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PNBHS Drama Department 1

NCEA Drama 2007

Teacher Schemefor all levels

Specific Objectives (2007)

COMMITTEE/DEPARTMENT Drama

Key Result Area

Objective Strategies Measure

Aca

dem

ic A

chie

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ent

Level 3 NCEA all students achieve 3/5 AS

Levels 1and 2 NCEA all students achieve 3/6 AS with class average at least 4/6

Year 10 pre NCEA skill development & enjoyment with increased focus on leading-in to NCEA

Year 9 stimulate interest and establish expectations

Supporting school-wide literacy initiative

For NCEA appropriate pre-teachingUsing exemplars to develop students’ skills in written answers

For all Years : staff to foster strong learning environments and to engage, challenge and support students

Extension and updating of existing glossaries in coursebooks. Staff make conscious effort to use appropriate drama jargon as much as possible

Results and numbers choosing Drama options

Increased use of appropriate jargon by students in written and oral responses

Cur

ricul

um

Scholarship Drama available to students with an M average and at least one E in Level 3

Levels 1 and 2 to combine for 2007

Support for staff teaching new Levels

Implementation of brief Teacher Term Report on Y9 module classes

Implementation of Dept Attitude based consequence system

Make students aware of eligibility criteria at start of year

Increase numbers for Levels 1, 2 and 3 to stand alone classes in 2008

PD one Tues pm each term to consult with teachers to discuss and plan progress and initiatives. Continue monthly Tuesday staff meeting Fundraising: onions, carwashes and PTA assistance to complete Little Theatre Lighting system

Regular visits to local productions by students and staff supported by visits from actors and production staff

Details below

Year long recruitment approach – specific publicity material?Appropriate Schemes, Coursebooks and AS handouts produced ready for 2007.


Staf

fContinue up-skilling and developing understanding of curriculum demands

Appropriate delivery of curriculum and management of students

New policy: all NCEA internal assignments to be moderated by either another PNBHS staff member or the Drama Advisor or a staff member from another school

PD both off site and through liaison with Advisor to Schools. Shared moderation meetings with other schoolsIntra-departmental assistance

Staff contentment, student participation and success, and HOD observation

Appropriate academic results as per objectives above

Extr

acur

ricul

ar

Senior production : CopacabanaBT DirectorRU Producer

Shakespeare Festival

Junior Production

Theatresports

Drama Roadshow?

Ensure maintenance of facilities and resources

Encourage involvement from new Drama staff and other supporters

OC?

GR plus seniors

Recruit student to organize interschool event

Implementation of Drama Monitor system where students take full responsibility for Departments: costume/makeup, props, lighting, sound/tools

Student and staff participation, enjoyment and success

Positive student participation without overloading students or staff

System must be easy to operate to endure and be one in which students willingly take some ownership of and responsibility for facilities and resources.


TERM 1Week Level 1 Level 2 Level 312 Y13 Camp CAMP345 8/3 Athletics 2.26 1.17 Copacabana8 Copacabana9 3.2TERM 2123 1.2 2.44 Revision Revision Revision5 Whole schl Exams 2 hours 2 hours 2 hours6 Whole schl Exams 2 hours 2 hours 2 hours789 Jnr production10 1.4 2.3TERM 312345 3.56 1.5 2.57 Winter Tournament Revision Revision Revision8 Revision Revision Revision9 Senior Exams 3 hours 3 hours 3 hours10TERM 4123 3.34 1.3/Rev 2.1 Revision5 Revision Revision Revision6 Junior Exams Rev/Ex L Rev/Ex L Rev/Ex L78910


All levels visit one performance – complete review process for 1/2/3.6. Need not be in school time. 3.2 Macbeth xcerptsLevel 3 focus on 3.63.4 practice text analysis for genre features.

L3 to do independent research on Macbeth/Twelfth Night 3.3

Schol meeting for those eligible and keen

Terms 2-3 all levels second performance/review

Begin 3.3 scripts?

3.3 scripts finalised

Regular Schol sessions

DRAMA YEAR PLAN - PNBHS Drama and School Dates 2007(Assessment dates are approximate)

Notes : * Assessment includes teacher observation of student participation during standards and appropriate student recording of observations and completion of tasks in their portfolio/journal.

PNBHS Drama Department Policies and Procedures

Student notes

Information for studentsEach student will be issued with a Student Coursebook at the start of the year detailing:

General course overview The achievement standards in the course, their credit value and the assessment

method an assessment statement detailing the dates and types of assessment A Yearplan with approximate assessment dates a copy of these Dept. policies and Procedures a personal record sheet to record grades on

AuthenticityAssessment work completed must be the student’s own work. The school requires students and caregivers to sign generic authenticity declarations. Students must sign acceptance of their grade on every assessment sheet. Where evidence indicates work presented is not a student’s own work the school policy will be followed.

AppealsStudents have the right to appeal assessment outcomes.Appeals against the assessment judgements are to be made initially to the class teacher upon the assessment being returned. If an assessor judgement is clearly incorrect it will be amended immediately.In the event of a case not being resolved, the class teacher must discuss the appeal with the HOD. An application for a formal appeal must be made to the Principal’s Nominee/NCEA Coordinator within five school days of the assessment being returned. The appeals must be made by parents on the official application form. See the school policy for further information.

Late workLate work will not be accepted for assessment unless it meets the school criteria for compassionate consideration. However, when extraordinary and acceptable circumstances arise, extensions on written work may be negotiated with the teacher but this should be done at least a week before the due date and evidence may be required. Ultimately, the teacher and HOD will decide if an extension is warranted.

Non-completion of course work:In the event of work not being completed adequately, school policy will be followed and students may have exam study leave declined as they have failed to demonstrate their ability to work unsupervised.

AbsencesAs Drama often involves a group process, absence is a particular problem which students need to be aware of. If a student is absent for illness during the final three weeks prior to a formal practical group assessment, or regularly during the process or for the assessment itself, he will require a doctor’s certificate. Failure to produce a Doctor’s certificate will result in an N grade being awarded.


Getting the most out of Drama for the Team – students AND staffIn 2007 the Department is aiming to maximise the Team’s (staff’s and students’) achievement and enjoyment through maintaining a safe, positive and challenging environment. By working as a Team, we’re going to get the best results for all.To achieve this requires a combined effort between staff and students as we work towards common goals. Staff will teach best when they enjoy themselves – this only happens when we are able to trust and respect our students. The Staff responsibility in the equation is obviously planning, preparing, presenting, facilitating learning, advising, assessing, reporting etc. Students’ responsibility to the Team centres on coming to class with a positive attitude: a willingness to learn, follow instructions, be challenged and meet coursework requirements; effective self-organisation and a cheerful co-operative approach to classmates and staff.

The ATTITUDE ApproachAs attitude is such an important factor in Drama, in a new initiative this year we are going to have this as our main focus to drive the Team and to encourage students to make positive and productive choices in all aspects of the course.

In every class, teachers will reward positive choices with positive consequences. They will award Attitude Credits to students who show a good attitude to the Team by making positive choices in such areas as following instructions, cooperation, problem solving, self-improvement, leadership, effort, self-organisation etc. These will be recorded on a wall chart. Every time a 5 credit total is reached, a Department letter will be sent home acknowledging the positive performance and a school Merit Referral will be forwarded to the Rector. This will have a direct link to Report attitude grades and comments. If students make negative choices, there will however, be negative consequences. Teachers may delete Attitude Credits, issue lunchtime detentions, remove students from practical activities and issue copying tasks for minor discrepancies. A more serious breach or repetitive infringing would see a student sent to another class where he would sit in isolation and complete a copying task accurately and tidily. This would automatically result in a letter home and an after school detention on the following Monday. Very serious matters will be referred to Deans/Senior Management.

After-school DetentionsThere will be a Drama Department Detention held, if necessary, every Monday from 3.30 – 5pm. Following PNBHS policy, it will take precedence over any extracurricular activities or jobs. The standard time will be for one hour, but the student’s attitude in class may decrease or increase this by 10 minute blocks. The minimum will be for 30 minutes and the maximum for 1 1\2 hours. Once a detention is issued, at least 30 minutes must be completed. This is not a homework session – students will complete a set copying task accurately and tidily.

Re-Assessment Opportunities Due to our Dept. being unusual for Drama in offering all 24 credits at each Level, we are not offering reassessment opportunities.

Verifying GradesStudents are required to verify the sighting and acceptance of the grade awarded by signing the result slip attached to each piece of internally assessed work.


Retention of Student workThe department will retain student internal assessment material until the end of the year following that in which it is assessed (i.e. 2007’s work is retained until the end of 2008). If students require copies for exam revision they must photocopy it immediately at issue after marking and hand it straight back.

Student Obligations1 Make sure you understand the assessment programme and policy2 Ensure you understand the requirements of each assessment 3 Discuss problems/concerns with the Teacher/HOD4 Behave appropriately, focus on tasks and complete work on time.

Drama portfolios Students must have their notes organized in a clearfile. They may provide their own or buy them from the Department for $2. All notes for the current Achievement Standard must always be at school.Students may leave their portfolios on their class’s shelf in the classroom if they do not need them for homework.

