Amy Stephenson
Unit 3: Ensemble performance
VCE unit of work
Amy Stephenso
Contents
Unit focus
3
Learning outcomes
3
Unit outline
4-6
Individual lesson plans
7 - 26
Appendices
27 - 34
“to imagine, to compose, to suppose, to guess, to purpose, to mediate,
to describe, to depict, to scheme, to contrive...”
Definition of devise, Chambers Dictionary
2
Amy Stephenso
Subject: VCE Drama
Year level: 12
Weeks: 5 (10 individual lessons)
Unit 3: Ensemble Performance, Outcome 1
Unit focus: In VCE Drama there are four prescribed units of work. These are; Dramatic storytelling, Creating Australian drama, Ensemble
performance and Solo performance. The Ensemble performance is the third unit and is categorised into three key outcomes which are; the nonnaturalistic performance, written report and play analysis. This unit of work focusses on outcome one which represents 60 allocated marks out of
the total 90 for unit three. The 60 marks are broken into; out of 15 marks for character, 20 marks for final performance and 25 for the rehearsal
process. On completion of this unit students will be able to develop and present character/s within a non-naturalistic ensemble performance.
The Drama Study Guide (VCAA 2006) describes outcome one as;
“Creating and presenting ensemble performance
This area of study explores non-naturalistic dramatic form through the creation of an ensemble performance drawing on contemporary and/or
cultural performance traditions. Non-naturalistic drama uses performance styles that are not dependent on life-like representations of
everyday life. These styles can be found in the work of diverse contemporary practitioners and are also used in many non-Western
performance traditions and styles. When creating their ensemble performance students consider role and its application to ensemble
performance and use the theatrical conventions of disjointed time sequences and transformation of character, place and object. They may
also use other theatrical conventions such as heightened use of language, stillness and silence, exaggerated movement, song, pathos,
mime, montage and/or caricature. A range of collaborative processes are used to develop and present character/s in the ensemble
performance.”
Learning outcomes:
Key knowledge and skills in alignment with VCE
1. Students will apply and manipulate the dramatic and stagecraft elements, expressive skills, and theatrical conventions
2. Students will explore and manipulate the relationship between performer and audience
3. Students will use techniques by drama practitioners to develop non-naturalistic performances to create a performance style not dependent on
life-like representations
4. Students will develop performance skills including presence and energy
5. Students will appreciate the collaborative process such as brainstorming, negotiating and/or directing
3
Amy Stephenso
UNIT OUTLINE
This unit focusses on the first five weeks of developing the ensemble performance (it would continue to run over a whole term). This is
a condensed five weeks and it is expected the structure would change according to the process e.g. more lessons for improvisation.
The unit is designed to provide students with play-making techniques and expose them to theatre practitioners which they may use for
devising their performance and developing their character/s.
LESSON
1
Week 1
2
Week 1
CONTENT
FOCUS
LEARNING
OUTCOMES
RESOURCES
ASSESSMENT
Stimulus & brainstorm
- Warm-up: Kinaesthetic numbering 1-10 & 10-1 &
Grandmaʼs footsteps with objects
- Give task handout to the class & go through the
prescribed structure
- Brainstorming activity on butchers paper in teacher
chosen groups of 3, about the theme
- In same groups find a symbolic object in the room/
costume cupboard & create 3 freeze frames
- HW: begin doing research on the theme by exploring
the resources on the handout
- What types of choice
do we have?
- How might this have
changed in the 21st
century? Why?
- How can an object
symbolise something
about the theme?
- How does it feel when
the teacher
chooses?
1
5
- Butchers paper
(this is tacked
to wall after
class)
- Task handout
- Objects
_
Improvisation using senses
- Warm-up: walking around space, soil, string, shoulders
relaxed, spring, chest cutting air (concentration activity,
students are to do this when they enter each
rehearsal)
- Theatre of Cruelty: Into circle & set the scene; mental
asylum, create a repeatable sound, gesture into circle,
louder, sound FX, audience into centre.
- Antonin Artaudʼs focus is on sensory, confronting
experience - not entertainment.
