“I can take any empty space and call it a bare stage. A man walks across this empty space, while someone else is watching him, and this is all that is needed for an act of theatre to be engaged.” (Peter Brook) Theatre is a collective experience of the human condition that transcends time and space to bring ‘the best that has been thought and said’ into the here and now. Drama is created by the interaction of creative minds: the writer, director, actor and audience all play a part. Being in the physical space together allows us to hear the heartbeat of existence; to breathe the air of another human’s experience; to taste the subtle transformative shift in direction that can only exist because we share them together. Theatre can act as pure, joyous entertainment, social commentary or social reform: it is a powerful live creative medium that cannot be forgotten easily. The emotional connection is not tangible, but resides in the shared experience between two human beings in one space. As an actor, we step into the shoes of the breadth of humanity, and live their experience in the moment.
Like all of the arts, upon entering the stage, actors leave themselves exposed to very personal criticism that requires them to develop resilience, courage and conviction.
Term 3
Performance of play text Live theatre review Exploration of play text
The Crucible and live theatre review
The Crucible and Live theatre review GCSE revision
10
Practitioners and devising Practical exploration of The Crucible
Scripted performance and live Devising and Section 1 and 2 of theatre review the Logbok Devising: exploration of the Devising and written response stimulus for The Crucible
9
Brecht and civil rights
Approaching a script using practitioners methods
The Crucible: hysteria and the effects
8
Frantic assembly The Curious Incident of the Dog in the Night-Time
Approaching a script
Blood Brothers: social class and self
7
Dram basics Roald Dahl
Masks Commedia Dell’ Arte
Greek theatre
Analyse and evaluate work
Term 2
Apply theatrical skills
Term 1
Skills
11
Skills
Create and develop ideas
Knowledge
The journey begins with an investigation into the components of characterisation. The exploration expands into the world of physicality as a means to communicate to widen their interpretation of character. It is at the stage that we introduce other theatrical devices such as still images, thought-tracking and transitions as a way to as explorative strategies for character analysis. We develop their characterisation through exploring some of Roald Dahl’s most famous books. This enables us to apply our skills to imaginative and creative situations to expand our understanding of situational acting. From here we delve into the world of Commedia Dell’Arte to expand our character analysis and improvisational skills. This journey into theatre history allows us to explore the realms of Italian theatre and their theatrical conventions which are universally adopted. The comedy that underpins their characterisation is explored through understanding physical comedy and accompanying this with an exploration of masks. Masks are introduced as a new theatrical device to emphasise our physicality and staging. We learn to appreciate this form and understand how our Commedia characters utilised them in their performances. Our detailed exploration of theatre history ends with Greek theatre, a genre widely recognised as being the origins of contemporary drama. Whilst texts themselves are the opening focus with consideration of Sophocles’ tragic hero, we also practically explore the genre through a range of theatrical techniques including choral speech, synchronisation and physical theatre. We then transfer these skills into the physical theatre recreations of Greek myths. This develops the devising skills whilst applying our choral skills.
Term 1 Drama basics and Theatre history
Year 7 outcomes
The big question
7 Cs of Holyport
Drama Basics
Roald Dahl
Term 2 Masks
Commedia Dell’Arte
Term 3 Greek Theatre
Students will build foundation skills that are needed for Drama. They will build an awareness of self and others through collaborative work and reflect upon ways to communicate in a group situation. Students will develop their emotional awareness through collaborating on group tasks and being exposed to genres of theatre. How do your drama skills help you to communicate meaning?
Confidence
Communication
Why do we create comedic performances for an audience?
Curiosity
Craftsmanship
How can we use Greek tragedy to help communicate morals?
Creativity
Collaboration
Literacy
Developing an understanding of climax in a linear narrative
Developing an understanding of plot and narrative
Comprehension of text and developing a personal response
Assessment
Practical task: using a character from Roald Dahl’s books, create a performance in which your character has to face a dilemma.
Practical task: create a contemporary Commedia scene using the characters we have studied.
Summer Trial: recreation of a Greek Myth focusing on choral work.
Enrichment
Pantomime theatre trip
Gramolot- gibberish lesson
TIE performance during ARTS WEEK. Greek theatre performance evening.
