Curric f2 Drama Units e

Subject:DramaForm2
Unitcodeandtitle:DRM8:1Whydidtheydothat?
Strand1:ArtisticandTechnicalSkills,andInterpretation.
Strand2:CommunicationandPerformance.
Strand3:AppreciationandEvaluation.UnitDuration:9sessionsof40minutes(6hours)
Objectives
Theteacherwill:
1. helpthestudentsdelvedeeperintotextanalysis(Strand3)
2.helpthestudentsunderstandthestructureofagivenorimprovisedtextindramaticterms(Strand3)
3.helpstudentsconveywordintoaction(Strand1)
4.helpstudentsanalyseactionandtryalternativestothesameaction(Strand2)
KeyWords
BodyLanguage,
Mood,
Intention,
Sensitivity,
Action,
Interaction
Understandingtext,
RolePlay
Performance
Who?,What?,How?,Where?,
When?andWhy?
PointstoNote
TheapproachtoteachingandlearningofDramaisbasedon:Voice
Technique,ActingTechnique,Movement,CreatingEmotionsand
Interpretation;WorkingAloneandWithOthers,Communication,
Improvisation leading to Performance;Appreciating and Evaluating own
workandthatofothers,includinglocalandinternationalplaywrights.
Thesethreestrandshelpthestudentstobecreative,andexperience
enjoymentandprovideenjoymenttoothers,aswellastounderstandthe
societytheylivein,by:respondingtoideasandissuesandtocommunicate
meaning to others through the use of Drama forms;developing and
exploring ideas and structuring them into meaningful Drama works;
communicating their intentions to others using performing and production
skills;evaluatingtheeffectivenessofapieceofDramaworkandrecognising
thesignificanceofhistorical,culturalandsocialinfluences.
These6questionsarethebasisofunderstandinganyhumanbehaviourand
notonlyapplytothisunit,butalsoanydramaactivityinanysituationand
needtobeconstantlyaddressedinanywaypossible.
Resources
Scriptsbyvariouscontemporaryauthors,
localandforeign.
Newspapers,localandforeign.
MagicBoxfullofmundanepropsofany
kindofshape,sizeorutility.
CDplayerandaselectionofmusical
trackswithdifferentmoods.
Selectionofmasksandcostumes
Ref:
CreativeDramainGroupworkbySue
Jennings.SpeechmarkPublishingLtd.
CreativeDramaInTheClassroombyJune
CottrellWesternMichiganUniversity
1987
DirectorateforQualityandStandardsinEducationCurriculumManagementandeLearningDepartmentDrama2012
1
TeachingObjective
Examplesofteachingexperiencesandactivities
IndicatorsofLearningoutcomes
Theteacherwill:
helpstudentsexploreemotions
throughbodylanguage.
Studentscandiscussaplaytheyhave
watched,expressinghowitaffectedthem
(Level8S1)
Usekeywordseitherfromtextitselforeverydaysituationsandusethemas
stimuliforawarmupexercisewherestudentsare,forexample,toexplore
three possible ways of expressing everyday emotions such as anger,
happiness,fear,disappointmentinabodilyfreeze. Exploretheseemotions
inafunway,likefindingthreedifferentfreezesofsameemotionveryfast.
Thiscangetstudentsfocusgearedtowardsthethemeinhand.Goingback
to keywords used in warm up, ask students to recount various examples,
either from own personal experiences, situations from literature or news
itemswherethatparticularemotioncanbeexpressed.Itiscrucialtoexplain
tostudentshowpeopleaffecteachotherallthetime.
Examplesofpeopleaffectingothers:
1session
Studentscanreflectontheactiontaken
bycharactersinmadeupplaysorgiven
text(Level7S3)
Studentscanunderstandhowdifferent
circumstancesaffectthebehaviourof
a) You are at home alone, the phone rings and you are told that a family characters(Level6S3)
memberhasbeeninvolvedinafataltrafficaccident.
b)someonehaspostedsomethingniceaboutyouonyourFacebookpage.
c)youhavewonthelottery.
Studentscanobservewithattentionthe
workofothers(Level5S3)
d)alonglostfriendphonesyou,askingformoney.
Ingroupsof4or5studentscreatetheirownscenariosonabovesituations
orimprovisetheirown.Emphasisislaidondefiningwhoelseisaffectedby
givensituations.Exampleforpossibilitya):whoisthefamilymemberinfatal
accident?, who did you contact after receiving news?, where did you go?,
what did you do? And so on. What was their reaction? All possibilities are
discussedwithwholeclassasallgroupsshowtheirimprovisedpiecetoeach
other.
Wind up asking students to read anything that comes their way with the
specificpurposeoffindingthevariousemotionstheycandetect.
2
TeachingObjective
Theteacherwill:
Havingabaddaystartsoffadiscussionexploringwhatcouldgowrongin Studentscanidentifyresources(props,
anybodyslife.Example:aburstwaterpipeearlyinthemorning.
furniture,music,soundeffects,lightsand
costumes.(Level8S2)
How can that affect you? What type of conversation do you have with
members of your family? Feeling stressed what sort of good morning Studentscanportrayandconvey
would it be? All these possibilities are to be discussed and explored by differentemotionsaccordingtodifferent
studentsingroupsof4or5,afterwhichtheycanrecreatetheirownscene situations.(Level7S1)
abouttheburstwaterpipe.
Studentscanmakeuseofobjectsand
Decidingwhotheyareinthescene,emphasisislaidonhowthatcharacter alone,orwithothers,createstoriesabout
wouldbehaveinthatgivensituation.
them.(Level6S2)
helpstudentsexploremoods.
helpstudentsunderstandwhat
givesawayourmood.
helpstudentsimproviseon
toneofvoice,facialexpression,
andgestures.
1session
Theteacherwill:
helpstudentsexploreIntention
helpstudentsunderstandWhy
wedowhatwedo.
helpstudentsunderstand
particularsituationsandhow
theyaffectus.
2sessions
Havingwatchedeachotherswork,studentswilldiscovernewinsightsinto Studentscaninteractincharacterwith
whattheyhadcreatedthroughtheworkoftheirfellowstudents.
othercharacterscreatedbyothers
throughdialogueandaction.(Level5S2)
Anotherwayofdelvingintothisistohotseatanyofcharacters,whilefellow
studentsbombardthecharacterwithanyquestiontheycanthinkof.
Reading a passage from given text, emphasise the need to try and answer
the questions of who?, what?, where?, when?, why? and how? the
charactersinthatparticularpassagebehave.Acharacterisnotjustwhathe
saysordoes.Explainthatanywrittencharacterdoesnotstartonpageone
and end on the last page. The automatic question is: what is this
person/characterlikewhennotsayingwhatiswrittenintext?
Example:Iamafraidofheights.Whywouldsomeonesaysomethinglike
that?Whoisthisperson?Askstudentstodiscussallpossibilitiesofpersons
whowouldbeafraidofheights.Example:someonelivingonthemountains
might see this as normal, but not someone who has never been on a
mountain.Eitherfromtextorimprovisedsituationsgetstudentstotryand
go beyond information given in text regarding a character. The gradual
buildupofanidentikitcanbefunandcrucialtounderstandingsomeones
action.Eitherthroughwritingashortsceneordrawing,studentscantryto
giveadetaileddescriptionofcharacter,individually oringroups.Theycan
comparenotesanddiscuss.Thishelpsgettingaclearerpictureofwhomthat
characterrepresents.Studentscanalsofindtherightmaskforthecharacter
ordrawit.
Studentscanfindnewwaysofcreating
colourfulandinterestingscenesand
performthem.(Level8S2)
Studentscanworkconfidentlyingroups.
(Level7S2)
Studentscanunderstandthatoftenthey
needtomodifytheirworkinorderto
properlyconveytheirintentions.
(Level6S2)
Studentscanrecogniseandrespondto
thechangesthatariseinrelationtothe
spacetheyareworkingin.
(Level5S2)
3
TeachingObjective
Any action comes with a reaction. Whatever we do will affect not only us
butalsoothers.Havingaclearerpictureofwhothecharacteris,moveonto
explore what that character says or does. Is it in line with the identikit
exploredintheprevioussession?Ifcharacteristrulyidentified,theanswer
comes automatically. Making sure this holds, discuss variations of
characters identikit to see what holds or not. Example: how well do you
really know your best friend or any member of your family? Notice how
behaviouralpatternschangeindifferentsituations.Why?Anotherexample:
HowwouldcharacterAbehaveoutoftext?Bearinginmindtheidentikityou
havecreatedputyourselfinthatcharacterssituation.Wouldyoudosame
as shown in text? Read the signs: voice, facial expression, mannerisms,
attitudeandgeneralbehaviour.
performthem.(Level8S2)
Theteacherwill:
helpstudentsexploreaction
sayinganddoingwithintention
1session
Theteacherwill:
Helpstudentsexplore
Interactionwhileworkingwith
others
1session
Studentscanusearangeofdrama
techniquestoimproveperformance.(
Level7S2)
Studentscanshoworiginalityofideas.
(Level6S2)
Studentscanworkwithotherstocreate
storiesandpresentthem,usingverbal
andnonverbalcommunication,through
Through group work students improvise situations, exploring the largest roleplay.(Level5S2)
number of possibilities. It is important to provoke and elicit valid answers
justifyingtheiractions.Ingroups,studentscanrecreatethegivensituation
withthenewcharactervariationandshowscenestoeachother.
Wordsneedtobelistenedto.Theimportanceoflisteningtoeachothercan
neverbeoveremphasised.Remindstudentshowwhatisbeing toldwillbe
affectingthe wayyoureacttoit.Who saidit?Why?How?and soon.The
ability to sensitise oneself to a situation, be it immediate or remote, will
haveadirectimpactonhowyoubehave.Theinnerthoughtsofacharacter
arerevealedeitherbythepersonadoptingthatroleorbytheothersinthe
group. This is a particularly useful way of slowing down and deepening a
drama especially if used in conjunction with still photographs. A further
development of this is to have the students draw the distinction between
what a character says, thinks and feels. Freeze action and get students to
expresswhattheythinkthecharacterisreallyfeelingwhiletalking.Students
arrangecharacterssothatthespacebetweenthemrepresentsthedistance
in their relationship to each other. The students can also consider the
change in space over time will characters draw closer together or go
furtherapart?Theycanalsotrytonamethedistancebetrayal,fear,power
etc.
Studentscanusetheproperstagingtofit
thecharactertheyareportraying.(Level8
S2)
Studentscanconveyclearlywhattheyare
talkingaboutwhenusinggibberish
complementedwithgesture(body
language),facialexpression,andtheright
useofvoice.(Level7S2)
Studentscanmakeusefulsuggestionsfor
changeandimprovementofotherswork.
(Level6S3)
Studentscanaddownideastoplaysand
storiescreatedbythem.(Level5S3)
4
TeachingObjective
Theteacherwill:
Working in pairs on a given text, students have to describe in detail what