Learning Log and Template responses Written work including Template Tasks and Learning Log entries is students’ opportunity to provide written and/or diagrammatic evidence to support their practical process and performance drama. To be of any value it must:

be relevant to the taskfollow instructions clearlyrefer, using specific details, to identifiable features of a process or performanceshow an understanding how different stages of the process have combined and contributed to the final performance and learning

To show understanding beyond Achieve level it willbe succinctshow awareness and understanding of drama components and an enthusiasm and ability by the student to advance and extend his own knowledgeuse appropriate drama jargon/terminology

EXCELLENCE Exemplar:Topic: Explain how you could have improved your individual performance.Note: This task has TWO parts which should follow the PEC format:

i) identify a problem (P), describe it (E) and explain what the problem was (C)ii) identify an improvement (P), describe it (E) and explain what intended effect the

improvement would make (C)

Response exemplar with structure marked.i) P) In the scene in the kitchen, space was not used effectively: E)the door at upstage centre, through which Scrag, the villain, had to make his dramatic entrance, was too close to the characters also at USC. C)This reduced the effectiveness of his entry so some meaning was unclear to the audience.ii) P)Relocation was needed E)of either the characters or the door C)to have provided clear separation and give much better focus to his entrance and their reaction to it.


Learning Log EntriesYou are required to have a minimum of ONE entry per week signed by the teacher every week. Late entries will not be accepted. THIS IS YOUR RESPONSIBILITY AND NOT YOUR TEACHER’S. Your assessment is likely to be enhanced by more regular succinct entries that show you are thinking about what you are learning in relation to your skill development, understanding and awareness of drama components, the process of drama, interaction with others and progress towards the Achievement Standard i.e. entries that reflect competency in self-analysis. Entries that simply record what you have done are of no value i.e. inadequate .

If the minimum requirement is not met or is inadequate, your Process Log will not be considered as extra evidence of your understanding/ability for assessment purposes in this Achievement Standard. If, of course adequate Process Log content is a requirement according to the Standard, then you would not achieve that Standard irregardless of the quality of your other work.

If coursework is not adequately completed the privilege of exam study leave will be forfeited.

Handing in work for assessmentSometimes the teacher will collect work early to mark during the process. At other times we will simply initial work to show it was completed on time.When completed Achievement Standards are handed in they must:1 include all required and any extra response material in the correct order 2 have the generic assessment sheet filled out on top 3 be stapled in the left hand top corner.

Group work strategies at Year 10 and above.We need to develop the skills of our students in managing their own groups and taking full responsibility for their focus. When undertaking significant tasks in groups, have a regular session at the start of each period where every group identifies and records specific goals for the period. Follow this up with a regular end of period session where every group reports back on their progress. Different students should be required to do the reporting.Every group (in a prolonged activity) should elect a decision-maker who has the group’s authority and cooperation to make final decisions when progress is bogged down. This position does NOT make him the director. Every group needs an allocated scriptwriter who has the overall responsibility for collating and compiling the script though the master script should remain in the class at all times to avoid delays through absence.The teacher should record these roles and ensure they are shared around.

If groups reach a total impasse they should consult with the teacher who will then make the decisions required to move the process forward. This, however, should be regarded as a last step and may compromise some of the students’ achievement levels where positive participation and cooperation are criteria.


Facilities and ResourcesIn order to maintain these in top order, Junior students must not be unsupervised in the Little Theatre unless they have proven themselves responsible.

In an experimental move for 2007 we have agreed to trial a Drama Monitor system. These Lighting, Sound/Tools, Props and Costume Monitors should be appointed from interested and responsible Junior students at the beginning of the year (probably Years 10/11). They must take the Monitor Contract Letter home to Parents/Caregivers and return the Monitor Contract signed (see below for both forms).Once Monitors are appointed, their first job is to complete an inventory of the items in their Department. This may take some time and must be computerised. If teachers/students require props or costumes for a class play, they should present a written request to the monitors who should action it asap. Where appropriate, Monitors will issue a range of items for the class to choose from, then return unwanted items. If this is impractical it may be necessary to do this at lunchtime with a Monitor present. Costumes/props should be stored appropriately by the teacher in his/her classroom or, in the case of valuables, in the office cupboard. A Resource Issue Sheet (below) must be maintained by the Monitors of all items issued and these should be checked back in at completion of the unit and signed off by a Monitor. Generally speaking, we do not lend out Lighting or Sound gear to individuals or other school departments.

SafetyNo student is to attempt to dismantle or repair any electrical equipment.

Staff must be present if electrical equipment is being worked with or if a ladder is being used and there must always be someone footing the

ladder.


No food or drink out of bags in H Block

Student name: ________________________ Class: _______

Drama Monitor for: Costume Props Lighting Sound/Tools

On a set lunchtime once a week, or as arranged with staff, Monitors are to be present in their area to maintain their Departments.Monitors will have full control over their Departments and items will only be issued and replaced by them.This requires monitors to attend to any matters staff need assistance with, issue resources as requested on a Resource Issue Form and repair or maintain our resources as appropriate. Departments must be kept tidy.Please note: No student is to attempt to dismantle or repair any electrical equipment. Staff must be present if electrical equipment is being worked with or if a ladder is being used and there must always be someone footing the ladder.

Monitors will be required to develop and maintain an electronic up-to-date inventory of their Department.Department keys can be collected from the office wall and must be returned to the office at the end of the session. The office is out of bounds in all other circumstances without staff permission. All Departments must be left locked.Monitors may eat their lunch in H Block, taking care to leave no mess or rubbish. Behaviour must be appropriate.No other students are to be in H Block without staff permission.Any broken or damaged equipment should be reported to staff immediately.

Effective Monitors are likely to be considered closely for the annual awards for Contribution to Drama.This role will be entered as an extracurricular involvement on the student’s reports.A monitor may resign by providing two weeks notice in writing at any time.

I accept this position and understand that it is accompanied by the above privileges and responsibilities.

Student signature: _________________________

Parent/caregiver name: _________________________

Parent/caregiver signature: _________________________

Staff signature: _________________________


Palmerston North Boys’ High SchoolDrama Department

Monitor Contract

Dear Parents/Caregivers,

This Year we are trialing a system to give students interested in Drama Technologies the opportunity to share responsibility for one of our Departments (Lighting, Sound/Tools, Wardrobe and Props). This will serve the dual purpose of helping us maintain our growing resources and also provide some small leadership, responsibility and learning opportunities for some of our keen young men. This is normally expected to involve one lunchtime a week though occasionally it could involve a little more time when a production is being staged in our Little Theatre. Your son has been selected because he has indicated interest and the Drama Department staff believe he has sufficient maturity and could benefit from and enjoy this responsibility.If you support this appointment, together with your son please complete the attached form and have him return it to us as soon as possible,

Yours sincerely

Chris BurtonHOD



Monitor Contract Letter

Teacher/Student i/c activity: _______________________________ Circle: Props or Costume

Issued by: Date issued: Date returned:

Monitor signature for all items returned in good condition:

Description Number


PNBHS Drama Resource Issue Sheet

Date:………………

Dear …………………………………………………………. Our Drama Department operates on a policy which encourages teachers and students to work together as an effective team to achieve the best results for all. This requires our students to develop a range of important attitudinal life skills such as self discipline, ability to focus on a task and the ability to work respectfully, co-operatively and productively with others. Recently your son’s attitude has not always met these expectations and we hope you will take the opportunity to discuss this with him.Consequently he has been issued with a Drama Department detention which will take place at 3.30pm on:

Currently the detention is set at one hour but your son’s attitude over the remaining lessons could decrease or increase that by up to 30 minutes. A minimum of 30 minutes must be completed. This gives your son the opportunity to demonstrate that this slip was an error which he is keen to remedy, put behind him and move on.Once the detention is completed that will be the end of the matter as far as staff are concerned assuming your son makes the decision to return to the positive choices he normally makes.Should you wish to discuss the matter further please contact your son’s teacher.Thank you in advance for your support of our policy to develop young men who take responsibility for their actions and demonstrate reliability, independence and respect in their lives.

Your son’s Drama Teacher is :………………………………………………………

Yours sincerely,

Chris Burton, HOD Drama


Palmerston North Boys’ High SchoolDrama DepartmentDrama Detention

Student: Class:

Date:………………

Dear ………………………………………………………….

Our Drama Department operates on a policy which encourages teachers and students to work together as an effective team to achieve the best results for all. This requires our students to develop a range of important attitudinal life skills such as self discipline, ability to focus on a task and the ability to work respectfully, co-operatively and productively with others. Your son has demonstrated these qualities over a period of time and consequently a Merit Referral has been forwarded to the Rector.

Thank you for the support you give your son which encourages him to take such a positive role in our Team. It will certainly help him to maximise his personal growth and learning and achievement in the subject.

Class teacher:………………………………………….