Frantic assembly are described as being thrilling, energetic and uncompromising in their style of physical theatre. We begin to explore the methods of physical theatre through the analysis of The Curious Incident of the Dog in the night-time. It is at this point that we deepen our understanding of characterisation in analysing the protagonist Christopher and how he views and interprets the world around him. Our analysis develops through giving critical reflections of the theatrical work we create in lesson. Analysing the script is crucial at this point to enable us to understand how to creatively respond to the script. We expand our script analysis when looking how to stage an extract from A contemporary comedy that explores societies views of the young adolescent culture. We develop our use of voice to emphasise the comedic elements of the script and consider how to convey a political message through a vast range of theatrical devices. Willy Russell’s Blood Brothers is explored practically, allowing the students to consider the social and political themes and issues presented in this tale of nature versus nurture and the impact of class. Blood Brothers allows the students to further develop their understanding of this play in greater depth through close evaluation of its style and form as well as creating their own comprehensive interpretations and performance of characters and design elements.
Term 1 Relationships
Year 8 outcomes
Term 2
Term 3
Approaching a script
Blood Brothers: social class and self
Frantic Assembly
The Curious Incident of the Dog in the Night-Time
Students will build a deeper understanding of the fundamental skills and develop an understanding of abstract theatre. They will explore relationships with technology, social class and gender.
The big question
How does the use of technology affect the way we communicate in society and what impact will this have on communication in theatre?
Why do we use theatre to represent relationships in society?
How does social class affect the development of relationships over time?
7 Cs of Holyport
Curiosity and creativity
Collaboration and craftsmanship
Communication and confidence
Literacy
Academic register; sentence structures; vocabulary; spelling
Comprehension and interpretation of a script.
Comprehension of text and developing a personal response.
Assessment
Practical task: with a given extract, use Frantic Assembly’s techniques to recreate the scene. Written task: analyse and evaluate their own performance.
Practical task: performance an extract from the given script.
Summer trials: written trial. Interpreting the relationship between Mickey and Eddy and the effect of social class on this.
Workshop with Frantic Assembly
Live screening of a play
ARTS WEEK- devising workshop with Splendid.
Enrichment
Brecht notes that “Art is not a mirror with which to reflect reality but a hammer with which to shape it.” Students begin to explore many of Brecht’s techniques such as breaking the fourth wall, placards, direct address, multi role-play and narration in order to make the familiar strange, and provoke a social-critical audience response. These techniques are applied to the practical exploration of the civil rights movement and society today. Students expand on their use of political theatre through interpreting Dario Fo's Accidental Death of an Anarchist. This allows students to apply the Brechtian techniques they have learnt to a politically charged script and consider the social and cultural context for an audience today. We introduce The Crucible and explore the cultural context. We develop our understanding of the key relationships and consider our interpretations of this for performance.
The individual and society
Year 9 outcomes
Term 1
Term 2
Term 3
Brecht and Civil Rights
Approaching a script using practitioners methods
The Crucible: hysteria and the effects
Students will understand how society’s expectations affects the human psyche; they will explore the externalisation of oppression and censorship in the form of violence and taboo topics. Students will make connections between the individuals and societies presented in their set texts and their own context.
The big question
How can one individual challenge a societal view?
How does theatre challenge events in society for an audience?
How has Miller influenced our perception of the individual in society?
7 Cs of Holyport
Curiosity and craftsmanship
Creativity and confidence
Communication
Literacy
Academic register; sentence structures; vocabulary; spelling
Comprehension and interpretation of a script.
Analysis and interpretation of script. Academic register; sentence structures; vocabulary; spelling
Assessment
Practical task: using a Brechtian approach to explore the Civil Rights Movement. Written task: analyse and evaluate their performance commenting on their role collaborating on this project. .
Practical task: performing an extract of script using a practitioner’s methods.
Summer trials: written trial. Interpreting Abigail and Proctor’s relationship.
Enrichment
Staged Rosa Parks bus boycott
The Woman in Black
ARTS WEEK- practitioner workshop
Devising is a key skill we explore in the first stage to consider further theatrical devices we could apply to our work. We further analyse our creative pieces and consider how we aim to communicate meaning to an audience. At this point we delve further in the study of The Crucible to gain a deeper understanding of the historical and social context. We consider where we see many of these themes presented in the wider world to determine the relevance of the play on a contemporary audience. We later practically engage with contemporary scripted work and explore how to present these applying our knowledge of theatre practitioners and directors.