actionsorstagemovestheywillbemakingbeforetheysaytheirspeech.If
helpstudentsunderstandtext
agreed, they try the action to the spoken word. In the next round, a new
bysayingitintheirownwords.
student has to find a different form to the same words. After each round
theyneedtojustifytheiractionsthroughathoroughunderstandingoftext.
Ifneedbejustsayitinyourownwords.Anotherwayofapproachingtext
istogivestudentsthetextandaskthemhowtostarteliminatingwhatthey
think is superfluous. Thus searching out for the subtext. The image of an
icebergwherewhatisvisibleandobviousbutinrealitytextisreallyhiding
so much underneath. Any dramatic text implies conflict which makes the
drama.Studentsfirstapproachtotextshouldbetoretellthatsametextin
theirownwords.Discussallthepossiblewaysofsayingthesametext.Find
1session
key lines, phrases, ideas or feelings about the character. Once a proper
understandingofthewrittenwordisestablished,thentheoverallstatement
of the play, the character, action, and motivation can be interpreted into
reallifesituationsascloselyrelatedtothestudentsaspossible.Ingroups,
studentscanputupascenefromtheplayintheirownwords,againstriving
to answer key questionsthe who?, the what?, the how?, the when?, the
where?andthewhy?.
Theteacherwill:
characterthroughroleplay.
1session
Roleplayisagreatwaytounderstandcharacter.Chooseanystudenttotake
thehotseat.Thishotseatingexercise,getsthecharacteroutoftheplays
context.Fromnowonemphasisisonthesheddingoftheselftomakeway
for the character they are now familiar with. Hot seated characters are
questioned about their values, motives, relationships and actions by other
membersofthegroup.Thisisaveryeffectiverehearsaltechniquethathelps
actors to flesh out and discover new facets of their character through the
responses they make to the questions. There can be added tension if the
character is questioned at a moment of stress, or at a turning point in
his/herlife.
performthem.(Level8S2
Studentscanworkconfidentlyingroups.
(Level7S2)
Studentscanimprovetheirworkby
listeningtosuggestionsmadebythe
teacherorbytheotherstudents.
(Level6S2)
Studentsareabletorehearseand
performwrittenplaysorpartsof.
(Level5S2)
Studentscanactoutimproviseddramas
andgiventexts.(Level8S2)
Studentscanimprovisescenesinvolving
characterstheyarefamiliarwith.
(Level7S2)
Studentscanshoworiginalityofideas.
(Level6S2)
Studentsareabletouseverbalandnon
verbalcommunicationthroughroleplay.
(Level5S2)
5
TeachingObjective
Theteacherwill:
helpstudentstoreachouttoan Every classroom where drama is a regular part of the curriculum should Studentsareabletoabletodiscuss
include a magic box or cupboard containing usually mundane props that performancesofplaystheyhave
audiencethrougharehearsed
watched.(Level8S3)
canprovideexcellentmotivationforaction,speechandcharacterization.
performance.
At this stage, having explored text, body language, mood, intention and
interactionwithothercharacters,studentsmustrememberthebasictools
theactorworkswith.Theproperuseofprops,costumesandmaybemasks
can helps the student/actor come across to an audience in the most
effectivemanner.Selectedscenesfromgiventextarepreparedbeforehand
and handed out to groups of 4 or 5 students. Now they need to start
thinking in terms of performance. Make sure that their piece is coming
acrosseffectively.
Studentsareabletoidentifypartsofa
workandunderstandtherelationship
betweenthepartsandthewhole.(Level
7S3).
Studentsareabletorecognisewherethe
focusliesinagivenworkandableto
conveyittoanaudience.(Level6S3).
1session
Studentsareabletoobservewith
Aftertheperformance,gettheiropinionbothasactorsandasaudienceand
attentiontheworkofothers.(Level5S3).
discusswhereandwhatcouldhavebeenmoreeffective.Moresessionsmay
beneededforaproperpostmortem.
6
Subject:DramaForm2
Unitcodeandtitle:DRM8:2ThisisWhereitHappens.
Strand2:CommunicationandPerformance.UnitDuration:9sessionsof40minutes(6hours)
Strand3:AppreciationandEvaluation
Objectives
Theteacherwill:
1. helpstudentsfindownpersonalspaceinrelationtogeneralspace.(Strand2)
2.helpstudentsmakegooduseofavailablespace.(Strand1)
3.helpstudentsunderstandthemeaningofspace:actortoactor,actortoobjectandactortoaudience.(Strand2)
4.helpstudentsfindorcreatetherightspacethatwillenhancetheirperformance.(Strand3)
KeyWords
Spaceasopposedtoplace
Navigatingspace
Invading/Respectingthespace
ofothers
Boundaries
Position/Disposition
Makinggooduseofspace
SpaceDynamics
Object/spacenarrative
Theperformancespace
When?andWhy?
PointstoNote
Resources
"FairyTalesandScriptDrama
Analysis,"TransactionalAnalysisBulletin,
7,No.26StephenBKarpman.
Dramainschools:2ndeditionArts
CouncilEnglandPublication.
DynamicsofMovementandSpace
byLeifHernes.
Narratives,SpaceandDrama:Essential
SpatialAspectsInvolvedInthe
PerformanceandReceptionofOral
NarrativebyTerryGunnell
These6questionsarethebasisofunderstandinganyhumanbehaviourand Selectionofcostumes,props,furniture,
notonlyapplytothisunit,butalsoanydramaactivityinanysituationand musicscoresandbasiclights.
Printedhandoutsaboutthehistoryof
performancespacesthroughtheages.
1
TeachingObjective
Theteacherwill:
Finding personal space. The very physicality of our body requires space. Studentsareabletouseappropriate
Body movement automatically creates a new space defining limits or actionstocreateandportraydifferent
possibilities.Ex.Icanbesmall,large,wide,short.Itisalsoanattitude.
moodsandmeaning(Level8S1)
helpstudentsunderstandthe
conceptofspaceasopposedto
placeandthelinkbetween
them.
1session
Theteacherwill:
helpstudentsnavigatespace
1session
Letstudentsexplorethesepossibilitiesindividuallyoringroupsandthenlet Studentsareabletoconsiderandfind
