a SOW on the life skills developed by Drama, one of which is presentation in a variety of environments. Learning different styles of presentation in theatre directly leads into this. It also directly relates to component 1 of the GCSE where students devise a performance in a style of their choice.
Year 9 Term 2
Term 2
What?What are we learning? What’s interleaved? What’s challenging? We study the 5 core life skills that students develop from Drama:
This is interleaved in all SOW for Drama and it is challenging as it asks them to look at Drama in a different way, as a subject that prepares them for all elements of life as well as one with a rich history and knowledge base. |
Why?Why do we need to deliver this (vision statement)? Why now? As students have spent significant time at this point looking at the 3Ps, great performance, practitioners and playwrights we want to give students the opportunity to focus on how Drama prepares them for the rest of there life. We do it at this point in year 9 so that they have sufficient knowledge of the subjects core knowledge in order to understand how they apply this to other areas of learning and life. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have 5 lessons, one that focuses on each of the core skills and where this might have been learnt from other areas of the curriculum. All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the text. Core knowledge: The 5 core life skills listed above. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Use all of the skills above competently and independently. What should they be able to know? They will know how these skills apply to wider learning and life. What should they be able to do? They should be able to use these skills specifically within the context of Drama. Learning checkpoints and assessment:
|
Year 9 Term 3
Term 3
What?What are we learning? What’s interleaved? What’s challenging? Students study famous practitioner Stanislavski, the father of naturalism which is now the worlds most popular form of Drama. This is interleaved with all schemes of work that focus on how to create meaning as an actor and director. The challenge in this SOW is to be able to create a character that is physically and vocally different from themselves in a convincing way. |
Why?Why do we need to deliver this (vision statement)? Why now? After the solid foundation of year 7 and 8 Drama it is time for students to challenge themselves to apply their knowledge of how actors create meaning in a more difficult setting. This feeds directly from their SOW I year 7 on characterisation and Romeo and Juliet and their naturalism SOW in year 8. This further extends and deepens their knowledge of how to build character. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have lessons which focus on each of the key elements of meaning as well as the narrative and action of the plays. They will also lean how to focus on this themselves. All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the text. Core knowledge: How actors, directors and designers create meaning. The message, structure and language of the text. The narrative and characters within the text. The social, cultural and historical context of the texts. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Perform as a character that is physically and vocally different from themselves. What should they be able to know? Who Stanislavski was and what naturalism is. What should they be able to do? Create naturalism through a range of different techniques. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
Students go on to think about how actors create work in a non-naturalistic way, they look at Epic Theatre and political theatre. Performing in different ways is a key element of the creation of performance and all components of the GCSE and A level.
Year 9 Term 4
Term 4
What?What are we learning? What’s interleaved? What’s challenging? Students study Bertolt Brecht and his contribution to political Theatre, as the father of a style of Theatre called Epic Theatre Brecht changed the face of the theatre in the mid 20th Century but challenging his audiences to think rather than feel. Students will learn about this non-naturalistic style of theatre and the techniques they can use to make audiencs think about modern political issues. |
Why?Why do we need to deliver this (vision statement)? Why now? Throughout year 7 and 8 students look at different styles of performance and how to create meaning for an audience, by this point they are ready to think about how to have a specific impact on their audience and their emotions and thoughts. This also begins to prepare them for the devising part of Component 1 of their GCSE. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have lessons which focus on each of the key elements and techniques of the practitioner as well as creating performance in this style. All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the style. Core knowledge: How actors, directors and designers create meaning. The history of the theatre. Political theatre and its importance. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Perform in an epic theatre style that makes their audience think about what they are trying to get across. What should they be able to know? Who Brecht was, what epic theatre was and its importance to the history of the theatre. What should they be able to do? Perform in an Epic Theatre style. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
Students move on to a Scheme of work on Musical Theatre which is directly influenced by Brecht’s work. This also feeds directly into component 1 of the GCSE in Drama as Brecht is a practitioner taught by the spec.