- In pairs devise a sensory experience, e.g. using the
texture of fabrics, give this experience to another pair.
- Individually draw/write any ideas/images you liked on
your storyboard.
- Focus on playing
- Where can we place
the audience to get
best emotional
response?
- What extremities can
we use? What senses
are you using?
- How can you
incorporate elements
of Theatre of Cruelty
into show?
2
3
5
- Storyboard
handout
_
4
Amy Stephenso
LESSON
CONTENT
FOCUS
LEARNING
OUTCOMES
RESOURCES
ASSESSMENT
3
Exploring the subject
- Warm-up: (ensemble building) Groups of 5 in knots
moving through the space without losing contact
- Students share their research/objects/images with their
group
- Each group member has 7 mins to direct short improv
scenes using their research item
- Record scenes on storyboard or in journal
- The creative process
needs to be very
open at the
beginning, donʼt cull
any of your ideas yet
- Students can each
take leadership &
responsibility creating
equality
1
5
- Students bring
in research
materials
- Stephen
Jeffreyʼs quote
handout
_
Theatrical conventions - transformation
- Warm-up: What is it? Transformation of object in circle
center. Students can choose the physical object - is
this choice easy?
- Groups choose any 2 locations in the world & 2 time
frames to place them in. They then need to creatively
solve the transformations between the times/places.
- The exercise is very loose & has a broad scope of
choice. Students may be challenged by this task.
- Reflective discussion: was the process confusing?
Was there too much choice? How did this make you
feel?
- HW: What do you/your group need to do next in the
process? Answer in journal.
- Ensure groups refer
back to original task
handout & re-read
requirements
- Why do the
characters change
location and time
frame?
- Can transformation
be done using text/
movement/image?
- The focus is on the
transitions as
content
1
3
5
- Empty space
- Objects/
costumes on
hand
Formative: group
participation
Dramatic elements - conflict & climax
- Warm-up: Pairs A & B dilemma improvisations
- In groups devise a scene which involves some form of
conflict between the characters. It needs to set the
scene & conflict, reach a climax and resolve the
climax, however not in this order.
- Each group perform their scene to class.
- Record any ideas/images in journals.
- Breaking away from
linear story line
- Playing with conflict
- Starting to develop
characters
1
3
4
- A & B dilemma
ideas
Formative:
collect journals
and storyboards
to monitor
progress
Week 2
4
Week 2
5
Week 3
5
Amy Stephenso
LESSON
CONTENT
6
Gathering fragments
- Warm-up: Kinaesthetic numbering 1-10 & 10-1 (do the
class do it better than the first lesson?)
- Handout Lecoq, read through and discuss the difficulty
of devising
- Groups play with their storyboards by finding links,
themes and symbols and groups them into some form
of structure.
- Are you/your group
feeling lost in the
process?
- Bringing together
ideas
- Moving to next stage
of process
5
- Jaques Lecoq
handout
_
Scene development
- Warm-up: Theatresports game ʻPapersʼ
- Groups refer back to their storyboard links and work on
scenes that link. They need to construct meaningful
scenes by using the dramatic elements.
- Circle: What do you want to achieve next personally &
in group?
- Groupʼs ownership of
the performance they
are devising
- Working on
structuring the piece
1
3
5
- Lots of
sentences cut
up onto strips
of paper
_
Character creation - Rudolf Laban
- Warm-up: Yeah/And
- Exploring exaggerated movement by students
independently moving through space using Labanʼs
principles of movement.
- This morphs into characterisation through the teacher
signposting gestures and physical characteristics.
- Groups then share the characters they have
developed & work them into the scenes they have.
- Reflection in journal on process so far and areas that
still need answers and development.
- Learning new ways to
move the body
- Becoming conscious
of the way we move
through space
- Combining characters
and scenes/story
groups have created
already
- Character realisation
& ownership
1
3
4
5
- Table of
Labanʼs
movement
principles
- Journal
reflection on
process so far
Incorporating objects, props, costume play
- Warm-up: Generic scene improv using costume &
props
- Watch Hangen Til... for stimulus on how to experiment
with stagecraft.