themexplaintheirchoiceofbodyspaceandwhereandinwhatsituationit alternativeactions(Level7S1)
mighthappen.Makestudentsawareofthedirectlinkbetweentheirspace
Studentsareabletonarratecoherently
andtheplace/spacearoundthem.
storiesfromownexperienceand/or
Example:lyingrelaxedandspreadeagledwouldmakethemassociateitwith fromgiventexts(Level6S1)
sunbathing near the sea while huddled up in an embryonic position would
Studentsareabletousetheirbodyto
meanfeelingcoldmaybewhilecampingatnightinacoldbarrenlandscape.
createdifferentshapesaloneandwith
Ingroups,studentscancreatetheirownscenarioswithorwithoutdialogue others(Level5S1)
andshowandtell.Themesortopicscanbeimprovisedortakenfromdaily
news,literatureorplaystheyarefamiliarwith.
The self in space. In everyday life, we are constantly moving from one
person to another to interact and communicate with them. Relationships
determine behaviour whilst navigating from one person to another, both
physically and intellectually. Who are you in relation to others? Status
definesdistance.Distancefromothers,objectsorprops,furniture,audience
orthepersonyouarecommunicatingwith.
Studentsareabletochoosethemost
interestingwaysofinterpretinggiven
speechesandperformthem(Level8S2)
Studentsareabletoworkwithcharacter
throughtheuseofface,bodylanguage
andspeechandshowhowthese
Example:Anintimatephoneconversationasopposedtothekingaddressing charactersbehaveingivensituations.
hissubjectsinthethroneroom.Statusanddistanceputthekinghighonhis (Level7S2)
throne away from the subjects whereas the intimate conversation on the
Studentsareabletomakeuseofobjects
phoneimplieswhisperinginanotherpersonsear.Bothpersonsevenmove
and,aloneorwithothers,createstories
differently. The kings status implies distance as a sign of respect, fear,
aboutthem.(Level6S2)
loyaltyetc..Closenessontheotherhandshowsfriendliness,intimacy,trust.
Studentsareabletorecognizeand
Studentscanexploresuchpossibilitiestakenfromgiventextorimprovised
respondtothechangesthatarisein
situations, in groups and show and tell. Emphasis is laid on status and
relationtothespacetheyareworkingin
behaviouralpatternsconnectedtothecharactertheytackle.
(Level5S2)
2
TeachingObjective
Theteacherwill:
conceptofinvadingor
respectingthespaceofothers.
1session
Theteacherwill:
boundaries.
1session
Status defines space and the respect of boundaries. Likewise the non
respectofboundariescanleadtobasisofanydrama;theconflictorclashof
characters;ideology;struggle;strife;controversy;discordofaction;feeling
emotion; antagonism etc. All these are everyday events that everybody
experiencesandlearntodealwith.Aphysicallyremoteactioncanalsolink
directly with this. Example: a) reading somebodys personal diary without
his/her permission is a direct invasion of personal space, whilst, b) moving
awayfromsomeonewhodoesntfeellikeminglingwithothers,isrespecting
his/her space. Students can go through a given text and point out all the
instanceswheretheinvasionorrespectofpersonalspaceisevidentandtry
tounderstandwhysuchbehaviourishappening.Couldtherebealternatives
tothesituation?Whatwouldyoudoinsuchasituation?Haveyoutriedto
understandtheothercharactersreasonforhisbehaviour?Suchquestions
need answers. Individually or in groups, get students to recreate some of
thesamesituationsandprovidealternatives.Theyneedtobeawareofthe
spacecreatedaswell,asthissetsthemood.
Boundariesarethesociallyconstructeddelineationsbetweenentities,
which define personal private safety zones (sanctuaries).To define
somethingistomarkitsboundaries.PersonalBoundariesinclude:
one's own body, one's own possessions, one's own space which surrounds
thebodyandpossessions,one'sownrelationships(androles)withothers,
one'sowninternalspace(emotional,intellectual,cultural,&spiritualspace).
Studentsareabletoactoutimprovised
dramasandgiventexts.(Level8S2)
Studentsareabletousearangeofdrama
techniquestoimproveperformance.
(Level7S2)
Studentsunderstandthatoftentheyneed
tomodifytheirworkinordertoproperly
conveytheirintentions.(Level6S2)
Studentsareabletointeract,incharacter
withcharacterscreatedbyothers
throughdialogueandaction(Level5S2)
Studentsareabletoshowthe
understandingoftherelationship
betweentheartsandsociocultural
values.(Level8S3)
Studentsareabletoidentifypartsofa
workandunderstandtherelationship
Physical space can point to these notions. Example: Get students to find
betweenthepartsandthewhole.
theirownphysicalspaceandexplorewaysofmakingittheirownpersonal
(Level7S3)
space. They search for an empty space which can be filled. Use of props,
furnitureandevenmusicshouldbeencouragedtoenhancetheirnotionof Studentsareabletounderstandhow
differentcircumstances(historical,
thenewspacetheyhavecreated.
cultural,andsocial)affectthebehaviour
Show and tell and get them to define up to what point they feel they can
ofcharacters.(Level6S3)
impose/push/sharethisphysical/spiritualselfontoothers.
Studentsareabletomaketheconnection
betweenthedramasandtheirownlives
(Level5S3)
3
TeachingObjective
Positionhasadirectinfluenceondisposition.Whereyouarewithotherswill Studentswillbeabletomakeproperuse
affectbehaviouralpatternsandprovokeorencouragereciprocaland/orthe ofspaceavailable.(Level8S2)
helpstudentsunderstandthe appropriateinteraction.Ourmentalattitudegovernsall.
Studentswillbeabletoimprovisescenes
conceptofpositionversus
Example: sitting alone at a bar having a cup of coffee. Evaluate patron involvingcharacterstheyarefamiliar
disposition.
waiter relationship. Waiter is unknowingly taking on a lower status while with.(Level7S2)
client is in a position to give orders. Their conversation falls into these