Yours sincerely,

Chris BurtonDrama Department HOD



Positive Attitude AcknowledgementStudent: Class:

The Stanislavski MethodRealism was the guiding principle for Stanislavski who demanded that the actors’ essential task is to reproduce a credible reality on stage or screen, founded on acute observations of the world. Where naturalism implied a concern with and highly detailed realistic portrayal of, lower class life, realism emerged from it and could be recognised by its selection and distillation of the observation of everyday life, not the life itself.

When following this Method and developing answers to the “given circumstances”, an actor must understand the answers to the following:What is the sub-text?What is my super-objective? Do I reach it?What is the through-line of my action in this performance and how does it intersect those of other characters? (A useful way of recording this would be a graph in your Learning Log showing progress towards the overall objective).Divide the text into beats so that you can work on each one separately before running them together.

GlossaryPhysical and emotional memory: the actor draws on anecdotal emotional and physical experiences to capture the realism he or she is trying to convey.

The magic if: If is a word which can transform our thoughts; through it we can imagine ourselves in virtually any situation. "If I suddenly became wealthy..." "If I were vacationing on the Caribbean Island..." "If I had great talent..." "If that person who insulted me comes near me again..." The word if becomes a powerful lever for the mind; it can lift us out of ourselves a give us a sense of absolute certainty about imaginary circumstances.

Beat : a scene can be divided into sections or beats or units which can be isolated from the rest for intense development due to the specific nature of one or more components e.g. setting, focus, mood, characters onstage, theme, source of tension etc.

Sub-text: the unspoken but understood meaning running beneath the surface dialogue and action.

Super-objective : the motivating force - the fundamental wish or desire - that determines the character's actions all through the play. This, of course, must be closely related to the author's main purpose in writing the play. To put it another way, the character’s super-objective is dependent on the fundamental action and conflict which the play is intended to represent. For example, Hamlet's super-objective, according to one director, is his search for the truth. How the character goes about achieving that super objective will be via the interaction of his/her through-line and a series of text units or beats.Source: http://www.actors-studio.com/history/clurman.html

Through-line : what makes the character tick and act/react the way he or she does along the path to achieving their super-objective. I.e. the spiritual ethos of the character which will be a product of what has happened in their past, where they are now and what they see in their future. The through-line will coherently link all the units of action and any minor objectives.


Thus your performance concept will be to develop your character’s through-line convincingly on the path to achieving his super-objective within the production

concept.


Where am I? Consider the setting of the play. Does it take place in the country or the city? Does it take place in an area like the one you live in? What kind of house do the characters live in? What kind of neighbourhood? Where does the action occur?

What time is it? Consider the century, the year, the season, the day of the week, the month, the date and the time in which the action of the play takes place. What effects might this context have on your character?

What are the given circumstances? This includes details of your recent past (yesterday, today and five minutes ago), how you are feeling now, what is about to happen to you and any other relevant details of your present situation. Circumstances change moment to moment; they are not constant.

What are my relationships? Consider the relationships to other characters, to events and to the things that surround you, such as the location, or objects. How do they react to you and you to them? Is there a difference?

What is my objective? Know what you want in each scene, what your motivation, or reason for action is. You will be able to show your objective if you think in terms of action and say to yourself, ‘I want to...’ or ‘I must...’ For example, your objective might be ‘I want to convince you’, ‘I will insult you’ or ‘I must defend myself’

What is the action? The action is what you are doing to get what you want. What physical and verbal actions are you using to reach your objective? You play an action because you want to achieve your objective. You should have a reason for doing every physical action.

What is my obstacle (driving tension)? Know what problems you are facing and what problems you must attempt to overcome in order to achieve your objective. The obstacles that stand in your way create conflict in the drama and provide the tension to drive your character.

Who am I? Think about what your character is like in terms of personality, appearance, age, family background, beliefs, values, interests and so on.

The “given circumstances”

Laban’s system of movementRudolf Laban worked out a way of describing all possible movements made by humans and went on to design a system for developing and improving the way we move. This system is used all around the world in all aspects of the physical arts.

Below is a table that shows how this system works. First we have the 8 actions that categorise human movement: punch, press, slash, glide, wring, float, flick and dab. Then we have the qualities of movement that show exactly how these movements are made:

TimeLaban discovered that all actions we make are either sudden, beginning and finishing quickly, or sustained, meaning that they go on for some time.

WeightThis shows how much effort goes into an action – how much weight we put behind it. Laban discovered that all actions are either light or strong.

SpaceThis categorises the way in which an action uses space: is the movement using a straight or curved pathway to its destination? Laban discovered that all actions are direct or indirect.

Action Time Weight

Space Subjects Moods

Punch Sudden Strong Direct A storm, battle,factory

Anger, destruction,energy

Press Sustained

Strong Direct Growth, trapped,Slavery

Determination, fearoppression

Slash Sudden Strong Indirect

Circus, stormThe harvest

Power, excitement,frustration

Glide Sustained

Light Direct Flight, spirits, outerSpace

Serene, graceful,spooky

Wring Sustained

Strong Indirect

Traffic, snake, crowds Tension, stress, confusion

Float Sustained

Light Indirect

Dreams, ocean, astronauts

Calm, lazy, dreamy, sad

Flick Sudden Light Indirect

Fire, city life Lively, irritating, comical

Dab Sudden Light Direct Robots, puppets, insects Cheeky, nervous, jerky

This system can also be used in conjunction with the Stanislavski Method to create an in-depth character profile. As well as using Laban for physical actions of your character, you can internalize the actions to show your character’s emotion. For example, the character Gollum/Smeagol would be a wring to show the confusion and emotional turmoil, and a slash to show his frustration and anger.


Please note that this system is not meant to define a character in one category – it is a subjective approach for the actor to help him/her focus on their use of body (external) to convey their thoughts and convincing character traits (internal); it is one way of thinking about and developing a character. Quite possibly, at different points in the performance they will use different categories e.g. punch, float, glide.

Drama Academic Vocabulary/TerminologyAs part of our school-wide literacy initiative, teachers should introduce a range of academic vocabulary with definitions which should be kept in the rear of students’ Course Books. Students should be tested on these from time to time either orally or in writing and their use should be constantly incorporated into the classroom. Students should be aware of these basic terms and their meanings; all are COMPONENTS of Drama:

Drama Techniques are the ways we use and integrate voice, body, movement and space to convey meaning. These may be shown through such things as:

Voice pitch - the highness or lowness of a soundpace - the rate at which words are spokenpause - where sound stops, how often and for how longprojection - enables audience to hear the voicevolume - how loudly/softly the words are spokenarticulation - clarity of voicetone - the feeling/emotion in the voicecueing - when to speakinflection - the rise and fall of a voiceaccent - particular to a country/society/culturebreathing - to allow a controlled use of voicechorus/ensemble voice – using voice in unison as part of a group

Body posture - stancegesture - movement of any part of the bodybody-awareness - ability to select appropriate use of bodyeye contact - establishing eye contact with another actor or the

audience

Movement timing - when you movedirection - where you are goingenergy - how you moveensemble/chorus awareness – moving as part of a group

Space levels - low, medium, highpersonal - own spacegeneral - all the other space

Drama Elements are the key ingredients of Drama such as : role, situation, time, place, mood, symbol, tension, focus, which Drama Techniques and Conventions create.See the NZ Curriculum Glossary of Drama Terminology which follows for further detail.


Drama Conventions are the established ways of working in Drama that explore meaning or deepen understanding, or established practices in theatre.

Structural conventions include: still image/freeze frame/tableau, flashback, narration, slow motion, mime, diagrams/maps, spoken thoughts.

Process drama conventions include: role on the wall, hot seating, Mantle of the Expert, Teacher-in-Role, visualisation, telephone conversations.

Theatre conventions include: actor/audience relationship, exits/entrances, theatre technologies.

Textual conventions include: interior monologue, dialogue, stage directions. Drama Technologies are types of equipment that help to create, present,

explain, document, analyse, view, interpret or learn about dramatic work e.g. puppets, masks, lighting, props, set, costume, makeup, recording equipment, sounds etc

Descriptions and uses of some conventions:

Freeze Frame/Still Image/TableauAll participants are still using their bodies and spatial arrangement to convey meaning. Allows actors to make audience focus on a key moment and/or an idea. If juxtaposed with contrasting images moving scenes, the effect is intensified.

StillnessOne or more actors freeze all or part of their bodies, usually as a strong contrast to preceding and/or succeeding movement. Intensifies focus of audience.

Slow motionMovement at a slower than normal rate. Allows focus on detail of process while maintaining normal speed of thought for audience and actor.

RepetitionRepeating words or movements a number of times to give emphasis.

Overheard conversations/Telephone conversationsBoth are ways of adding tension by introducing extra information into the plot without having to involve more characters or settings. The group can go backwards or forwards in time using these conversations to illuminate the present situation.

NarrationDirect story-telling by one or more participants in a drama. Can be used to add information (e.g. introduce characters, settings, complications etc), move the plot forwards efficiently, create dramatic irony and thus humour/tension by making the audience aware of things the actor is not.

MimeUsing Body and Movement precisely to convey meaning rather than voice and or physical objects. Tension is created through the absence of what is being


mimed and the ability of all actors to accept, work within and extend the physical boundaries that the miming defines.