Year 10
What?What are we learning? What’s interleaved? What’s challenging? The students begin component 1 of their GCSE a devising component. This begins with the study of different practitioners and how they creae meaning on stage. Students then decide on the practitioner or style they wish to work within. The interleaved content is how Actors, Directors and Designers create meaning from scratch without the ability to use a play text. What is challenging is them doing all of this themselves, developing a piece of Drama completely from scratch including how to develop character, costume and all design elements. |
Why?Why do we need to deliver this (vision statement)? Why now? This is an important component of the GCSE as it is worth 40% of the overall course. More importantly than this is that Devised Drama is one of the two ways that plays are created, this being by playwrights or by ensemble companies. Experiencing doing this specifically in the style of a particular practitioner and developing their own ideas for performance is a key part of developing them as creative learners. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? They will achieve this through a guided rehearsal process by the teacher beginning with lessons that focus on practitioners and then developing their ability to devise step by step. All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the text. Core knowledge: How actors, directors and designers create meaning. The message, structure and language of a performance piece. How to structure a performance piece. Working for a specific target audience. The social, cultural and historical context of the texts.
|
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Develop a performance piece from stimulus. What should they be able to know? They will know how to develop a performance piece and how in a devised situation directors actors and designers create meaning. What should they be able to do? Develop a performance piece for a specific target audience considering communicating meaning as a director, actor and designer from scratch. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
This leads directly into their Scheme of work on set texts, they are able to consider how different practitioners and texts communicate meaning for an audience. It also links directly to component 1 and 2 of the A-level.
Year 11 Term 1&2
Term 1&2
What?What are we learning? What’s interleaved? What’s challenging? We are learning about 2 performance texts, one of the students choice and the other the set text for GCSE Drama `Find Me` - Olwen Wymark. Students will look at the text`s social, cultural and historical context and how different elements of the text can be interpreted for performance to create meaning for an audience. The content that is interleaved is how actors, directors and designers create meaning for an audience. The challenging content is applying this within different contexts, one from a theoretical point of view and the other from a practical point of view. |
Why?Why do we need to deliver this (vision statement)? Why now? We need to deliver this as it is a part of the core knowledge of Drama, the ability to interpret text and how elements of theatre can create meaning for the audience is key. It is also preparation for a key part of the GCSE Spec. The students in year 10 at this point have done a lot of work on devised theatre and now need to focus on text and how this creates meaning. It has value as it allows them to analyse and evaluate how meaning is created. This is delivered now being moved forwards from the beginning of year 11 to allow more time for the teaching and revision of this core knowledge. . |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have lessons which focus on each of the key elements of meaning as well as the narrative and action of the plays. They will also lean how to focus on this themselves. All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the text. Core knowledge: How actors, directors and designers create meaning. The message, structure and language of the text. The narrative and characters within the text. The social, cultural and historical context of the texts. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Perform a piece of text in a naturalistic way and talk about how they would use design to create meaning within it. What should they be able to know? They will know how actors, directors and designers create meaning as well as the narrative, SCH context and function of characters within each play. What should they be able to do? Perform or design in a naturalistic way. Verbally tell a member of staff how the 3 creative directors within a piece of theatre create meaning for an audience. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
This feeds into the continuation of theoretical work in year 11 in preparation for their PPE which focuses on how Actors, Directors and designers create meaning within Find me by Olwen Wymark. This also feeds into the core knowledge for A-Level Drama as well.
The practical text feeds into their practical performance exam which is another key element of Drama GCSE and A level. It is also part of the core knowledge of the subject, this being how to turn a text into a performance.
Year 11 Term 3&4
Term 3&4
What?What are we learning? What’s interleaved? What’s challenging? We are learning about 2 performance texts, one of the students choice and the other the set text for GCSE Drama `Find Me` - Olwen Wymark. Students will look at the text`s social, cultural and historical context and how different elements of the text can be interpreted for performance to create meaning for an audience. The content that is interleaved is how actors, directors and designers create meaning for an audience. The challenging content is applying this within different contexts, one from a theoretical point of view and the other from a practical point of view. Students will also consider how to analyse and evaluate live theatre. |
Why?Why do we need to deliver this (vision statement)? Why now? We need to deliver this as it is a part of the core knowledge of Drama, the ability to interpret text and how elements of theatre can create meaning for the audience is key. It is also preparation for a key part of the GCSE Spec. The students in year 10 at this point have done a lot of work on devised theatre and now need to focus on text and how this creates meaning. It has value as it allows them to analyse and evaluate how meaning is created. This is delivered now being moved forwards from the beginning of year 11 to allow more time for the teaching and revision of this core knowledge. . |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have lessons which focus on each of the key elements of meaning as well as the narrative and action of the plays. They will also lean how to focus on this themselves. All lessons will be differentiated with specific needs in mind e.g. an ADHD learner will be given simpler more broken down instructions on how to approach each element of the text. Core knowledge: How actors, directors and designers create meaning. The message, structure and language of the text. The narrative and characters within the text. The social, cultural and historical context of the texts. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Perform a piece of text in a naturalistic way and talk about how they would use design to create meaning within it. What should they be able to know? They will know how actors, directors and designers create meaning as well as the narrative, SCH context and function of characters within each play. How to analyse and evaluate live theatre performances. What should they be able to do? Perform or design in a naturalistic way. Verbally tell a member of staff how the 3 creative directors within a piece of theatre create meaning for an audience. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
This feeds into the continuation of theoretical work in year 11 in preparation for their PPE which focuses on how Actors, Directors and designers create meaning within Find me by Olwen Wymark. This also feeds into the core knowledge for A-Level Drama as well.