Studentswillbeabletomakeuseof
parametersdefiningrole,attitudeanddisposition.
objectsandaloneorwithotherscreate
Get students to explore such instance from improvised or given texts and storiesaboutthem.(Level6S2)
analysethedialoguegoingonbetweensuchcharacters,eventoneofvoice.
Studentswillbeabletointeractin
The physical space also needs to be defined by proper use of space,

character(role)withcharacterscreated
furniture,props,etc.
byothersthroughdialogueandaction.
Studentscanalsorelatetheabovetoeverydaysituationsandrecreatethe (Level5S2)
1session
same interaction but in a different physical space, keeping the same
characters.
Theteacherwill:
Theteacherwill:
helpstudentsmakegooduse
ofspace
1session
All empty spaces are waiting to be filled. Suspension of disbelief can turn Studentsareabletofindnewwaysof
any given space into real life scenarios where the ensuing action becomes creatingcolourfulandinterestingscenes
aliveandcredible.Self,others,boundaries,disposition,interactionandtext andperformthem.(Level8S2)
becomeone.
Studentsareabletoexploredifferent
Getstudentstoexperimentwithprops,furniture,piecesofcostume,masks situationsanddevisedifferentdramasto
justtosetthescenepertainingtoeitheragivensituationorexcerptfroma beperformedinfrontofanaudience.
play.Theirfirsttaskistorecreatethesceneasgivenbutgraduallymodifyit (Level7S2)
to understand the various ways, the space they have now created, can
change the audiences perception. Example: The way a chair is used or
andaloneorwithothers,createstories
transformed can signify a wide spectrum of possibilities such as emotional
aboutthem.(Level6S2)
situations, mood, possession or lack of boundaries, spirituality, character
Studentsareabletorecogniseand
andaction.
This should not be limited to objects. The whole physical space can be
relationtothespacetheyareworkingin.
modifiedtocreatethenewscenario.
(level5S2)
4
TeachingObjective
Theteacherwill:
Every movement and every space has its own dynamics. Drama is the
interrelation between the characteristics of speech, movement, action and
space. It is the different choices made by the actor concerning space that
conveysthedynamicstotheaudience, concerninglevels,directions,focus,
andinterrelations.Example:Highdramarequiresaparticularwayofplacing
actorsonstagewhere thefocusgoesentirelyon theprotagonist,whereas
comedyfollowsnosuchrules.
Studentsareabletouseproperstagingto
fitthecharactertheyareportraying.
(Level8S2)
conceptspacedynamics
1session
Get students to devise ways which they think is most suitable to get
audiencesattentionfocused.Theplacingofactors,thedifferentlevelsand
the overall visual impact are the key elements in this exercise. This can be
further enhanced by using the proper level off sound effects, voice and
music.
Discuss the various decisions taken and make sure students have a full
understandingofwheretheywanttheirscenetogo.
Life is happening all at once, all the time. We are constantly hit by noise,
light, smells from all directions, stimuli from without and from within.
WhereamI?Whatisaroundme?,WherehaveIbeen?WhereamIgoing?
distinguishbetweenobjectand
WhatamIdoing?Whatishappeningaroundme?etc.Yetwearecapableof
spacenarrative.
streamliningandsortingoutwhatweneedtobeawareof.Ourmindhasthe
abilitytofocusandcarveobjectsinspaceandactionsintimeandconfigures
objectsinto scenesandactionsintoevents.Andthemosteffectivewayof
sharing such experiences with others is through language communication.
Language comes with its own baggage of emotions, emphasis, tone,

