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The Big Idea How can actors build and develop a role into a believable
entertaining character in a performance?
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Unit of Lessons
1. Introduction 2. Foundations of Review Writing
3. Class Performance Excursion 4. Review Writing Intensive Workshop
5. Script Analysis/Stanislavski 6. Review Drafting/Improvisation
Workshop workshop
7. Intensive Characterization 8. Showcase Performance at Hopgood
Theatre
9. Showcase Performance 10. Drama Night Performance
Reflection/Improvisation
11. Final Review Lesson 12. Final Production Report
Prerequisites Some knowledge and understanding of
Stanislavski theory of realism.
Understanding of elements of drama including
class etiquette and behaviour expectations.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Assessment
Assessment Types Observations Self-Assessment
Anecdotal Notes Peer Assessment
Work Samples Rubric
Multimodal Electronic Record
Assessment
Outline Summative:
Group final performance
(Consult Appendix) Written Review
Production Reflection
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Elements of characterization
Stanislavski method
Improvisation skills
Assessments outlined:
Final performance
Written review of Sista Girl
Production report
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Students will find a space in the room to stand in. When the
teacher claps their hands, the students will walk quietly in a neutral
mode around the room filling any gaps. Students do not make
contact with other students and freeze when teacher says to do so.
4. Rehearsal 35 min
Conc. Consolidate the unit objectives and answer any questions and 5 min
provide/receive student feedback. Remind students of the
upcoming performance review of Sista Girl which will be seen the
following week.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Students will remain in the circle and the teacher will outline
starting rules for the game and incrementally add additional rules
as the group progresses. Clang passes a sword slash to the
person next to you and block returns a clang to the previous
person. Twang sends an arrow to someone across the room where
they may block or clang a person either side. When a student is too
slow or fails to react, they must run around the inside of the circle
yelling out healing until they reach their spot in the circle. Students
continue to carry the actions around the circle.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
http://statetheatrecompany.com.au/content/uploads/2017/05/Sista-
Girl-Study-Guide-State-Theatre-Company-2017.pdf
4. Rehearsal 35 min
Conc. Consolidate the lesson outcomes, outline the expectations from 5 min
students with regard to their excursion to the Hopgood Theatre
next week.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Students are asked one at a time to reveal one thing to the class
that they liked/disliked about Sista Girl.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
3. Warm up 10 min
4. Rehearsal 40 min
Conc. Consolidate the lesson outcomes, outline the expectations from 5 min
students with regard to their review writing and draft due date.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
If energy and focus levels are optimal, the students may add
a second wave across the circle to involve two forms of
energy.
Students will select a section of their script and analyse the beats,
units and objective.
Teacher will walk around the room helping students with their
chosen scene.
3. Warm up 10 min
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Conc. Consolidate the lesson outcomes, outline the importance of script 5 min
analysis and its impact on creating dramatic tension.
Students will continue with their draft of Sista Girl and use the
template and study guide provided to aid completion of the task.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
2. Warm up 5 min
Taxi/car pool
Students will be asked to sit in each of two seats (one the driver
and one the passenger). The general rule of thumb is that the
passenger initiates the scene with an improvised character of
choice and the driver adopts to their behaviour. A short scene is
established and ends with the passenger exiting the car and a new
one approaches.
Two pairs of students, two in chairs and two acting as the arms
behind them. One student plays a show host asking the other
student what invention they have created. The inventor must
always accept the question the presenter asks and carry the scene
along.
Group scenes
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Students are given the Uta Hagen worksheet where they must fill
out nine questions for one of their characters (See figure 2).
Discuss the importance of role analysis in developing the students
character from a role. Uta developed nine questions an actor
should ask themselves as they prepare. These questions will give
students a comprehensive list to follow with their character
development.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Students slowly walk around the room, hands by their sides, with
natural relaxed faces.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Tell the master: Invite your servant in. Tell them its ok to sit in your
chair, offer them a snack, and at some point, let them know theyve
crossed the line. Try to make this moment spectacular.
Tell the servant: Youre not comfortable accepting favours from the
Master, but eventually give in, even though you know it probably
wont end well.
Group scene
Get into groups of 3-4 and assign each group a scenario and a
character with a status number 1-4 (1 highest and 4 the lowest)
without showing the other students. (See figure 3)
If there is extra time change the status levels of each character and
perform a new scene.
Walking in character
Begin walking around the space in a neutral stance filling any gaps
in the space. Students will be asked to slowly transition into their
final performance character without interacting with other actors.
Are you a child? Are you old? Are you happy? Are you sad?