- Groups play with objects, props & costume for their
character development and scenes.
- Thinking beyond
group, opening up for
extra stimulus
- Process can become
very insular at this
point of process
- Manipulation of
dramatic elements
1
3
- DVD
- Access to
props,
costumes,
lights & objects
- Formative:
Group
participation
Week 3
7
Week 4
8
Week 4
9
Week 5
FOCUS
LEARNING
OUTCOMES
RESOURCES
ASSESSMENT
6
Amy Stephenso
LESSON
CONTENT
FOCUS
LEARNING
OUTCOMES
10
Writing of ʻscriptʼ - consolidation
- Warm-up: Bobs & Statues using improbable physical
traits
- Groups may have some structure to their performance,
now is the time to consolidate that.
- Groups spend the lesson writing out dialogue they
have been improvising with.
- Do the handout on emotional journey the characters
take and audience take. This should aid in structuring
the piece with a climax.
- Audience emotional
journey influenced by
structure of
performance
- Making decisions
based on whatʼs best
for the performance
- Groups may have to
ʻkill their
darlingsʼ (scenes they
love)
1
3
5
- Emotional
journey
handout
Summative:
Rehearsal
process criteria
sheet
- To reflect on the
process, what
worked, what didnʼt &
why
5
- Reflection
handout
- Journals
- Summative:
character/s &
performance
criteria sheets
- Formative:
Reflective task
Week 5
Post final performance
At the
completion - Warm-up: Students get to choose
- Hand out reflection questions, students write this in
of Unit 3
their journals
- Collect journals for marking
RESOURCES
ASSESSMENT
7
Amy Stephenso
LESSON ONE: Stimulus & brainstorm
STRUCTURAL
COMPONENT
TEACHER-LEARNING ACTIVITIES
Introduction
- Mark the roll
- Today we will do a warm-up, followed by task introduction,
brainstorming & freezeframes
Warm-up
Main Activity
Conclusion &
Assessment
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
- Understanding what is
expected to be achieved
_
_
2
- Kinaesthetic numbering 1-10 & 10-1 & Grandmaʼs
footsteps with objects
- Awaken senses
- Ensemble building
_
- Empty space
- Give task handout to the class & go through the prescribed
structure
- Brainstorming activity on butchers paper in teacher chosen
groups of 3. Exploring the theme: We have an explosion of
choice in todayʼs society - good or bad?
- In same groups find a symbolic object in the room/costume
cupboard & create 3 freeze frames
- Towards end of lesson tell the class the groups theyʼll be
working in for the ensemble unit. They have been chosen
by the teacher to promote equality. How does this make
them feel? Did they want to have the choice?
- What types of choice do we
have?
- How might this have
changed in the 21st century?
Why?
- How can an object
symbolise something about
the theme?
- How does it feel when the
teacher chooses?
1
5
- Butchers
paper (this is
tacked to wall
after class)
- Task handout
- Objects
- HW: begin doing research on the theme by exploring the
resources on the handout
- Gaining a broader
understanding of the theme
5
- Putting emphasis on process
rather than product
_
Sponge Activity - Create a ʻprocessʼ wall in the drama room & tack up the
brainstorming posters
& Special
- If injured: read through handout and write down ideas for
needs
FOCUS
_
- Thumb tacks
8
18
20
2
_
own show
Evaluation of Teaching:
____________________________________________________________________________________________________________________
Evaluation of Learning:
____________________________________________________________________________________________________________________
8
Amy Stephenso
LESSON TWO: Improvisation using senses
STRUCTURAL
COMPONENT
TEACHER-LEARNING ACTIVITIES
Introduction
- Mark the roll
- Today we will do a warm-up, followed by Theatre of Cruelty
activity & partner work
Warm-up
Main Activity
Conclusion &
Assessment
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
- Understanding what is
expected to be achieved
_
_
2
- Walking around space, soil, string, shoulders relaxed,
spring, chest cutting air (concentration activity, students
are to do this when they enter each rehearsal)
- Awaken senses
- Concentration
- Interpersonal skills
4
- Empty space
8
- Theatre of Cruelty: Into circle & set the scene; mental
asylum, create a repeatable sound, gesture into circle,
louder, sound FX, audience into centre
- Antonin Artaudʼs focus is on sensory, confronting
experience - not entertainment
- In pairs devise a sensory experience, e.g. using the texture
of fabrics,lighting, audience placement, sound. Give this
experience to another pair
- Individually draw/write any ideas/images you liked on your
storyboard
- Focus on playing
- Where can we place the
audience to get best
emotional response?