modulation,power,pitch,pause,planandpassion.
Getstudentstoretellanystoryinwhattheybelievetobethemosteffective
way.Theyalsoneedtoexperimentwiththeuseofobjectsorthelackof,to
feeltheeffectivenessofthatobjectsinclusionornoninclusion.Thesearch
fortheappropriatevoicetechniqueinrelationtothesituationisessential.
These two, together with proper use of space can help direct audiences
focustowhatisessentialintheirnarrative.
1session
Theteacherwill:
techniquestoimproveperformance.
(Level7S2)
Studentsareabletousesimpletheatrical
effectstoenhancetheirworkin
performance.(Level6S2)
respondtochangesthatariseinrelation
tospace.(Level5S2)
interestingwayofinterpretingspeech.
(Level8S2)
Studentsareabletoconveyclearlywhat
theyaretalkingabout.
(Level7S2)
andcreatestoriesaboutthem.
(Level6S2)
Studentsareabletochangestoriestold
byothersbyaddingownideas.
(Level5S2)
5
TeachingObjective
Dramatic texts intended for performance are, in an important sense, a

livingartform.Playsareconceivedwithaparticularspaceinmind,andto
helpstudentsunderstandthe varying degrees the relationship between the text and its enactment is
performancespace.
influenced by the kinds of theatre practices and spaces that have become
conventionalized. Some plays lend themselves to particular kinds of
performancespaces.
Example: Brecht'splay Mahogony (1927), is a metaphor of a boxing ring
thus requiring an intheround/arena space. Similarly, Jim Cartwright's
modern playRoad(1989) was written to be performed in a promenade