Hot Seating (Process convention)The actors are questioned about their actions, motivations, attitudes etc and must respond in character. An excellent way of developing deeper group and individual understanding of characters and also to expand opportunities for plot and character development.

Role-on-the-Wall (Process convention)An important character or role is physically represented on some writing medium eg sheet of paper/whiteboard and information is added as the process of the drama or exercise unfolds. Another effective way of exploring and expanding character with the added bonus of a written record for note-taking.

New Zealand Curriculum Glossary of Drama Terminology

chorus a convention in which individuals or groups provide spoken explanation or commentary on the main action of a drama

commedia dell'arte an improvised style of comedy popular during the sixteenth to the eighteenth century, originating in Italy and involving stock characters and the use of masks

conventions established ways of working in drama (e.g., hot seating, role on the wall, freeze-frame images) that explore meaning or deepen understanding; or established practices in theatre (e.g., the soliloquy, aside); or theatre technologies (e.g. lighting)

culture understandings, patterns of behaviour, practices, values, and symbol systems that are acquired, preserved, and transmitted by a group of people and that can be embodied in art works

devised drama drama that is developed for performance without originating from a script, although a script may be developed as part of the process

elements of drama the key ingredients of drama (e.g., role, time, space, action, tension, focus)

fale'aitu traditional Samoan comic theatre, usually addressing social issues or problems

flashback or flashforward a convention that involves shifting backwards or forwards in time so that participants or the audience can experience or investigate action or context from another perspective

focus an element of drama in which a particular moment in time or position in space draws the audience’s attention; and/or captures the essence of the dramatic action; or a theme, character, or other aspect that gives purpose or impetus to a drama

form the compositional structure or structures that shape a dramatic work; or a broad category of drama, which may include within it a number of styles (e.g., puppetry is a form, and glove puppets, marionettes, and shadow puppets are styles)


freeze-frame image a convention in which the members of a group use their bodies to make an image or tableau capturing an idea, theme, or moment in time; also called a group sculpture or tableau

hot seating a convention in which class members question or interview someone who is in role (e.g., as a character from a play, a person from history) to bring out additional information, ideas, and attitudes about the role

improvisation spontaneous invention and development of drama without use of scripts or preparation

interpretation analysis or appreciation of meaning in an art work by a viewer or listener; or the particular meaning communicated by the performer of an existing art work

kaumatua a Maori elder

korero paki storytelling and riddles

mapping a convention in which maps or diagrams are made in order to develop or reflect on drama

meaning what an artist expresses in an art work; or what a viewer or listener understands and interprets from an art work

mime a form of theatre performance in which action and character are suggested using gesture, movement, and facial expression without words or sounds

narration a convention in which a person narrates the action that occurs within a drama

overheard conversation a convention in which a conversation that would not normally be overheard by others is disclosed in order to add tension or provide information

process drama a form of drama in which the purpose is to participate in learning, inquiry, or discovery rather than to present drama to an audience

role on the wall a convention in which an important role is represented in picture form "on the wall" (usually on a large sheet of paper) so that information can be collectively read or added to as a drama progresses

role-playing using the imagination to identify with someone else in order to explore and represent experience from their perspective or viewpoint; also called being in role

social text an art work that refers to the society or culture in which it is made and that reflects the dynamics within that society or culture

soundscape a sequence of sounds shaped to enhance action and mood in a drama

speaking thoughts aloud a convention in which the action freezes and a character speaks his or her thoughts aloud in order to add tension, provide information, and so on

storytelling a dramatic convention in which a story is presented through action, dialogue, and narration (by an external narrator or by characters within the drama)


style a specialised type of drama within a broader form (e.g., commedia dell'arte is a style within the form of mask comedy); or the recognised manner or distinguishing way in which a particular type of drama is created and presented and according to which it is interpreted; style often relates to a particular historical period, movement, writer, or performer

teacher in role a teaching strategy where the teacher manages a class from within a drama by taking a role to deepen and extend students' inquiry and learning

technique a particular method or procedure used to achieve a specific purpose; in drama, the term relates to the use of voice, body, movement

technologies equipment that helps to create, present, explain, document, analyse, view, interpret, or learn about dramatic work (e.g., puppets, masks, lighting, props, sounds, costumes, recording equipment)

tension an element of drama in which mental pressure or emotional intensity is used to provoke a response, focus attention, or heighten involvement

text any expressive work (artistic or otherwise) that can be "read", whether it uses words, images, or sounds

Glossary ofImprovisational Language Terms

The following is a list of terms used in teaching and discussing improvisational language games. Accepting

Embracing the offers made by other performers in order to advance the scene.

Advancing The process of moving the scene forwards.

Ask-for The question asked of the audience in order to start a scene.

Beat A unit of action in a scene. A scene is made up of a series of beats.

Blocking Rejecting information or ideas offered by another player. One of the most common problems experienced by new improvisors.

Breaking the routine Interrupting an action with another action in order to advance the scene.

Cancelling Making previous action irrelevant. Once an action has been cancelled, it's as if it hadn't happened at all. Usually a bad idea.

Charm The quality that makes an audience enjoy watching a performer.

Commenting Stepping out of the reality of the scene by saying or doing something that refers to the fact that it's a scene being played. Also refers to "playing" an emotion rather than feeling it. Should be avoided, though used sparingly it can sometimes be effective.


Complementary offer An offer that meshes well with what's already gone before (and usually enhances it in some way).

Conflict Many (but not all!) scenes are about a conflict of some sort. If there's no conflict, the scene may still be truthful but somewhat dull.

Context The broader setting for the scene (political, social, etc).

Corpse To break up laughing while playing a scene. Usually not a good thing to do.

Denial See "blocking".

Driving Taking over a scene and not letting other performers influence its direction. Makes you an unpopular improvisor.

Endowing Assigning attributes to another performer's character.

Explore and heighten To take an idea and see where it leads, exploring its natrual consequences while simultaneously raising the stakes.

Extending Taking an idea and letting it become the central theme of the scene.

Focus The audience's attention should only be in one place at any given time; that place (or person) is the "focus" of the scene. If more than one thing is going on simultaneously, the focus is split. Experienced improvisors will smoothly share focus, less experienced improvisors often steal or reject focus.

Gagging Trying to make a joke or do something funny that doesn't flow naturally from the scene. Always a bad idea.

Gibberish A nonsense language.

Gossip Talking about things instead of doing them. Also, talking about things that are offstage or in the past or future.

Handle The premise for a scene or game.

Hedging Making smalltalk instead of engaging in action.

Information overload Introducing too much information into the scene, making it difficult or impossible to ever find a satisfying ending that resolves everything.

Instant trouble Making an offer that introduces a problem or conflict but that doesn't relate to the narrative of the scene prior to that point (see "Offer from space").


Masking Standing in a place where you can't be seen properly, or in such a way that you're hiding someone else or some important action. Should be avoided.

Mugging Making silly faces instead of reacting truthfully. Generally frowned upon.

Naming Identifying characters, objects, places and so forth in the scene.

Narrative The story told by a scene. Scenes should have a clear beginning, middle and end.

Objective The thing that a character in a scene is trying to achieve.

Offer Any dialog or action which advances the scene. Offers should be accepted.

Offer from space Dialog or action that is bizarre and that appears to come from nowhere.

Physicalization Turning intent into action and movement.

Point of Concentration What the scene is about.

Post-show Discussion of the show by the performers and crew after the performance, in order to identify problem areas that may have arisen as well as things that worked particularly well.

Plateau A period during which a scene is not advancing. Usually a bad thing.

Platform The who, what and where of a scene. The success of a scene often depends on having a solid platform.

Playlist The list of handles and/or ask-fors to be used in a show. Also called a "running order".

Pimping Playfully getting another performer to do something difficult or unpleasant which you probably wouldn't do yourself. Used sparingly, can be quite entertaining. Best strategry is to choose things the other performer does well.

Raising the stakes Making the events of the scene have greater consequences for the characters. One technique for advancing.

Reincorporation Bringing back an idea from earlier in the scene, or from a previous scene in the show, or even from a previous performance. Stand-up comedians refer to this as a "callback". Always fun, but not something to over-do.


Running order See "Playlist".


Setup Explaining the handle of the scene to the audience before the scene starts. Also involves doing an ask-for. The performer who does the setup usually shouldn't start off on stage in the scene.

Shelving Acknowledging an offer but not doing anything with it, with the intent of using it later. Of course, later never comes.

Space-object An object that's used in the scene but which doesn't really exist. A mimed object. In general, anything that doesn't support weight (like a chair) should be a space object.

Status A character's sense of self-worth. Many scenes are built around status transfers, in which one character's status drops while another's rises. Physical environments and objects also have status.

Stepping out Breaking the reality of the scene. See "Commenting".

Synthesis Combining two dissimilar ideas into one, such as hearing two suggestions from the audience and combining them into a single idea that gets used in the scene. Can be fun.

Talking heads A scene that involves a lot of standing (or worse yet, sitting) around talking rather than engaging in physical action.