- What extremities can we
use? What senses are you
using?
- How can you incorporate
elements of Theatre of
Cruelty into show?
- Questioning ones views on
traditional theatre
2
3
5
- Storyboard
handout
6
- Keep thinking over ways to use new conventions
- Research practitioners in your textbook
- Deepening understanding of
non naturalism
5
_
2
_
_
_
_
Sponge Activity - Rotate the pairs so more people experience the sensory
activity created by another pair
& Special
If injured: Work in journal on developing ideas, researching
needs
FOCUS
32
theme and drawing images from what others are creating
Evaluation of Teaching:
____________________________________________________________________________________________________________________
Evaluation of Learning:
____________________________________________________________________________________________________________________
9
Amy Stephenso
LESSON THREE: Exploring the subject
STRUCTURAL
COMPONENT
Introduction
Warm-up
Main Activity
Conclusion &
Assessment
TEACHER-LEARNING ACTIVITIES
FOCUS
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
_
1
- Mark the roll
- Today we will do a warm-up, followed by sharing of
research, director activity
- Understanding what is
expected to be achieved
_
- Groups of 5 in knots moving through the space without
losing contact
- Ensemble building
- Physical touch (sense)
- Creative problem-solving
_
- Empty space
- Give Stephen Jeffreyʼs quote handout to each group, let
them ponder it whilst they do the following activity
- Students share their research/objects/images with their
group
- Each group member then has 7 minutes to direct short
improvised scenes using their research item
- Students should record scenes on storyboard or in journal
- The creative process needs
to be very open at the
beginning, donʼt cull any of
your ideas yet
- Students can each take
leadership & responsibility
creating equality
1
5
- Students bring
in research
materials
- Stephen
Jeffreyʼs
quote handout
- If groups didnʼt get time to write/draw each scene they
devised into their journal, this must be done for homework
We are at the gathering stage of development & nothing
should be lost!
- Use the journal to define,
structure & assess the
devising process - it is like
the ʻscriptʼ in development
5
_
1
4
_
_
Sponge Activity - If extra time: each group can choose one scene they liked
the best and perform it to the class
& Special
- If injured: Work in journal on developing ideas, researching
needs
_
5
15
28
theme and drawing images from what others are creating
Evaluation of Teaching:
____________________________________________________________________________________________________________________
Evaluation of Learning:
____________________________________________________________________________________________________________________
10
Amy Stephenso
LESSON FOUR: Theatrical conventions - transformation
STRUCTURAL
COMPONENT
Introduction
Warm-up
Main Activity
Conclusion &
Assessment
TEACHER-LEARNING ACTIVITIES
FOCUS
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
- Mark the roll
- Today we will do a warm-up, followed by time/location
transformations & discussion
- Understanding what is
expected to be achieved
_
_
1
- What is it? Transformation of object in circle center.
Students can choose the physical object - is this choice
easy? Do they argue?
- Creative thinking
- Object transformation
- Awaken senses
1
5
- An object e.g.
umbrella
- Empty space
5
- Groups choose any 2 locations in the world & 2 time
frames to place them in. They then need to creatively solve
the transformations between the times/places. This could
be done using physical movement, frozen image, spoken
word, placards, narration
- Perform transformations to class
- The exercise is very loose & has a broad scope of choice.
Students may be challenged by this task
- Reflective discussion: Was the process confusing? Was
there too much choice? Did you understand what was
expected of you? How did this make you feel?
- Ensure groups refer back to
original task handout & reread requirements
- Why do the characters
change location and time
frame?
- Can transformation be done
using text/movement/image?