performancespace.
Ahistoryofthevarietyanddevelopmentofperformancespaceswouldhelp
studentsseethechangingsocialroleandfunctionofdramaticperformance
spaces,sincetheirrecordedoriginsinancientGreecewellover2,500years
ago where it was performed in the vast openair Greek amphitheatres
capableofseatingabout20,000people.
Suchhistoricaldatawithactualdiagramsoftheperformancespacescanbe
1session
researched by the students. Working on improvised scenes created by the
students themselves, get them to choreograph and plot their particular
sceneinthespaceoftheirchoice.Emphasisislaidontheidentificationand
analysisofthespace/stage.Studentswillexplainthetechnicalelementsand
collaborative process of theatre i.e. scenery, lights, sounds, masks, effects
andcostume.
Theteacherwill:
Studentareabletoidentify
resources(props,furniture,music,sound
effects,lightsandcostume)neededfora
giventextandusethemwellto
productionlevelinfrontofanaudience.
(Level8S2)
situationsanddevisedifferentdramasto
beperformedinfrontofan
audience.(Level7S2)
effects,suchassoundeffectsormusic,
or/andsignificantpropstoenhancetheir
work.(Level6S2)
Studentsareabletounderstandhow
varyingthedistancebetweencharacters
changesasituation.(Level5S2)
6
Subject:DramaForm2
Unitcodeandtitle:DRM8.3DoesitHavetobelikeThat?
Strand2:CommunicationandPerformance.UnitDuration:9sessionsof40minutes(6hours)
Strand3:AppreciationandEvaluation
Objectives
Theteacherwill:
1. Helpstudentsworkoninterpretation.Strand2.
2. Helpstudentsimprovevoicetechnique.Strand1.
3. Helpstudentsdevisetheirownscenarios.Strand2.
4. Helpstudentsunderstandandappreciatetheirworkandthatofothers.Strand3.
KeyWords
Textselection.
Textanalysis.
Interpretation.
Whattogetacrosstoaudience.
Actor/audienceinteraction.
VocalDelivery.
PhysicalDelivery.
OverallPresentation.
AppreciationandEvaluation.
When?andWhy?
PointstoNote
These6questionsarethebasisofunderstandinganyhumanbehaviourand
notonlyapplytothisunit,butalsoanydramaactivityinanysituationand
Resources
NarrativesofSpace,TimeandLife
ByBarabaraTversky.
Performance,SpaceandTime
BySusanGerofsky.
DramainEducationbyAnitaMeszaros.
Choiceofprops,costumes,furnitureand
otherstagingrequirements.
Aperformancespace.
1
TeachingObjective
Theteacherwill:
helpstudentsselecttext
1session
Theteacherwill:
helpstudentsanalysetext.
1session
Textprovidesanexcellentstartingpointforstudentsindrama.Teacherscan
select texts based on the literacy levels of their students. For younger
studentsteacherscanusethespokenword.Moreexperiencedstudentswill
findthatshortstoriesandpoemsareastartingpointforthedevelopmentof
roleandimprovisationworkacrossthedramaforms.
Some examples of texts that can be used as starting points include: play
scripts, poems, random words, extracts from storybook, extracts from
newspapers,shortscenarios.Whateverthechoicekeepinmindthatithas
to be performed in front of an audience requiring a wellstructured play
script.Dramaistheconflictexposedthroughacomplexsequenceofevents
leadingtothedenouementwhichchangespeopleslives.Getstudentslook
forthispatternintheirchoiceoftextfromabovepossibilitiesandpinpoint
theconflict/denouement/changeintheirpieceanddiscusshowtheywould
wanttopresentit.
interestingwayofinterpretinggiven
texts.(Level8S2).
situationsanddevisedifferentdramas.
(Level7S2).
Studentsareabletocreate,aloneorwith
others,actedscenesfromtheirownand
othersstories.(Level6S2).
Studentsareabletoaddownideasto
playsandstoriescreatedbyothers.
(Level5S2).
Studentsareabletoresearch,discussand
understandtheworkofgivenplaywrights
(localandor/foreign).(Level8S3).
Studentsareabletoreflectontheaction
takenbycharactersinmadeupplaysor
giventexts.(Level7S3).
focusliesinagivenwork.(Level6S3).
Studentsareabletorealisewhatthe
thingsthatmakeadramaticpiecebetter.
Allthesequestionsneedtobeansweredinanalysingtextforperformance. (Level5S3)
Get students to work in groups on a given piece of text and list down the
answerstheyfind.Discussthegroupfindingsandwhereandwhytheymight
differfromeachother.
Intextanalysisweneedtolookoutfor:Wordchoiceformalorinformal?
What does the choice of word say about a character?; Imagery simile,
metaphor,personification.Whenacharacterusesanimagewhentheytalk,
what does it say about them?; Sentence structure rhetorical questions,
long and short sentences, parenthesis, list, repetition, climax, antithesis;
Tone ironic, sarcastic, upbeat, downbeat, serious, light, nostalgic,
humorous, pompous; Sound effects alliteration and onomatopoeia;
Registerhighregister(formal)orlowregister(informal);Stagedirections
whatdotheactorsdoonstage?;Propsandcostumeswhataretheactors
holding and wearing?; Setting where does the scene take place?;
Relationships when two characters talk, one is always more important
than the other. Which one is in charge?; Characterisation how does a
charactertalk?Howdotheybehaveonstage?
2
TeachingObjective
Theteacherwill:
helpstudentstackle
interpretation.
1session
Theteacherwill:
helpstudentsgetacrosstoan
audience.
Get students to study the characters in scene: ages, objectives, obstacles,

relationships. When does it happen?; day of week, time of day and how
much time the character has to do what he or she needs to do. Place?
Where does the scene take place? How is that significant? Surroundings?
Whatsurroundscharacterinthescene?Givencircumstances?Whathasjust
happened?Whatishappeningasthesceneopens?Whatisabouttohappen
(the characters future)? Relationships among the characters? Who is the
chief actionmaker? Who holds the power? What are the main objectives?
Whatisthemainthrustofthescene?Whatdoesitneedtoaccomplish?
Studentsareabletofindnewwaysof
creatingcolourfulandinterestingscenes
andperformthem.(Level8S2)
Studentsareabletoworkconfidentlyin
groups.(Level7S2)
Studentsareabletocreate,aloneorwith
others,actedscenesfromtheirownand
othersstories.(Level6S2).
In groups of 4 or 5, get students to try and answer as many of these Studentsareabletointeract,incharacter