Notice the other characters in the space and begin interacting with
them. Gesture, smile, wave, greet or ignore.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Students will rehearse for 2 hours during the day, one hour for
technical rehearsal and the final hour for a complete run through
and intensive scene workshops.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
2. Warm up 5 min
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Students will perform in front of friends and family that night after
final rehearsal.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Students will watch the video recording of their final drama night
performance at the school. This time, students will be given a copy
of the rubric (See part 2 of figure 1) and asked to place a grade
for each of the sections before viewing the performance video.
2. Review 40 min
Conc. Consolidate the lesson outcomes, outline the importance of self- 5 min
assessment with their performance and the use of time
management to complete assessments.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
The teacher will go through the task sheet (See figure 5) and
outline the importance of analysis in this assessment and the
various questions they need to answer. The details of the
performance standards will also be outlined.
Conc. Consolidate the lesson outcomes, outline the importance of self- 5 min
assessment with their performance and the use of time
management to complete assessments.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Evaluation
This intensive unit on character development will aim to provide the Year 11 students with all
the essential tools they need to transform a simple role into a believable character in a
professional performance. As the students will be performing a showcase at the Hopgood
Theatre for a paid professional show, they will need educating on several avenues of drama
to have the best opportunity for success in their performance. This unit will provide them with
these essential tools for success. Improvisation techniques, the Stanislavski method and the
elements of characterisation all are essential tools for creating a realistic and engaging
character. Students will explore practitioner theories, realistic acting, methods of both
improvisation and characterisation during lessons. Students will apply their learning in both
performance nights.
Another focus for this unit will be on developing students writing in relation to dramatic arts.
Students will see a live professional performance at their local theatre which contains
themes of racism, land ownership and grieving. A review of the play will be scaffolded and
students will be expected to write 1000 words or the equivalent in oral or multimodal format.
Not only will students be graded on their final performance during Drama Night, but they will
also be given the opportunity to reflect and analyse on their performance. A production
report is the second assessment task that will focus on student writing skills and analysis of
their performance. Critical and creative thinking will be at the forefront of this unit.
This unit will follow the exact 6-week block of my placement and is reflected in the unit
structure and assessments. Ongoing assessment during both during lesson and lunchtime
rehearsals, class activities and audience skills will be taken into consideration. Summative
tasks will allow students to create a review piece, production report, and finally perform two
performance pieces to a live audience using their knowledge of improvisation,
characterisation and Stanislavski methods of acting.
In conclusion, this unit will challenge students and provide them with the means to succeed
in their written assessments and their practical performances. Students will be interpreting,
analysing and creating impressions of a live performance piece. Students will explore and
apply practitioner theories and utilize multiple methods of acting. They will self-assess
themselves and reflect on their work. Most importantly, they will learn the importance of
working as a successful ensemble to create effective performance.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Appendix
Figure 1:
REVIEW WRITING
Outline:
When writing a review, it is important to remember that you are not just describing
a performance, you are critically analysing the dramatic elements and how well
these were executed in the performance. It is important in Drama as it is essential
in revealing the relationship between both off-stage elements and the acting. This
is relevant in your own upcoming performance of Thicker than Water. The
following template Is only a guide and is not strictly the only way to complete a
review.
In the top left of your review indicate the critical performance
information:
Sista Girl
Introduction State Theatre Company
(100 words) Kyle Morrison
Hopgood Theatre
9th May 2017
Directors
What choices did the director make?
Intent Did the acting, sets, props, music, etc all come
(200 words) together to make a successful production?
Was the blocking clear and natural or obscured?
Did the ensemble work well together?
Was the directors intention and chosen audience
clear?
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Design How well did the set design work with production and
Elements what specific set was used?
(200 words) Was it visually pleasing?
Did the lighting play a specific role in the performance
other than setting the mood?
Did the sound prove realistic and effective?
What music or sfx were used and why?
If you miss the Sista Girl excursion you may choose to review another performance or film,
but this must be negotiated with me prior. The review may be orally presented in 6-10 minutes
if you choose to do so instead.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
A Broad and in-depth knowledge and Focused and highly skilled selection Perceptive investigation and analysis
understanding of practical skills and and application of methods, forms, of the students own dramatic works
techniques relevant to specific and techniques related to on-stage and the dramatic work of others.
practitioners on-stage or off-stage roles and/or off-stage roles.
roles. Thoughtful, productive, and
Insightful experimentation with, and sustained integration of skills,
Comprehensive knowledge and exploration of, appropriate creative techniques, knowledge, and
understanding of different dramatic methods and techniques to conceive, understanding related to on-stage or
roles, their interdependence, and their develop, create, interpret, and off-stage roles.
impact on an audience. express dramatic works.