The practical text feeds into their practical performance exam which is another key element of Drama GCSE and A level. It is also part of the core knowledge of the subject, this being how to turn a text into a performance.
Year 12
What?What are we learning? What’s interleaved? What’s challenging? Students will be introduced to the subject of Drama at A Level and understand the differences of component 1,2 and 3. Students will closely study and practically explore the theatre practitioners; Steven Berkoff, Katie Mitchell, Antonin Artaud and the theatre company Complicite. Studying new theatre practitioners and a theatre company builds on students’ prior knowledge of other practitioners such as Brecht and Stanislavski, it allows students to compare and contrast the different styles and forms. The new content is challenging as students will have to perform short pieces inspired by the different practitioners and practically display their understanding of the new knowledge they have explored. |
Why?Why do we need to deliver this (vision statement)? Why now? Term 1 is the ideal moment to explore this new content for year 12 students, it sparks an interest for the subject and gives students time to bond as a team within practical tasks. It also allows teachers to close the knowledge gap for students who did not take Drama as a GCSE, by revisiting elements such as staging conventions, political theatre and Naturalism. Exploring 4 different styles of performances equips students with the knowledge to be able to pick one of the styles for their component 1 devising piece which they will begin in term 2. During term 1 they will build the skills and knowledge of the style of their choice and be prepared to work collaboratively with their group to devise a piece within the restrictions of component 1 requirements. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will gain a clear understanding of the theatre practitioners and theatre company by fully immersing themselves in practical explorations delivered by their teacher. There will be a range of teacher led tasks and small group explorations which will guide students to be confident to try new approaches to performance and build on their pre-existing performance skills. Students will be set theory-based research and reflection work which will expand their knowledge and abilities to analysis the theory elements in the course. All learning will be accessible, with adapted resources available for those who require them, as well as plenty of activities helping those who thrive in a practical setting. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Devise and perform a short piece in the style of one of the theatre practitioners or the theatre company explored. What should they be able to know? The difference in style and form across all the practitioners that we explore, also how different staging conventions support a style to create mood and atmosphere to the audience. What should they be able to do? Students should be able to compare and contrast their new knowledge on the practitioners to the traditional practitioners of Brecht and Stanislavski. They should be able to discuss how these practitioners have inspired contemporary practitioners to break boundaries and experiment with style and form. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
Students will progress to term 2 with clear knowledge and understanding of different theatre practitioners and will have a good understanding of which styles of performance they were most inspired to work with next term. Students will start the process of starting component 1 next term, which is devising a performance in the style of a theatre practitioner or company taking inspiration from a pre-1956 play.
Year 12 Term 3&4
Term 3&4
What?What are we learning? What’s interleaved? What’s challenging? Students will interleave their learning between a chosen practitioner, normally Antonin Artaud, and their A-Level set texts. They will create a re-imagination of a classis text in the style of Artaud and study their set texts from the point of view of how the actor. Director and designer create meaning for the audience. |
Why?Why do we need to deliver this (vision statement)? Why now? Following a comprehensive introduction to all the different A-Level practitioners A-Level students then embark on their fist major practical project `Theatre Workshop` |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will have lessons which focussed rehearsal lessons differentiated to the different specific needs of each cohort, eacg lesson will aim to create or refine new and original performance work. Core knowledge: How actors, directors and designers create meaning. The message, structure and language of the text. The narrative and characters within the text. The social, cultural and historical context of the texts. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Create and perform a piece of Drama in the style of a chosen practitioner. What should they be able to know? Who the practitioner is, the context of the text and why the play was written. What should they be able to do? Perform in the style of specific pratitioners chosen. Learning checkpoints and assessment:
|
Where next?
Where do we go from here?
This leads on to the study of set texts and meaning creation for A-level.