questionsaspossibleanddiscuss.Theirnexttaskistomakealistofpossible (role)withcharacterscreatedbyothers
obstacles a character of their choice needs to overcome in the context of throughdialogueandaction.(Level5S2).
theplayandtheaction(verbsintext)involvedindoingso.Howdoesitfitin
with overall flow of scene? Where should audiences focus be during this
scene?Showandtellanddiscuss.
Once the main objectives of a theatre piece have been defined in
performersmind,thenexttaskistopresentitinthemosteffectivewayto
an audience. Clear objectives would include: characters, intention, action,
place, time and visual/dramatic effect of the scene. The performer is the
transmitterwhileaudienceisthereceiverontheotherendofthatprocess.
This is where artistic and technical skills can enhance interpretation to
provokeandengagetheaudience.Inotherwordsitisuptotheperformer
tocreatethesocalledsuspensionofdisbelief
Keeping this in mind, get students to try out all the possibilities. They can
chooseoneparticularemotion/action/effect/label/moodfromthatscene
andexperimentwiththe bestpossiblewaytocomeacrosstoanaudience
effectively. They must try and anticipate what they think the response
wouldbe.Showandtellanddiscusswithothergroups.
Studentsareabletofindnewwaysof
creatingcolourfulandinterestingscenes
andperformthem.(Level8S2).
Studentsareabletoworkconfidentlyin
groups.(Level7S2).
effectstoenhancetheirworkin
performance.(Level6S2)
relationtothespacetheyareworkingin.
(Level5S2)
1session
3
TeachingObjective
Theteacherwill:
actor/audienceinteraction.
1session
Theteacherwill:
helpstudentsexperimentwith
vocaldelivery.
1session
Actorsactforanaudience;thepersonintheaudiencewillinglysuspendshis
disbeliefinthepretendingonstage.Theaudienceisaparticipant,partofan
active relationship. Each side brings something to the event, and they
willingly pretend together. This is why such events are called "plays".
This requires the actor to be aware of and responsive to the audiences
mood. Rehearsals train him to fine tune his artistic skills in delivery, but
duringperformance,heletsthoseskillworkontheirownwhilehe,inreality
is sensing out his audience. This gives him the possibility to change the
thingswhichhefeelsarenotworkingthereandthen.Todothis,heneeds
to be emotionally detached from his act. To help students emotionally
detach themselves from their act, get them to experiment and find a
complete opposite emotion to what their scene/action/voice
delivery/emotionalcontentisexpectedtodeliver.Ex.Playingasupposedly
comicsceneinthemosttragicwayorviceversa.Thisconsciousefforttogo
againstwhatisexpected;helpsemotionaldetachmentthusputtingstudent
inapositiontohavemorecontrolofwhathisactisallabout.
Studentsareabletodiscuss
performancesofplaystheyhave
watched,showingfullunderstandingof
thesalientparts.(Level8S3).
Studentsareabletoexplainwhythey
madecertaindecisionsintheirwork.
(Level7S3).
focusliesinagivenworkandareableto
conveyittoanaudience.(level6S3).
Studentsareabletorealisewhatarethe
thingsthatmakeadramaticpiecework
better.(Level5S3).
The actor communicates through spoken words and body language.
speechesandperformthem.(Level8S2),
However,thecharacteristicsofvocaldeliverywillhaveatremendousimpact
on how effective speech can be. Voice creates an immediate impression. Studentsareabletoconveywhatthey
Among other things, its a powerful indicator of an emotional state, aretalkingaboutthroughtherightuseof
including how the actor feels about what he is saying and to whom. voice.(Level7S2).
Audienceswillpickuponthis,andtheywillrespondtowhattheydetect.
Studentsareabletounderstandthat
The main points students should understand about voice and speech oftentheyneedtomodifytheirworkin
delivery can be explained through the 5 ps or the 5 ss. Pressure Stress, ordertoproperlyconveytheirintentions.
PaceSpeed,PowerStrength,PitchSong,andPauseSilence.Getstudents (Level6S2).
to experiment with all these possibilities using either a given text or from
Studentsareabletoperforminfrontof
theplaytheymightbeworkingon.Goodvocaldeliveryalsorequiresproper
anaudience.(Level5S2).
breathing.Breathingexercisesgohandinhandwithvocaldelivery.
4
TeachingObjective
Theteacherwill:
helpstudentsexplorehow
physicalitycanenhancevoice.
Vocal delivery depends not only on the sound created by the actors vocal
chords.Thereisabodythatisexpressingthosesoundsandwhatthebodyis
doing has to compliment the sound it is making. The physicality of voice
incorporates, gestures which should be relaxed, definite, varied, and
appropriate;Movementshouldbepurposeful;Postureshouldfeelnatural
andbeappropriatetothetopic,audience,andoccasion;EyeContactshould
beestablished;facialexpressionshouldbealert,friendly,andappropriate;
volume should be loud enough to be heard and varied; pitch should be
variedtosustainaudienceinterest;articulationshouldbeclearanddistinct
andfinallyoverallphysicalappearanceshouldconformtowhatthesceneis
allaboutandtowhataudienceexpects.Getstudentstoexperimentwithall
the physical possibilities to deliver their speech and where possible go
completely against what is usually obvious. Ex. having a heated argument
whilecalmlysittingdownandspeakinginacompletelyrelaxedvoice.Show
andtellwithwholegroupanddiscusswhatisreallyeffectiveornot.
speechesandperformthem.(level8S2).
Studentsareabletoconveyclearlywhat
theyaretalkingaboutwhenusing
gesture,facialexpressionandtheright
useofvoice.(Level7S2).
Studentsareabletounderstandthat
oftentheyneedtomodifytheirworkin
ordertoproperlyconveytheir
intentions.(Level6S2).
Studentsareabletointeractincharacter
throughdialogueandaction.(Level5S2).
1session
Theteacherwill:
helpstudentspreparetheir
pieceforpresentation.
1session
Allthetheatretechniquesmentionedaboveneedtocometogetherasone
when students perform their play. Staging the play requires a
performancespace,maybeaset,soundeffects,lights,music,costumesetc..
somebodyneedstotakeontheroleofdirector.Someoneelsemaybethe
stage manager, set painter, costume designer, lights, etc. Staging
techniquesareanimportantfeatureintheactorstraining.
Handoutanumberofshortscenestogroupsofstudentswhowillnowtake
theresponsibilityofstagingthem.Theyneedtoexploreanddiscusswhatof
theaboveworksbestwiththesceneinhand.Avisittoatheatrewouldgive
them a better understanding of what staging entails. Show and tell the
scenes and discuss better or more effective ways that can enhance their
presentationinperformance.
Studentsareabletouseproperstaging.
(Level8S2).
techniquestoimprovetheirperformance.
(Level7S).
effects,suchassoundeffectsormusic,
or/andsignificantpropstoenhancetheir
workinperformance.(Level6S2).
Studentsareabletoworkwithothersto
createstoriesandpresentthem,using
verbalandnonverbalcommunication.
(Level5S2).
5
TeachingObjective
Theteacherwill:
Helpstudentsappreciateand
evaluatetheirownwork.
1session
A post mortem of the students performance is essential to their total