- The focus is on the
transitions as content
1
3
5
- Empty space
- Objects/
costumes on
hand
32
- HW: What do you/your group need to do next in the
process? Answer in journal
- Formative: Group participation
- Where are your group at in
the process?
5
_
2
_
_
_
Sponge Activity - Do homework if extra time
- If injured: Work in journal
& Special
needs
_
10
Evaluation of Teaching:
____________________________________________________________________________________________________________________
Evaluation of Learning:
____________________________________________________________________________________________________________________
11
Amy Stephenso
LESSON FIVE: Dramatic elements - conflict & climax
STRUCTURAL
COMPONENT
Introduction
Warm-up
Main Activity
Conclusion &
Assessment
TEACHER-LEARNING ACTIVITIES
FOCUS
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
- Mark the roll
- Today we will do a warm-up, followed by scene
development
- Understanding what is
expected to be achieved
_
_
1
- Pairs A & B dilemma improvisations
- Ensemble building
- Having fun
_
- A & B dilemma
ideas
8
- Groups devise a scene which involves some form of
conflict between the characters. It needs to set the scene &
conflict, reach a climax and resolve the climax, however
not in this order
- Each group perform their scene/s to class
- Record any ideas/images in journals
- Breaking away from linear
story line
- Playing with conflict
- Starting to develop
characters
1
3
4
- Empty space
29
- Formative: Collect journals and storyboards to monitor
progress
- Teacher can gain insight into
how groups are progressing
and how much theyʼre
recording
5
_
2
- Sharing ideas and
understanding with other
groups
- Maintaining an opendialogue classroom
- Positive criticism to aim the
process
5
_
_
Sponge Activity - Get a discussion about each groupʼs performance. What
did other groups understand from their scenes? Give each
& Special
other feedback
needs
- If injured: Work in journal
10
Evaluation of Teaching:
____________________________________________________________________________________________________________________
Evaluation of Learning:
____________________________________________________________________________________________________________________
12
Amy Stephenso
LESSON SIX: Gathering fragments
STRUCTURAL
COMPONENT
TEACHER-LEARNING ACTIVITIES
FOCUS
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
_
1
- Mark the roll
- Today we will do a warm-up, followed by brief process
discussion & storyboard linkage
- Understanding what is
expected to be achieved
_
Warm-up
- Kinaesthetic numbering 1-10 & 10-1
- Do the class do it better than the first lesson? Does this
prove how a warm-up can improve outcomes? How it
centers and forms a bond. Creative work is risky, open to
being vulnerable, so warm-up creates a ʻsafeʼ environment
to work in.
- Ensemble building
- Concentration
- Reflection
5
- Empty space
5
Main Activity
- Handout Jacques Lecoq poem, read through and discuss
the difficulty of devising
- Groups play with their storyboards to find links, themes
and symbols. They can try to develop some form of
structure.
- Are you/your group feeling
lost in the process?
- Bringing together ideas
- Moving to next stage of
process
5
- Jacques
Lecoq handout
10
- Continue thinking about the shows structure and common
themes until next lesson as things will become clear with
time
- The creative process needs
space and time
5
_
1
_
_
_
_
Introduction
Conclusion &
Assessment
Sponge Activity - If extra time groups can play with physicalising scenes they
might want to combine
& Special
- If injured: Work in journal
needs
33
Evaluation of Teaching:
____________________________________________________________________________________________________________________
Evaluation of Learning:
____________________________________________________________________________________________________________________
13
Amy Stephenso
LESSON SEVEN: Scene development
STRUCTURAL
COMPONENT
TEACHER-LEARNING ACTIVITIES
FOCUS
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
Introduction
- Mark the roll
- Today we will do a warm-up, followed by scene work &
reflective circle
- Understanding what is
expected to be achieved
_
_
1
Warm-up
- Theatresports game ʻPapersʼ
- Students have to improvise a scene & randomly pick up
sentences from the floor & incorporate it into the scene
- Have fun
- Improvising with text
_
- Lots of
sentences cut
up onto strips
of paper
10
- Groups refer to the storyboard links from last lesson and
work on scenes that link
- Groups need to construct meaningful scenes by using the
dramatic elements
- Circle: What do you want to achieve next personally & in
group?