Year 13
What?What are we learning? What’s interleaved? What’s challenging? During term 1 students will be revisiting the component 3 set texts of Machinal and Love and Information. Students will re-cap the historical, social and cultural context of the plays, the themes and narratives and also how the original productions were staged. The knowledge is interleaved with prior learning and also introducing new elements of knowledge such as exam techniques and approaches to answering practice questions. Students will be exposed to challenging elements as Curious Incident of a Dog in the Nighttime will be introduced as new content for component 3 exploration. Students will be guided through challenging elements such as the inclusion of physical theatre in the performance and how design elements contribute to creating meaning to the audience. |
Why?Why do we need to deliver this (vision statement)? Why now? The revisiting and extending knowledge of component 3 content is significant to be taught in term 1 as this prepares students to be able to access the practice questions set for their PPE’s. Students will need a secure knowledge of all 3 play texts in order to start moving onto component 2 which will be explored in term 2. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will be guided and supported by their teachers in extending their prior knowledge and understanding of new context through the medium of practical exploration of the texts in lessons. Teachers will also support students by utilising live modelling in lessons, to display how to structure a band 5 answer in response to a practice questions. Students will receive regular effective feedback and targets to work towards as well as their successful moments being highlighted by their teachers. All learning will be accessible, with adapted resources available for those who require them, checklists, and scaffolded answers as well as plenty of activities helping those who thrive in a practical setting. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Answer practice questions from section A, B and C to at least a band 4 standard. What should they be able to know? Students should know how to respond to a practice question, which elements require live theatre evaluations and how to include this effectively. What should they be able to do? Students should be able to respond to feedback, reflect on their own successes and improvement areas and be able to set personal targets which support their emerging needs. Learning checkpoints and assessment: Students will have multiple practice questions set which will be assessed and feedback/grades provided. Students will have low stake knowledge based quizzes and checklist to complete to monitor progress throughout the term. |
Where next?
Where do we go from here?
Students will progress to term 2 with clear knowledge and understanding of different theatre practitioners and will have a good understanding of which styles of performance they were most inspired to work with next term. Students will start the process of starting component 1 next term, which is devising a performance in the style of a theatre practitioner or company taking inspiration from a pre-1956 play.
Year 13 Term 3&4
Term 3&4
What?What are we learning? What’s interleaved? What’s challenging? During term 1 students will be revisiting the component 3 set texts of Machinal and Love and Information. Students will re-cap the historical, social and cultural context of the plays, the themes and narratives and also how the original productions were staged. The knowledge is interleaved with prior learning and also introducing new elements of knowledge such as exam techniques and approaches to answering practice questions. Students will be exposed to challenging elements as Curious Incident of a Dog in the Nighttime will be introduced as new content for component 3 exploration. Students will be guided through challenging elements such as the inclusion of physical theatre in the performance and how design elements contribute to creating meaning to the audience. Students will also be given a set of stimuli and create a naturalistic Duologue for performance and a devised performance in the style of s chosen practitioner. |
Why?Why do we need to deliver this (vision statement)? Why now? The revisiting and extending knowledge of component 3 content is significant to be taught in term 1 as this prepares students to be able to access the practice questions set for their PPE’s. Students will need a secure knowledge of all 3 play texts in order to start moving onto component 2 which will be explored in term 2. Students have a practical exam which the stimulus work prepares them for. |
How?How will they achieve this? How will all access this (inclusion for all/ SEND)? Students will be guided and supported by their teachers in extending their prior knowledge and understanding of new context through the medium of practical exploration of the texts in lessons. Teachers will also support students by utilising live modelling in lessons, to display how to structure a band 5 answer in response to a practice questions. Students will receive regular effective feedback and targets to work towards as well as their successful moments being highlighted by their teachers. All learning will be accessible, with adapted resources available for those who require them, checklists, and scaffolded answers as well as plenty of activities helping those who thrive in a practical setting. |
How well?What should they be able to know? What should they be able to do? How do they know they have done this well? Because they can…. Answer practice questions from section A, B and C to at least a band 4 standard. What should they be able to know? Students should know how to respond to a practice question, which elements require live theatre evaluations and how to include this effectively. How to interpret text for performance and how to create their own devised piece. What should they be able to do? Students should be able to respond to feedback, reflect on their own successes and improvement areas and be able to set personal targets which support their emerging needs. Learning checkpoints and assessment: Students will have multiple practice questions set which will be assessed and feedback/grades provided. Students will have low stake knowledge based quizzes and checklist to complete to monitor progress throughout the term. Regular assessment of their practical progress. |
Where next?
Where do we go from here?
Students will progress to term 2 with clear knowledge and understanding of different theatre practitioners and will have a good understanding of which styles of performance they were most inspired to work with next term. Students will start the process of starting component 1 next term, which is devising a performance in the style of a theatre practitioner or company taking inspiration from a pre-1956 play.
Final performance of their A-level practical pieces.