Transformation Turning something into something else (one character into another, one object into another, one environment into another).

Uber-mime Overly elaborate mime that's so detailed as to be hard to follow.

Waffling Failing to make decisions. Talking about what you're going to do instead of doing it.

Walk-on (or Walk-through) The act of entering a scene, making a strong offer that advances the scene, and then exiting. Use sparingly.

Wanking Doing something cute and silly that makes the audience laugh but doesn't do anything to advance the scene. Very annoying for the other improvisors.

Wimping Accepting an offer but failing to act on it.


Improv Greg Ellis “The Improvisers” [email protected]

021 620 921Game: Once Upon a Time - for story buildingwww.atlas-games.com

Keith Johnston says our aim, when improvising, is to inspire our partner. Keep this in mind at all times when improvising.

The A B C of improvising:A inspiration – allows people to engage with what is happeningB Tell a good story – the story is the most important partC The story must come from somewhere truthful – from the real world or internal logic

Steps for the workshop today:1 Build skills2 Develop narrative

= an activity for all to work on

Name thingsNaming things is the first step in narrative eg

‘Hey, Iook at that thing over there, its amazing’cf ‘Excuse me constable I’ve lost my handbag.’

Name objects in incredible detail – not ‘two spots of paint on the floor’ but ‘one is shaped like the South Island and even has the Chatham Islands out to the right and the other is the shape of a banana and it look ripe because it has black spots on it.’

This links objects and events to the concrete world. The older we are the more married to an object we are eg a child’s fascination is as much with the wrapping paper as with the toy as both are new and novel. A teacher sees a blackboard as a teaching tool but improvisers need to look at all objects with a freshness that breaks with the expected.

Name things for what they are not but do not select what you will name – confront everything

If necessary just move the head a little to confront everything within a narrow sightline.Be incredibly confident – fake it if necessary.Audiences will buy crappy impro because they think they are meant to.Encourage people to do it – run at it - don’t creep up on it.

Stand in a circle and free associate with words. Be confident. Be relaxed. Speak with energy. Personally name people all the time – name with an attitude ‘ Yes sir, I’ve come for

the interview’ ‘Now, Mrs Roberts, I have the results of your test.’ Speak with an attitude. Be in the moment. Make eye contact.

Dolphin Training A guessing game where not giving up is important. It is a quest. The person can’t give up – or enjoy the failure.1 person leaves the roomEveryone else chooses an action they want the actor to do.


http://www.atlas-games.com/

mailto:[email protected]

Use a ‘ping’ to show if the person is hot or cold. Person who comes in must be happy in the space. Enjoy the experience and don’t look afraid.

The Circle of ExperienceWhen Improvising come in from the circle of experience

Stand in a circle – all members throw words that they see as part of a wedding.People will laugh if there is an element of shared experience.Use the shared experience as the hook in the improv.

But, is hanging wall paper or turd eating? NO – therefore out of the circle of experience.The most interesting offers are on the edge of experience – eg ‘I left the iron on’ is not relevant because it doesn’t change anything.

Improv is about confronting failure. Eg if a tight rope walker starts with a rope on the ground, but the rope never gets raised, then there is never risk taking, we need to experience the falling off to become unafraid of it.

If the offer doesn’t inspire – leave the group In a group of 4/5 explore a cave. Different people make one offer at a time - eg

‘lets crawl through this hole…. Lets edge along this narrow ledge’

If the offer doesn’t work for you/inspire, leave the group – be brutally honest BUT don’t leave with an attitude.

Deconstruct afterwards – look at if it was the offer, or if someone’s desire for power in the group, that was the reason for a person leaving. Remember Keith Johnston’s words, in an improv work to inspire your partner. Your offers are to inspire your partners. Be generous.

The group will not be inspired if:They are being told how to feel by a member of the groupThey are being talked overIf someone is wrecking the work of others because they are not the center of attentionThe group can’t hear each other.

Sometimes statements can be too long – which becomes too prescriptive. ‘lets lie on this beach so no one can perv on us’ – leave it as ‘lets lie on the beach.’ Offer the action and a ‘high of mind’ – ie something that sparks the creativity – its not about being told what to think.


+

On the edge of experience but still relevant

Mildly complementary

What happens next Stand in a circle. Practice saying ‘no’ lightly, without an attitude and without

emotion. Use a light, neutral tone and stance. A offers, B accepts or says no Make the offers as statements. Make them confidently. Remember make

statements that inspire others. Take your partner on a tour of childhood – a bedroom or a holiday place.A great exercise for getting to know each other – shows the circle of experience for the two people. Eg A ‘ In your bedroom there are bunks.’ B ‘No’ A ‘In your bedroom there is a bed without a headboard. B ‘Yes’A ‘In your bedroom there is another bed.’ B ‘Yes’ etc etc

Or it can be played the opposite wayA says, ‘I open the door and what do I see?’ B ‘A fluffy pink dog on the bed.’A I look under the dog and what do I see?’ B ‘A rug crocheted by my nana’.A ‘I look to the left and what do I see?’ B ‘A shelf with books on it. There is the whole ‘Tomorrow When the War Began’ series and some old childhood picture books, one of which is ‘Mr Magnolia’.

Narrative Structure The because game – one of the most important in improv.

This game is the safety net of improv. It uses the KISS – keep it simple stupid approach.Being logical is the backbone of improvWhen people say I don’t know what to do, do the most logical thing.

Warm up game – drinking game! - Zoom/Screech Zoom - pass the arm across the body as you say zoomScreech - opposite arm bent at the elbow – this sends the zoom back the other wayPow – hands together, first fingers together, point across the circleBoing – both arms up in the air – skip one person – that person must not move If any transgressions, go into the middle.

Play the ‘because’ game in pairs. Keep the steps small. Play in groups Play as a whole class Can incorporate the ‘nope’ game if not logical so the person makes another offer.

Can get caught in a loop or several things pile up on each other – work for small logical steps. Teacher side coach if necessary.Can do verbally then physically eg ‘ Because you’ve given me this letter, I’ll go and post it.

Intention and the ‘Hook’The improvisor is a jack of all trades and master of none. A good improvisor needs a wide circle of experience – current news, local events, trivia, movies, songs, genre stuff.

Theatre is transactional by nature. It involves an original state of emotion/intention then somebody else changes/solves the state.


The basic narrative structure is about making a change. It has a beginning, middle and end and basic logic.Start with the status quo – and one person alone in the space. It is important to love being in the space. Make the offers simple and clear.

Never turn your back on the space, if leaving, look back to the focus.

The opening person must create an environment and an attitude to the space.Pick an object and manipulate it. Ie set up a situation/ break it, set up another/break it.Eg watch TV/power goes off – get a fork and check the plug/get a shock – start twitching/passout NB notice that this is playing the ‘because’ game

If the audience is interested and watching then you are being successful. Don’t initiate the entrance of another.

Stand in a circle. Throw in boring places. Choose one. Eg a bus stop. Choose own bus stop space. Play the space with attitude. Change the focus eg go

to a timetable.

Play in groups of 3 – 4. Teacher give an intention to the whole group but does not tell the class. Group watches and comments on what is interesting. Eg make eyes as wide as possible, try to touch another’s bottom, say I love you to a stranger, sniff …

Teacher pushes the level of intention up – work on a sliding scale to help students eg if what you are doing is 5/10 push it to an 8/10, push it up again.

Then a person needs to come in a break the routine with a complementary offer. – cf a parallel offer. If a person is painting and the next person comes in and paints too, then that is a parallel offer. If the person comes in and says ‘paint me’ or ‘that’s lead based paint’ then that is a complementary offer. Remember the circle of experience. If the offer is close to the center, then the offer will be logical and appropriate; if the offer is nearer the edge of the circle, then the offer will be more interesting. Both work. When a ‘hook’ is established then that creates the drama. How strong the hook is establishes how interesting the drama will be.

Some examples of introductory improvisation exercises:1. Postcard

The class is divided into two even groups. Each group chooses a place they’d like to receive a postcard from. When ready one group says in unison “I’d like a postcard from ……..” e.g. Paris, and the other group makes it. They are given one minute for a planning meeting, then the other group make their request again “I’d like a postcard from Paris” and it is made.

To begin with the picture is static with people frozen in action. However, this can develop into a picture that moves from one side to the other with the focus changing on a drum beat if necessary (this needs a bit more planning).


The topics can change e.g. fantasy postcard, cartoon, space age, famous story etc.

This is a good opening exercise in that everyone is involved. Confidence and spontaneity are encouraged.

2. WheelThe whole group makes two circles – one inside the other and students pair up. The outside circle will move around one place each time. They are given a new role – hence the title “Wheel”. Students must work within the situation until they are asked to move on one place. It’s useful to discuss ways of resolving problems other than shouting!A. both people are 5 year olds and they both want the same bike.B. a self-righteous teenager wanting to go out / an anxious parent.C. a disorganised friend who wants notes to swot for a test / an organised friend who has prepared for the test already.

With this work the actors must accept whatever the other actor says and build on the idea so there are no blocks. Discussion is needed on accepting roles.