- Groupʼs ownership of the
performance they are
devising
- Working on structuring the
piece
1
3
5
- Empty space
27
- Briefly express how well the groups are going in the
process
- Positive feedback is
important during an often
confusing process
_
_
2
- Through performance, they
will get a feel for whether the
scene works or needs extra
devising
4
5
_
_
Main Activity
Conclusion &
Assessment
Sponge Activity - If extra time groups can perform some scenes that theyʼve
been working on
& Special
- If injured: Take photographs/video footage of the process
needs
10
Evaluation of Teaching:
____________________________________________________________________________________________________________________
Evaluation of Learning:
____________________________________________________________________________________________________________________
14
Amy Stephenso
LESSON EIGHT: Character creation - Rudolf Laban
STRUCTURAL
COMPONENT
Introduction
Warm-up
Main Activity
Conclusion &
Assessment
TEACHER-LEARNING ACTIVITIES
FOCUS
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
_
2
- Mark the roll
- Today we will do a warm-up, followed by introduction to
Rudolf Laban, characterisation & reflection
- Understanding what is
expected to be achieved
_
- Yeah/And
- One person does a movement, their partner exaggeratedly
says yeah, copies the movement, then says and as they
morph the movement into something new. The other
people then copy.
- Exaggerated movement
- Transformation of actions
_
- Empty space
5
- Exploring exaggerated movement by students
independently moving through space using Labanʼs
principles of movement
- This morphs into characterisation through the teacher
signposting gestures and physical characteristics
- Groups then share the characters they have developed
with each other & work them into the scenes they have
already devised
- Reflection in journal on process so far and areas that still
need answers and development
- Learning new ways to move
the body
- Becoming conscious of the
way we move through space
- Combining characters and
scenes/story groups have
created already
- Character realisation &
ownership
1
3
4
5
- Table of
Labanʼs
movement
principles
7
- Remember one major mark for this unit is about the
character/s you portray, so itʼs important to invest time &
energy into them
- Formative: Journal reflection on process so far. What point
of the process are we at? Can you name the segments?
Will we be ready in time? Too early? Need to peak at right
time
- Refer to criteria and original
task requirements
_
_
2
_
_
_
_
Sponge Activity - If extra time reflection in journal on process so far and
areas that still need answers and development
& Special
- If injured: Take photographs/video footage of the process
needs
7
20
7
Evaluation of Teaching:
____________________________________________________________________________________________________________________
15
Amy Stephenso
LESSON NINE: Incorporating objects, props, costume play
STRUCTURAL
COMPONENT
TEACHER-LEARNING ACTIVITIES
Introduction
- Mark the roll
- Today we will do a warm-up, followed by task introduction,
brainstorming & freezeframes
Warm-up
Main Activity
Conclusion &
Assessment
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
- Understanding what is
expected to be achieved
_
_
1
- Generic scene improv using costume & props
- Awareness of stagecraft
- Ensemble building
_
- Generic scene
ideas
5
- Watch Hangen Til... (5 minute DVD of Norwegian nonnaturalistic production) for stimulus on how to experiment
with stagecraft.
- Directed questioning on the board: What non-naturalistic
conventions where evident in this DVD? Surreal costume,
male in dress, no dialogue, text on stage, physical
meaning, music emotive, audience interaction, actor &
sound interaction, symbolism, mood, contrast, space
- Groups spend lesson playing with objects, props &
costume for their character development and scenes. How
can they utilise stagecraft to better their performance?
- Thinking beyond group,
opening up for extra stimulus
- Process can become very
insular at this point of
process
- Manipulation of dramatic
elements
1
3
- DVD
- Access to
props,
costumes,
lights &
objects
15
- Formative: Group participation - how have the groups been
working together?