understand on the dramatic process. Most importantly they need to be
laudedfortheireffort,andsecondlytheyneedtoexpressanddiscusshow
they felt about it. Was their goal achieved? What went wrong? What
workedbest?
Studentsareabletodiscuss
performancesofplays,showingfull
understandingofthesalientparts.(Level
8S3).
The Students, now outside of their roles, evaluate the scenes they have
played.Theydiscusswhichsituationstheymanagedtosolveandhow,which
one was the most difficult and why. What alternative forms might have
beenworkedout?Inclasswithoutanaudiencetheymayshowsomeparts
againanddiscuss.Theuseofvideofootageoftheirperformancecanbeof
great help. A further exercise would be to try and document their whole
process,fromreadingthetextthefirsttimetotheactualperformance.
Studentsareabletoexplainwhythey
madecertaindecisionsintheirwork.
(Level7S3).
focusliesinagivenworkandareableto
conveyittoanaudience.(Level6S3)
Studentsareabletoobservewith
attentiontheworkofothers.(Level5S3).
6
Digital Technology Enhanced Learning Art and Design eLearning Entitlement

ART 8.1 Enchanted Shapes
1. Students can follow an online tutorial of basic shape drawing in Google Sketchup such as: http://www.youtube.com/watch?v=ofpTeJVmwgA.
The teacher can then assign a number of 2D sketches and images for the students to draw and interpret in 3D using Google Sketchup.
2. To learn shape vocabulary students can play online games such as:
http://www.bbc.co.uk/bitesize/ks2/maths/shape_space/2d_shapes/play/
http://www.primaryresources.co.uk/online/longshape3d.html
http://www.bbc.co.uk/bitesize/ks2/maths/shape_space/3d_shapes/play/
ART 8.2 The Fascination of Forms
1. Students can continue to experiment drawing shapes in 3D using Google Sketchup (http://www.sketchup.com/). The more confident they become the
more they will be able to create their own designs.
2. The students can work in groups and create online drawings by using online collaborative drawing tools such as http://www.scribblar.com/ or
http://www.twiddla.com/.
ART 8.3 Lets Explore Space
1. http://makingartfun.com/htm/f-maf-art-library/perspective-bigger-smaller.htm offers a step by step guide into drawing the basics of perspective.
2. http://www.drawinghowtodraw.com/stepbystepdrawinglessons/2010/01/perspective-drawing-an-easy-lesson-in-1-point-perspective/ is a tutorial
covering the basic principles of perspective including an online drawing tool which students may use whilst learning.
3. http://www.makebeliefscomix.com/Comix/ is an online drag and drop comic strip creator.
ART 8.4 The Nature and Character of Tones
1. http://www.bbc.co.uk/cbbc/games/colour-factory-game contains a selection of games to understand the basics of colour mixing.
2. http://colorschemedesigner.com/ is an online palette with all the different colour variants.
3. http://www.do2learn.com/organizationtools/EmotionsColorWheel/index.htm shows the emotional colour wheel associating g colour to emotions.
Directorate for Quality and Standards in Education - Curriculum Management and eLearning Department Art and Design 2012

Curric f2 Drama Units e

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Curric f2 Drama Units e

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Subject:DramaForm2

Working in pairs on a given text, students have to describe in detail what

client is in a position to give orders. Their conversation falls into these

The physical space also needs to be defined by proper use of space,

sharing such experiences with others is through language communication.

Language comes with its own baggage of emotions, emphasis, tone,

Dramatic texts intended for performance are, in an important sense, a

Example: Brecht'splay Mahogony (1927), is a metaphor of a boxing ring

thus requiring an intheround/arena space. Similarly, Jim Cartwright's

modern playRoad(1989) was written to be performed in a promenade

Get students to study the characters in scene: ages, objectives, obstacles,

In groups of 4 or 5, get students to try and answer as many of these Studentsareabletointeract,incharacter

A post mortem of the students performance is essential to their total

Digital Technology Enhanced Learning Art and Design eLearning Entitlement

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