Term 1
Term 2
Term 3
Scripted performance and live theatre review
Devising: exploration of the stimulus
Devising and Section 1 and 2 of the Logbook
Devising and written response for The Crucible
Topic
Practitioners and Devising
Practical exploration of The Crucible
The big question
How can practitioners be applicable to topics in today’s society?
How does cultural and historical context shape our interpretations?
How can we create original interpretations of a script?
Why is the stimulus you have chosen applicable in today’s society?
How can we ignite passion and curiosity from an audience?
How do we engage an audience through refining our performances?
7 Cs of Holyport
Creativity
Communication
Craftsmanship
Curiosity
Collaboration
Confidence
Sentence structure
Academic register
Academic register
Academic register
Academic register
Literacy
Academic register; sentence structures; vocabulary; spelling
Vocabulary
Sentence structure
Sentence structure
Sentence structure
Sentence structure
Vocabulary
Vocabulary
Vocabulary
Vocabulary
Mini Logbook
Christmas trials: Section B
In class: Section C
Logbook: Section 1
Logbook: Section 1 and 2
Summer trials: Section B
Assessment
Enrichment
Screening of The Crucible
Devising workshop with Splendid
Theatre trip
We deepen our understanding of the design elements and develop their own interpretations of performance and character of The Crucible. This is accompanied by the study of a live theatrical performance in which students analyse and evaluate both acting and the design elements. Our devised work is student-led and informed by a practitioner of their choice.
Term 1
Live Theatre Review
Developing a distinctive voice and academic register
Performance of play text
The big question
How can we create original interpretations of plays that have been performed multiple times?
How relevant is theatre as a means of communicating key themes in society?
7 Cs of Holyport
Creativity
Literacy
Assessment
Enrichment
Exploration of play text
Term 2
Term 3
The Crucible and Live Theatre Review revision
How can ensure context is embedded within my 12 mark and 20 mark responses?
How can I improve my responses to section B and C?
Communication
Craftsmanship
Creativity
Confidence
Performance Comprehension and interpretation of script
Live Theatre Review Academic register; sentence structures; vocabulary; spelling
Performance Comprehension and interpretation of script
Academic register; sentence structures; vocabulary; spelling
Academic register; sentence structures; vocabulary; spelling
Component 3performance of play text mock performance.
Component 3performance of play text
In class: 20 mark response.
In class; practical exploration of written responses
Past and practice questions.
External examiner visits.
Live theatre review trip
Department led workshop exploring The Crucible.
How can I secure my target grade?
Revision and Exams
Alongside developing their knowledge base over time, students will be simultaneously acquiring the skills required to demonstrate this knowledge and further deepen their learning. The interplay between skills and knowledge is important, not just for examination success but also to allow students to develop as confident and independent learners. The following skills are developed within each student's journey through the Drama curriculum and are assessed regularly throughout the academic year:
Skills
Exceptional use of voice (power, pitch, pace, pause, tone) Facial expressions are evocative and express clear emotion of character. Gestures are complex and add variety to means of communication. Use of physical theatre is exceptional and executed exactly using lift/contact work based on practitioners studied. Choral work is executed precisely with the links between traditional use and contemporary exploration clear. Proxemics are carefully considered to aim the communication of relationships. Staging of performance is exceptional and considers the audiences interpretation. Exceptional commitment to role.
Create and develop ideas (A01)
Exceptional response to the stimulus that is very sensitive and highly creative. Exceptional evidence of full development and refinement of skills and the piece. Structure and reasoning is logical and systematic. Responses make perceptive connections between dramatic theory and practice. Precise details are provided.
Apply theatrical skills (AO2)
Exceptional command of theatrical skills, demonstrating faultless execution. Exceptionally inventive and original work. An outstanding contribution to the effectiveness of the piece. Exceptional success in realising individual artistic intention in a completely sustained way, engaging the audience fully throughout the performance. An exceptional personal interpretation that is appropriate to the play as a whole and highly sensitive to its context.
Analyse and evaluate their work (AO4)
An exceptional response that demonstrates exceptional skills in identifying and investigating how far they developed their theatrical skills and how successfully they contributed to the process. An exceptional response that demonstrates exceptional skills in assessing the merit of different approaches and formulating judgements about the overall impact they had as an individual. An exceptional response that is highly critical and insightful. Compelling and fluently structured. Thorough examples.
Link to full A Level and GCSE Skills Assessment Grid for Drama