_
_
_
2
- Through performance, they
will get a feel for whether the
scene works or needs extra
devising
4
5
_
_
Sponge Activity - If extra time groups can perform some scenes that theyʼve
been working on
& Special
- If injured: Take photographs/video footage of the process
needs
FOCUS
27
Evaluation of Teaching:
____________________________________________________________________________________________________________________
Evaluation of Learning:
____________________________________________________________________________________________________________________
16
Amy Stephenso
LESSON TEN: Writing of ʻscriptʼ - consolidation
STRUCTURAL
COMPONENT
TEACHER-LEARNING ACTIVITIES
FOCUS
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
_
1
- Mark the roll
- Today we will do a warm-up, followed by working with the
text of the performance
- Understanding what is
expected to be achieved
_
- Bobs & Statues using improbable physical traits
- Awaken senses
- Have fun
- Exaggerated movement
_
- Improbable
trait ideas
8
Main Activity
- Groups may have some structure to their performance,
now is the time to consolidate that
- Groups spend the lesson writing out dialogue they have
been improvising
- Groups do the handout on emotional journey that the
characters and audience take. This should aid in
structuring the piece with a climax.
- What meaning do you want to get across? What colour
reflects your emotions? What is your characters journey?
How do they grow/change throughout show?
- Audience emotional journey
influenced by structure of
performance
- Making decisions based on
whatʼs best for the
performance
- Groups may have to ʻkill
their darlingsʼ (scenes they
love)
1
3
5
- Emotional
journey
handout
39
Conclusion &
Assessment
- Summative: Rehearsal process criteria sheet
_
5
_
2
_
_
_
_
Introduction
Warm-up
Sponge Activity - If extra time groups can perform some scenes that theyʼve
been working on
& Special
- If injured: Help write the ʻscriptʼ
needs
Evaluation of Teaching:
____________________________________________________________________________________________________________________
Evaluation of Learning:
____________________________________________________________________________________________________________________
17
Amy Stephenso
REFLECTIVE LESSON: Post final performance
STRUCTURAL
COMPONENT
TEACHER-LEARNING ACTIVITIES
FOCUS
LEARNING
OUTCOMES
RESOURCES
TIME
(min)
- Mark the roll
- Today we will do a warm-up, followed by process and
product reflection
- Understanding what is
expected to be achieved
_
_
1
- Warm-up: Students get to choose
- Have fun
_
_
10
Main Activity
- Hand out reflection questions, students write this in their
journals
- Collect journals for marking
- To reflect on the process,
what worked, what didnʼt &
why
5
Conclusion &
Assessment
- Summative: Character/s & performance criteria sheets
- Formative: Reflective task
- Although the students are
being marked on this
assessment, itʼs important to
note the learning process
_
_
2
- Reminder of the enjoyment
in drama
_
_
_
Introduction
Warm-up
Sponge Activity - If extra time play some games with the students to have
fun and break away from the intense rehearsals they have
& Special
just been through
needs
- Reflection
handout
- Journals
36
- If injured: Should be able to write reflection also
Evaluation of Teaching:
____________________________________________________________________________________________________________________
Evaluation of Learning:
____________________________________________________________________________________________________________________
18
Amy Stephenso
EFFORT
DIRECTION
WEIGHT
SPEED
FLOW
Wring
Indirect
Heavy
Sustained
Bound
Press
Direct
Heavy
Sustained
Bound
Glide
Direct
Light
Sustained
Free
Float
Indirect
Light
Sustained
Free
Flick
Indirect
Light
Quick
Free
Dab
Direct
Light
Quick
Bound
Punch
Direct
Heavy
Quick
Free
Slash
Indirect
Heavy
Quick
Free
Laban, R (1971). A Movement Perspective of Rudolf Laban. London: Macdonald & Evans LTD.
19
Amy Stephenso
This task is worth 60 marks towards the total marks allocated to School-assessed Coursework for Unit 3. A possible breakdown of marks could be:
Use of researching, improvising, scripting, rehearsing and refining (13 marks)
to construct the ensemble performance.
(13 marks)
Use of a range of play-making techniques.
Presentation of engaging and convincing characters.
(8 marks)
Consistency in the performance of characters and synchronisation (8 marks)
with other members of the ensemble.
(18 marks)
Use and manipulation of selected dramatic elements, theatrical
conventions and stagecraft to communicate meaning in the nonnaturalistic ensemble performance.
20