3. Improvisation Circle – Action / ObjectEveryone sits in an acting circle. One person creates an object in space by using it. They pass it on to the next person who accepts it, uses it, then changes it into something else. This is a basic exercise in creating and believing in something, being able to pass it on, for another to extend its use then transform it into another object. Discussion is needed on ‘focus’ and ‘belief’ as well as physical use of space.

4. Action in pairsTwo actors work in an improvisation centred around an action and an object e.g. bouncing basketball. A new actor enters with a new imagined action and object. The first person sits out. The story changes completely and a new improvisation takes place to justify the new actions.

5. PlaceThis is the same as above except that the person who enters brings in a place. They say “supermarket” and the scene begins. The places can be unusual e.g. “refrigerator” and the roles extraordinary e.g. “mould” – “the moon”, “aliens” etc.

This basic game can be adapted for 2, 3, 4 or 5 players with one sitting out each time a new idea is brought into the circle. Discussion is useful on accepting others’ ideas, developing and extending them, as well as “listening in a role”.

6. Story buildingOn the board write up a list of characters that are offered by the group. List enough for there to be one character between two actors. Give the characters out in order round the circle in pairs. The pair thinks of a repetitive action to suit the character and a sound to accompany it. They


can use own voice or instruments. Time is given to prepare. The work is shared.

Decide where and when the story takes place. Write on the board e.g. “it was night in the fair ground”. Then continue the story using all the characters listed on the board. Take offers from the class.

Perform the scenario with the teacher narrating. The actors move using repetitive action while their partner provides the sound and voice .

The roles can then be swapped over so the musicians are the actors. Both groups are totally involved in the process. The teacher helps the improvisation fit together and may decide on places for action etc beforehand.

7. Story building IIDevelop a new character through three words and actions plus playing the storyteller role, as well as own character. Create a story in groups of 4 using the chosen words and actions repetitively as well as the story teller role to link it together.

8. Following instructed actionTwo performers sit on chairs in front of an audience. Two people in the audience give the actors instructions. The actors do as requested without any expression or without developing their own ideas. E.g. “man in the blue shirt – stand up. Woman with brown eyes blink. Man in the blue shirt wave to the woman. Woman with the brown eyes – yawn.” Etc.

This exercise encourages discipline but also the skill of immediate acceptance.

The following are suggested starters to use as a way of developing improvisation material. They could also be used as the given starter for the assessment task.1. Car Improvisation

The group of 4 sit in pairs. Two are actors – passenger/driver, the other two are audience. Each actor is given an emotion on a card e.g. anxious, happy, fearful, nervous, calm, cheerful. The class can make these to begin the lesson. Neither actor knows what the other actors emotion is. They work together within the car setting to improvise a scene. They focus on their given emotion which may reach a point of change if it is followed through fully.

The pair as audience feedback ideas that worked well. Obviously accepting ideas given and developing them is important. They now change so the actors become audience.


2. Improvisation / movement using poetry as a starter.“No Ordinary Sun” Honë Tuwhare.Words and phrases from the poem are written on card and placed around the room. Read the poem and discuss. Find a movement to express the rhythm of the words. Choose a word/phrase, experiment with sound, movement and space. Capture the essence of the word. Try several other words. Choose one and show your sound/movement sculpture to another. Your partner echoes your piece of work. Swap. Choose one idea in the pair. Develop it. Use repeats and silence. Add

stillness. Repeat the same process using the other person’s word. Add repeats,

silence, stillness. Refine. Put ideas together. Focus on movement and the rhythm of the words

and the floor pattern created. Perform for another group or the class. Three pairs could perform

together being conscious of others’ work. This improvised approach works well. It can also be choreographed by the rest of the group discussing where the pairs need to stand, who begins and order of working. Adding silence and stillness gives clarity to the work.

the piece could then be worked on to fine tune it if desired. This would make two lessons. The teacher could read the poem.

3. MusicListen to a piece of music e.g. “Signs of Life” from A Momentary Lapse of Reason by Pink Floyd. Use one pastel. “Dreamland” pastels are great. Draw a response as you listen again. In groups compare the common elements in the drawings. Choose an

idea to explore Plan an environment deciding on the essence of the music. One third of

the class group visits the environment while one third of the rest of the class watches and draws or observes the response to the environment. The environment can be made using vocal sound, instruments, movement, isolated words, as long as it captures the chosen “essence”. Repeat using other environments.

Reflection – observers give feedback on the mood and environment they saw.

4. Improvisation using a picture as an initial stimulus. The group carefully examines the picture/painting. They respond by writing single words on a page making a word collage. Using the ideas from the poetry work, circle four words that link into a

theme. Experiment on own with words making a movement/word collage – use

repeats, levels, silence, stillness. Record. Define what the theme is. Write it down. Students work in groups of four putting similar themes together. The

class share first their own themes so groups can be formed by those who have similar thematic interests.

Groups perform their own work simultaneously. Each person now shows work to group.


Refine by choreographing each offering without changing it so that the piece flows together. Focus on movement, voice and eye contact, and use of space.

5. Tableau StoryDivide into groups of 4-5. Give a topic e.g. “Crash” or “Emergency” – something dramatic. Students form a tableau which shows the climax of a possible storyline – freeze and show to other people.

Now students are to present the 30 seconds leading up to the climax. This has movement with dialogue. Include the climax. Now they present the 30 seconds which comes after the climax – movement with dialogue.

6. Story tellingAs a class, make a list of ‘items’ and one character on the board e.g. a tin of fruit salad, a bottle of sunblock, a pair of scissors, Mrs Green.

Each group creates an improvisation using the items on the list. Perform to class.

As an extension for character development, all the “Mrs Greens” come together for a spontaneous improvisation e.g. in doctor’s waiting room.

7 The DiaryOne student discovers a diary (e.g. in the attic, under a bed, buried in the garden etc). They open it and begin to read aloud the contents e.g. “Mon 13th June 1968, yesterday was the best day of my life. Kate and I went to see the Beatles…”

As they read, students come in to act out the events that are being read. They can also improvise dialogue.


GENERIC MODERATION FORMThis sheet must be stored with the student’s work in the appropriate Level box.

Achievement Standard Number: ……………

Date of moderation: _________________

Teacher name: ______________________________

Moderator name: ______________________________

Moderator role: ______________________________

Moderator signature: ______________________________


Palmerston North Boys’ High School

Drama Department

GENERIC ASSESSMENT SUMMARYThis sheet must be attached to the front of the student’s work prior to handing in for

assessment.

Achievement Standard Number: ……………

Grade awarded:

Teacher signature: ________________________

Student Signature ……………………………. Date ……………..(Indicates sighting of and acceptance of the grade)


Palmerston North Boys’ High

SchoolDrama

Teacher: Mr Chris Burton

Drama isSerious fun!


NCEA Level 1 Drama

2007

Student and Parent/caregiver information

COURSE AIMS AND ASSESSMENT INFORMATION

Basic Departmental Objectives: To develop students' critical awareness To enable students to understand the social context of their work To extend the students' engagement with drama as an expression of culture. To provide students with a practical understanding of the craft of drama To develop students’ confidence and ability in performanceTo encourage students to develop a range of positive life skills

The Level 1 Drama Course will involve :

PK Developing Practical Knowledge in DramaStudents will select and use elements, techniques, conventions and technologies in a range of dramatic forms.

DI Developing Ideas in DramaStudents will initiate and develop ideas individually and collectively in selected dramatic forms.

CI Communicating and Interpreting DamaStudents will perform and respond to drama and make critical judgements about the use of elements, techniques, conventions and technologies to create form and meaning.

UC Understanding Dama in ContextStudents will investigate the forms and purposes of drama in different historical or contemporary contexts.

The Level 1 Drama course contributes 24 credits towards the Level 1 National Certificate in Educational Achievement (NCEA) and is divided into SIX standards.


Level 1 Achievement Standards1.1 Use drama techniques. This achievement standard requires the student to learn and apply drama techniques with an appropriate use of voice, body language, movement and awareness of space, within a dramatic context.Our work will be developing these techniques in class then applying them appropriately in a workshop performance using the “Moving Images” unit.

1.2 Use elements and conventions to devise and perform a drama.This achievement standard involves using the elements and conventions of drama to devise a short drama piece.Our work will be using a chosen poem as a stimulus for using the elements and conventions and applying them to enhance a devised presentation.

The Term 2 Internal Exam will consist of a two hour practice exam. This is an introduction to external Standard 1.6 and will require students to demonstrate an understanding of, and reflect competently on, drama knowledge, drama processes and performance experiences, applied in a new context. The first half-year report will include assessment results for 1.1, 1.2 and the exam (1.6).

1.3 Demonstrate knowledge of a drama/theatre form through a practical presentation.This achievement standard involves demonstrating knowledge and understanding of a drama or theatre form through the presentation of a drama piece that illustrates this form.Our work will be exploring the theatre form of Melodrama.

1.4 Perform an acting role.This achievement standard involves preparing for and performing an acting role in a scripted production for an audience.Our work will involve every student performing an acting role in a supplied script. This will be performed to an audience.