Insightful analysis of, and reflective
In-depth understanding of the theories, Focused, productive, and sustained response to, dramatic works and
skills, techniques, and technologies of collaborative and independent work dramatic concepts.
drama. through a range of dramatic forms
and processes as an on-stage or off- Comprehensive analysis of the ideas,
stage practitioner. concepts, and intentions of a
dramatic practitioner or source.
Highly effective communication of
dramatic ideas to an audience
through a variety of forms and
methods.
B Thorough knowledge and Skilled and well-informed selection Well-informed investigation and
understanding of practical skills and and application of methods, forms, analysis of the students own
techniques relevant to specific and techniques related to on-stage dramatic works and the dramatic
practitioners on-stage or off-stage roles and/or off-stage roles. work of others.
roles.
Thoughtful experimentation with, and Mostly thoughtful and productive
Detailed knowledge and a mostly clear exploration of, appropriate creative integration of skills, techniques,
understanding of different dramatic methods and techniques to conceive, knowledge, and understanding
roles, their interdependence, and their develop, create, interpret, and related to on-stage or off-stage roles.
impact on an audience. express dramatic works.
Well-informed analysis of, and
Some depth of understanding of the Mostly productive, collaborative, and reflective response to, dramatic
theories, skills, techniques, and independent work through a range of works and dramatic concepts.
technologies of drama. dramatic forms and processes as an
on-stage or off-stage practitioner. Thoughtful analysis of the ideas,
concepts, and intentions of a
Effective communication of dramatic dramatic practitioner or source.
ideas to an audience through a
variety of forms and methods.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Knowledge and
- Application Analysis
Understanding
C Knowledge and generally clear Informed selection and application of Informed investigation and analysis
understanding of the key practical skills methods, forms, and techniques of the students own dramatic works
and techniques appropriate to specific related to on-stage roles and/or off- and the dramatic work of others.
practitioners on-stage or off-stage stage roles.
roles. Integration of the essential skills,
Experimentation with, and exploration techniques, knowledge, and
Knowledge and generally clear of, the essential creative methods understanding related to on-stage or
understanding of different dramatic and techniques to conceive, develop, off-stage roles.
roles, their interdependence, and their create, interpret, and express
impact on an audience. dramatic works. Informed analysis of, and reflective
response to, dramatic works and
Informed understanding of the most Competent collaborative and dramatic concepts.
essential theories, skills, techniques, independent work through a range of
and technologies of drama. dramatic forms and processes as an Considered analysis of the ideas,
on-stage or off-stage practitioner. concepts, and intentions of a
dramatic practitioner or source.
Communication of dramatic ideas to
an audience through a variety of
forms and methods.
D Knowledge of some basic practical Recall and partial application of Some consideration of the students
skills and techniques relevant to aspects of methods, forms, or own dramatic works and the dramatic
specific practitioners on-stage or off- techniques related to on-stage roles work of others. Consideration tends
stage roles. and/or off-stage roles. towards description.
Some recognition and understanding of Some basic experimentation with, or Partial integration of some basic
aspects of dramatic roles and their exploration of, aspects of methods or skills, techniques, knowledge, and
impact on an audience. techniques to conceive, develop, understanding related to on-stage or
create, interpret, or express dramatic off-stage roles.
Some awareness or knowledge of works.
aspects of theories, skills, techniques, Description of, or descriptive
or technologies of drama. Some basic collaborative and response to, dramatic works and
independent work as an on-stage or dramatic concepts.
off-stage practitioner.
Description and some attempted
Some disjointed description of analysis of the ideas, concepts, and
aspects of dramatic ideas to an intentions of a dramatic practitioner
audience. or source.
E Limited knowledge of any practical Attempted application of aspects of Brief or disjointed description of one
skills or techniques related to methods, forms, or techniques that or more dramatic works.
practitioners on-stage or off-stage may be related to on-stage roles
roles. and/or off-stage roles. Attempted demonstration of one or
more skills or techniques related to
Identification of one or more aspects of Attempted exploration of one or more an on-stage or off-stage role.
dramatic roles and their impact on an aspects of a method or technique
audience. related to dramatic works. Limited description of, or descriptive
response to, one or more dramatic
Identification of aspects of theories, Limited collaborative or independent works or dramatic concepts.
skills, techniques, or technologies of work as an on-stage or off-stage
drama. practitioner. Basic summary of one or more ideas
or intentions of a dramatic
Attempted description of an aspect of practitioner or source.
one or more dramatic ideas to an
audience.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Figure 2:
1. WHO AM I?
(All the details about your character including name, age, address, relatives, likes, dislikes, hobbies,
career, description of physical traits, opinions, beliefs, religion, education, origins, enemies, loved
ones, sociological influences, etc.)
3. WHERE AM I?
(Country, city, neighbourhood, home, room, area of room)
6. WHAT IS MY RELATIONSHIP?
(Relation to total events, other characters, and to things)
7. WHAT DO I WANT?
(Character's need. The immediate and main objective)
8. WHAT IS IN MY WAY?
(The obstacles which prevent character from getting his/her need)
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Figure 3:
THE OFFICE
The Castle
The School
The principal (1)
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Figure 4:
Showcase Reflection Questions
1. Comment on your effective use of class time. Were you here every day? Describe a
typical drama class from start to finish during the process of this unit.
2. Comment on the process work of each person in your group. Was he/she reliable,
enthusiastic, supportive, prepared, and creative?
3. Describe how you and your group worked on blocking, memorization, characterization,
and pacing.
4. Did you give consideration to costume, props, set decoration, lighting, and sound?
Explain.
5. If you had these three weeks of process work to live over again, what would you do
differently?
6. Were you nervous at any time during the performance? How did that extra energy affect
you and how did you deal with it?
9. Choose one other group member and comment on the effectiveness of their
performance. Be sure to comment on elements mentioned in #7 above. Also consider
lighting, sound, props, and set design.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Figure 5:
Stage 1 Drama
ASSESSMENT TYPE 2: FOLIO
PERFORMANCE REPORT
Student
Purpose:
The purpose of this report is to enable you to demonstrate analysis and evaluation of practical
skills and techniques, relevant to your on-stage or off-stage roles in the Group Performance.
This can be done in written, oral or multimodal format.
Description of assessment:
You are to write a Performance report that evaluates and analyses your role in the Group
Performance.
Through this report you should demonstrate your ability to:
Investigate, analyse, reflect on and integrate information, concepts and ideas to
communicate for a dramatic purpose.
Analyse and reflect on the performance of Drama, and drama texts, using arts-
specific terminology.
Analyse the interdependent nature of drama and dramatic elements
Consider the response of an intended audience
Evaluate a text and its concepts, which in turn informs the development of the
presentation of dramatic works.
Outline of task:
In the report, you need to review and analyse your learning and involvement in the group
performance or related off-stage presentation. This should be done by reflecting on and
evaluating the process and outcomes of the performance or presentation. Using your
knowledge and experience, judge the quality and merits of the performance or presentation,
by analysing and reflecting on the dramatic concepts and their realisation, skills, techniques
and the intentions in the performed piece or presentation.
Assessment Conditions:
The report is part of the folio that comprises of: A Performance Report
1 Review
The folio should be a maximum of 2000 words if written or a maximum of 12 minutes if oral,
or the equivalent in multimodal form.
Therefore, your report should be 1000 words in length or a 6-minute oral.
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Grade:
You may present your report as an oral presentation. You may want
to create a PowerPoint to help with your examples and explanation,
however it is not compulsory. Your presentation will be recorded in
a one-on-one interview. Use the dot points and questions below to
formulate your report.
Writing Tips
Use drama terminology
Use referencing throughout your report
Analyse the page to stage process
Evaluate the performance from the point of view of audience and director
Interpret the meaning of the text & the intention of the director
Designs, illustrations & other design material may be included if relevant
Focus on the text (script) rather than biographical information about the writer
Problem solving should relate to theatrical and dramatic interpretations;
rather than dwelling on trivial matters or personality differences & gossip
Do not write in the style of a diary
Whatever you write, make sure you always relate it to the text. In other words,
dont say anything unless you are supporting the success of the written play and
its transference to stage (the page to stage process).
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Chris Scapens: Scap0004 Drama Senior Years Curriculum
Questions:
Assessment criteria
KU1: Knowledge and understanding of practical skills and techniques relevant to specific practitioners
on-stage or off-stage roles.
KU2: Knowledge and understanding of different dramatic roles, their interdependence, and their impact
on an audience.
An1 Investigation and analysis of the students own dramatic works and the dramatic work of others.
An2 Integration of skills, techniques, knowledge, and understanding related to on-stage or off-stage
roles.
An3 Analysis of, and reflective response to, dramatic concepts and works.
An4 Analysis of the ideas, concepts, and intentions of a dramatic practitioner or source.
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