1.5 Perform a technical or production role.This achievement standard involves preparing for and carrying out a technical or production role for a performance or workshop presentation.Students will explore at least one of the following:Technical Roles (lighting, sound, set construction, props, make-up)Production Roles (director, costume designer, choreographer, stage manager, administrator etc). This will be run in conjunction with Achievement Standard 1.4

1.6 Understand and reflect on drama processes and performance applied to new contexts.This achievement standard involves demonstrating an understanding of and reflecting on drama knowledge, drama processes and performance experiences, applied in a new context. This will be assessed as a 3 hour exam in November with practice exams in Term 2 (2 hours) and Term 3 (3 hours).

Students’ Learning Logs and Templates will be completed on-going through the year and will be checked for extra evidence during each Achievement

Standard assessment PNBHS Drama Department 40

Level 1 DRAMA YEAR PLAN(Assessment dates are approximate)

Week TOPIC AS Assessment

TERM 11 Intro to Yr 112 Drama techniques *St portf’s/Tchr observ3 Drama techniques St portf’s/Tchr observ4 Moving Images St portf’s/Tchr observ5 Moving Images St portf’s/Tchr observ6 Performance/reflection 1.1 Performance/writing7 Elements and conventions St portf’s/Tchr observ8 Elements and conventions St portf’s/Tchr observ9 Poetic Images St portf’s/Tchr observ10 Poetic Images St portf’s/Tchr observ

TERM II1 Poetic Images St portf’s/Tchr observ2 Poetic Images St portf’s/Tchr observ3 Performance/reflection 1.2 Performance/ writing4 Exam Revision (1.6)5 School Exams (2 hours) 1.6 Practice Writing6 Mask making7 Mask making/devising8 Mask making/devising9 Performance/reflection 1.4 Performance/ writing

TERM III1 Rehearsal/planning St portf’s/Tchr observ2 Rehearsal/planning St portf’s/Tchr observ3 Rehearsal/planning St portf’s/Tchr observ4 Rehearsal/planning St portf’s/Tchr observ5 Rehearsal 6 Performance/reflection 1.4 Performance/ writing7 Exam rev (1.6) (Tourn. week)8 Exam revision (1.6)9 School Exams (3 hours) 1.6 Practice Writing10 Intro to 1.3 and Melodrama St portf’s/Tchr observ

TERM IV1 Rehearsal/planning St portf’s/Tchr observ2 Rehearsal/planning St portf’s/Tchr observ3 Performance/reflection 1.3 Performance/ writing4 Exam revision (1.6)5 Exam revision (1.6)6 Exam leave 1.6 Final Writing


STUDENT ASSESSMENT INFORMATION

There are Six Achievement Standards in the course. The credits contributed towards the NCEA and assessment methods are as follows

Level 1 Achievement Standards

Credit Assment Mode

Assess date

1.1 Moving Images Use drama techniques 4 Internal T1 Wk 6

1.2 Poetic Images Use elements and conventions to devise and perform a drama

4 Internal T2 Wk 3

1.3 Over the Top Demonstrate knowledge of a drama/theatre form through a practical presentation

3 Internal T4 Wk 3

1.4 Who Are You Then? Perform an acting role 4 Internal T3 Wk 6

1.5 Hands On Perform a technical or production role 4 Internal T2 Wk 9

1.6 Understand and reflect on drama processes and performance 5 Practice

PracticeExternal

Term 2Term 3

November

The Five Internal Achievement Standards will be assessed in class and/or rehearsal/performance timeAll the standards will involve some background work being done in the students' own time.AS 1.5 will require some out of class rehearsal time in the two weeks leading up to performance. Details will be provided later.

No reassessment opportunities are being offered.

The One External Achievement Standard (1.6) will be formally assessed by a 3 hour examination at the end of the year. However there will be two practice exams in Term 2 (2 hours) and Term 3 (3 hours).

The following grades can be achieved:Not achieved NAchieved A Merit MExcellence E


Student Personal Record of AchievementAll grades are provisional until officially posted by NZQA in January.

Internal Achievement StandardsACHIEVEMENT STANDARD

NUMBER OF

CREDITS

DATE GRADE AWARDE

D1.1 Moving Images Use drama techniques 4

1.2 Poetic Images Use elements and conventions to devise, structure and perform a drama

4

1.3 Over the Top Demonstrate knowledge of a drama/theatre form through a practical presentation

3

1.4 Who Are You Then? Perform an acting role 41.5 Hands On Perform a technical or production role 4

External Achievement Standard ACHIEVEMENT

STANDARDNUMBER

OF CREDITS

GRADE AWARDED IN PRACTICE ASSESSMENT(provisional result only)

1.6 Understand and reflect on drama processes and performance, applied to new context(s)

5Term 2 Term 3


TEACHER RECORD SHEET OF SUMMATIVE INTERNAL ASSESSMENT

N Not Achieved A Achieved M Merit E Excellence

Student name Form 1.2date

1.3date

1.4date

1.5date

SignedStudent

Signed Teacher


Teacher:Mr Chris Burton



NCEA Level 2 Drama

2007

Student and Parent/caregiver information




PK Developing Practical Knowledge in DramaStudents will select and integrate elements, techniques, conventions and technologies in various dramatic forms for a range of purposes.

DI Developing ideas in DramaStudents will initiate, develop and refine ideas individually and collectively in a range of dramatic forms.

CI Communicating and Interpreting DamaStudents will rehearse and perform works in a range of dramatic forms. Students will respond to and make critical judgements about rehearsal processes and performances..

UC Understanding Dama in ContextStudents will research the production, performance and purpose of drama in a range of contexts.




2.1 Apply Drama techniques in an improvised group context. This achievement standard requires the student to demonstrate appropriate application and combination of drama techniques with an appropriate use of voice, body, movement and space, within an improvised dramatic context.

2.2 Apply Drama techniques in a group within a scripted context.This achievement standard involves using the techniques of drama to present a scripted and rehearsed performance.

The Term 2 Internal Exam will consist of a two hour practice exam. This is an introduction to external Standard 2.6 and will require students to demonstrate an understanding of, and reflect competently on, drama knowledge, drama processes and performance experiences, applied in a new context. The first half-year report will include assessment results for 2.1, 2.2 and the exam (2.6).

2.3 Structure, record and perform devised drama using elements and conventions.This achievement standard involves demonstrating knowledge and understanding of Drama elements and conventions through devising and presenting a short production.

2.4 Apply knowledge of a Drama/theatre form or period through performing a role within a presentation.This achievement standard involves demonstrating an understanding of a particular form/period both in writing and in preparing for and performing an appropriate acting role in a scripted production.

2.5 Perform a substantial acting, technical or production role.This achievement standard involves appropriately preparing for and carrying out a substantial acting, technical or production role for a performance to an audience and will be our major class presentation for the year in Term 3.

2.6 Apply knowledge of and make judgements about Drama processes and performance in a new context.This achievement standard involves demonstrating an understanding of and reflecting on drama knowledge, drama processes and performance experiences, applied in a new context. This will be assessed as a 3 hour exam in November with practice exams in Term 2 (2 hours) and Term 3 (3 hours).

Students’ Learning Logs and Templates will be completed on-going through the year and will be checked for extra evidence during each Achievement Standard assessment.


LEVEL 2 DRAMA YEAR PLAN(Assessment dates are approximate)


TERM 1 1 Intro to Level 2 and 2.22 Theatre of the Absurd St portf’s/Tchr observ3 Exploration and devising St portf’s/Tchr observ4 Rehearsal St portf’s/Tchr observ5 We Did It Our Way 2.2 Performance/writing6 Intro 2.4 – Soap Opera St portf’s/Tchr observ7 Exploring and planning St portf’s/Tchr observ8 Script writing St portf’s/Tchr observ9 Script writing St portf’s/Tchr observ10 Blocking and rehearsal St portf’s/Tchr observ

TERM 21 Rehearsal St portf’s/Tchr observ2 Rehearsal St portf’s/Tchr observ3 Trite and True 2.4 St portf’s/Tchr observ4 Exam Revision (2.6)5 School Exams (2 hours) 2.6 Practice Writing6 Exam review and Intro 2.37 Exploring, scripting, rehearsing St portf’s/Tchr observ8 Rehearsing St portf’s/Tchr observ9 Wagging the Tale 2.3 Performance/ writing

TERM 31 Intro 2.5, read and audition St portf’s/Tchr observ2 Rehearsal/planning St portf’s/Tchr observ3 Rehearsal/planning St portf’s/Tchr observ4 Rehearsal/planning St portf’s/Tchr observ5 Rehearsal St portf’s/Tchr observ6 Treading the Boards 2.5 Performance/ writing7 Review, revise (Tourn. week)8 Exam revision (2.6)9 School Exams (3 hours) 2.6 Practice Writing10 Exam review and Intro to 2.1 St portf’s/Tchr observ

TERM 41 Rehearsal/planning St portf’s/Tchr observ2 Rehearsal/planning St portf’s/Tchr observ3 Playing Up 2.1 Performance/ writing4 Exam revision (2.6)5 Exam revision (2.6)6 Exam leave 2.6 Final Writing


STUDENT ASSESSMENT INFORMATIONThe Level 2 Drama course contributes 24 credits towards the Level 2 National Certificate

in Educational Achievement (NCEA) and is divided into SIX standards.Five of these standards are assessed internally, during class time and performance time.

One standard is assessed by external examination at the end of the year.


Credit Assment Mode

Assess date

2.1 Playing Up Apply Drama techniques in an improvised group context.

2 Internal T4 Wk 3

2.2 We Did It Our Way Apply Drama techniques in a group within a scripted context.

3 Internal T1 Wk 5

2.3 Wagging the Tale Structure, record and perform devised drama using elements and conventions.

4 Internal T2 Wk 10

2.4 Trite and True Apply knowledge of a Drama/theatre form or period through performing a role within a presentation.

5 Internal T2 Wk 3

2.5 Treading the Boards/Hands On Perform a substantial acting, technical or production role.

5 Internal T3 Wk 6

2.6 Apply knowledge of, and make judgements about, Drama processes and performance in a new context.

5 External November

The Five Internal Achievement standards will be assessed in class and/or rehearsal/performance time. All the standards will involve some background work being done in the students' own time.AS 2.5 will require some out of class rehearsal time in the two weeks leading up to performance. Details will be provided later.


The One External Achievement Standard (2.6) will be assessed by a 3 hour examination at the end of the year.

The following grades can be achieved:Not achieved N/AAchieved A Merit MExcellence E


Student Personal Record of Achievement

All grades are provisional until officially posted by NZQA in January.

Level 2 Achievement StandardsACHIEVEMENT STANDARD CREDITS ASSMNT

MODEGRADE AWARD

ED2.1 Playing Up Apply Drama techniques in an improvised group context. 2 Internal

2.2 We Did It Our Way Apply Drama techniques in a group within a scripted context.

3 Internal

2.3 Wagging the Tale Structure, record and perform devised drama using elements and conventions.

4 Internal

2.4 Trite and True Apply knowledge of a Drama/theatre form or period through performing a role within a presentation.

5 Internal

2.5 Treading the Boards/Hands On Perform a substantial acting, technical or production role.

5 Internal

2.6 Apply knowledge of and make judgements about drama processes and performance, applied to new context(s)

5 PracticePracticeExternal

Term 2Term 3

November


TEACHER RECORD SHEET OF SUMMATIVE ASSESSMENT



2.2date

2.3date

2.4date

2.5date

SignedStudent

Signed Teacher


Teacher: Miss Wendy Russell



NCEA Level 3 Drama

2007

Student and Parent/Caregiver Information




PK Developing Practical Knowledge in DramaStudents will select and adapt elements, techniques, conventions and technologies in various dramatic forms for a range of purposes.

DI Developing Ideas in DramaStudents will initiate, develop and refine original drama and drama based on existing works

CI Communicating and Interpreting DamaStudents will rehearse and perform works in a range of dramatic forms, assuming diverse artistic or technical responsibilities.Students will reflect on and critically evaluate a wide range of works and performances.

UC Understanding Dama in ContextStudents will research and analyse how drama interprets and records social and cultural history.




3.2 Interpret scripted text and integrate drama techniques in solo or paired performanceThis achievement standard requires students to select and integrate a comprehensive range of appropriate drama techniques – voice, body, movement and use of space - to interpret and communicate the meaning of a drama extract in individual performance.

3.3 Devise, script and perform drama for solo or paired performance The activity requires students to use drama elements and conventions to devise a script and to perform individual drama. The script is based on an original character from an existing play familiar to the student. The student’s understanding of the character is extended into creating and performing new material which includes key lines from the original play. As an introduction to the new work, the student performs a major speech from the chosen original character.

3.4 Demonstrate knowledge of theatre form or period by analysing and interpreting two scripted textsThis achievement standard involves demonstrating an understanding of a drama/theatre form or period. This will be assessed as a 3 hour exam in November with practice exams in Term 2 (2 hours) and Term 3 (3 hours).In Section A, candidates will use extracts from TWO prescribed play texts to demonstrate their knowledge of a theatre form or period.In Section B, candidates will be required to analyse and interpret ONE of their chosen texts from the production perspective of either director or designer.The concept may refer to any time, for example a Shakespearean play may be discussed in a modern setting, but all such decisions must be justified.

3.5 Research and carry out a performance or technical/production role in a significant productionThis activity requires students to research, prepare and perform a character in a significant production.

3.6 Analyse drama processes in a new context and reflect critically on drama performance This achievement standard involves demonstrating an understanding of and reflecting on drama knowledge, drama processes and performance experiences, applied in a new context. This will be assessed as a 3 hour exam in November with practice exams in Term 2 (2 hours) and Term 3 (3 hours).

Students own portfolio/workbook will be completed on-going through the year and will be checked for evidence of processes recorded during each Achievement

Standard assessment.


LEVEL 3 DRAMA YEAR PLAN(Assessment dates are approximate)


TERM 1 1 Intro to Level 3 and 3.2/3.32 CAMP St portf’s/Tchr observ3 Voice work St portf’s/Tchr observ4 Voice work St portf’s/Tchr observ5 Voice work - Macbeth St portf’s/Tchr observ6 Selecting excerpts/rehearsing St portf’s/Tchr observ7 Rehearsing St portf’s/Tchr observ8 Rehearsing St portf’s/Tchr observ9 Rehearsing St portf’s/Tchr observ10 The Power of One 3.2 Performance/ writing

TERM 21 Intro to 3.3 ideas St portf’s/Tchr observ2 3.4/3.6 St portf’s/Tchr observ3 Revision St portf’s/Tchr observ4 Revision5 Whole Sch Exams 3.4 and 3.6 Writing6 Intro to 3.5 Twelfth Night St portf’s/Tchr observ7 Reading play & auditioning St portf’s/Tchr observ8 Casting/ rehearsing St portf’s/Tchr observ9 Rehearsing St portf’s/Tchr observ

TERM 31 Rehearsing St portf’s/Tchr observ2 Rehearsing St portf’s/Tchr observ3 Rehearsing St portf’s/Tchr observ4 Rehearsing/dress rehearsals St portf’s/Tchr observ5 Twelfth Night 3.5 Performance/ writing6 Review 3.6, complete T’s St portf’s7 Revise (Tourn. week)8 Exam revision (3.4, 3.6)9 School Exams (3 hours) 3.4 and 3.6 Writing10 Exam review and focus on 3.3

TERM 41 Rehearsing St portf’s/Tchr observ2 Rehearsing St portf’s/Tchr observ3 Playing Up 3.3 Performance/ writing4 Exam revision (3.4 and 3.6)5 Exam revision (3.4 and 3.6)6 Exam leave 3.4/3.6 Final Writing


STUDENT ASSESSMENT INFORMATIONThe level 3 Drama course contributes 24 credits towards the Level 3 National Certificate in Educational Achievement (NCEA) and is divided into FIVE standards.THREE of these standards are assessed internally, during preparation, rehearsal and performance time. TWO standards are assessed by external examination at the end of the year. (AS 3.1 has been withdrawn).


Credit Assment Mode

Assess date

3.2 The Power of One Integrate drama techniques to communicate meaning in individual performance of scripted drama

5 Internal T2 Wk 2

3.3 Elizabethan Double X Use elements and conventions to devise, script and perform individual drama

5 Internal T4 Wk 4

3.4 Elizabethan Drama Demonstrate knowledge of a drama/theatre form or period by analysing and interpreting text

4 External November

3.5 Twelfth Night Research, prepare and perform a performance or technical/production role in a significant production

6 Internal T3 Wk 4

3.6 Analyse, apply and reflect critically on drama processes and performance in a new context

4 External November

The THREE Internal Achievement standards will be assessed in class and/or rehearsal/performance time. All the standards will involve some background work being done in the students' own time.AS 3.5 will require some out of class rehearsal time. Details will be provided later.


The TWO External Achievement Standards (3.4 and 3.6) will be assessed by a 3 hour examination at the end of the year which combines practical and written tasks.

You can gain the following grades in the Achievement Standards.Not achieved N/AAchieved A Merit MExcellence E


Student Personal Record of Achievement

All grades are provisional until officially posted by NZQA in January.

Internal Achievement StandardsAchievement Standard Credits Date Grade

awarded3.2 The Power of One Integrate drama techniques to communicate meaning in individual performance of scripted drama

5

3.3 Elizabethan Double X Use elements and conventions to devise, script and perform individual drama

5

3.5 Twelfth Night Research, prepare and perform a performance or technical/production role in a significant production

6

External Achievement Standards Achievement

StandardCredits Provisional Grades

Term 2 Exam Term 3 Exam

3.4 Elizabethan Drama Demonstrate knowledge of a drama/theatre form or period by analysing and interpreting text

4

3.6 Analyse, apply and reflect critically on drama processes and performance in a new context

4


TEACHER RECORD SHEET OF SUMMATIVE INTERNAL ASSESSMENT



3.3date

3.5date

SignedStudent

Signed Teacher


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