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IMCC Year 7 Performing ArtsSemester Program 2019

YEAR 7: Irene McCormack Catholic College½ Course: Dance

Weeks DANCEContent Addressed Assessment

Week 1 Lesson 1: Introduction

Expectations/Warm up Introduction to course/expectations/rules. Hand out into to dance booklet.

What is dance?Dance changes with time and is driven by culture.

Explain functions of dance/why people dance:- Entertainment (for enjoyment/wonder/awe). Example- Hip Hop/Musical Theatre- Fitness/fun. Example- Zumba, social dance or dance classes.- To tell a story or reveal ideas. (Contemporary dance does this). - Cultural dance - Ceremonial/ritual purposes - Celebration E.G. (Maypole dancing: May Day Dance in Britain- It is the time of year when warmer weather

begins, and flowers and trees start to blossom. It is said to be a time of love and romance. It is when people celebrate the coming of summer with lots of different customs that are expressions of joy and hope after a long winter. On May Day, people used to cut down young trees and stick them in the ground in the village to mark the arrival of summer. Maypoles were once common all over England and were kept from one year to the next. Schools would practice skipping round the pole for weeks before the final show on the village greens. People danced around the tree poles in celebration of the end of winter and the start of the fine weather that would allow planting to begin.

RespondingDance in Context: Distinguishing features and purposes of dance (ACADAR019)

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- Coming of age/initiation ceremonies (Aboriginal culture does this)- To tell stories about culture/pass down knowledge and customs (Example: Passing down

dreamtime stories through dance in Aboriginal culture). - Before war (e.g. haka- New Zealand/Maoris)

- Brainstorm all dance styles students can think of (with prompts). Then distinguish characteristics of each dance and how the styles differ.

Ballet Tap Jazz Acrobatics Contemporary Lyrical/slow modern Song and dance Demi character/character Hip Hop – popping/locking Breakdancing Cultural- Irish/Spanish/haka etc. Ballroom- waltz/tango etc.

Create Students get into pairs or groups of 3- make up a short, creative ‘handclap’ or ‘secret handshake’ that they

can present to the class. They should endeavour to use more than just their hands (legs/feet/hips/elbows/arms etc.).

It must include at LEAST 8 moves.

PerformIf there is time, students perform handclap for the class.

Week 1 Warm up and ChoreographyIntroduction

- Roll/change. - Do a recap of the functions of dance from last lesson.

Making DanceWarm-up and cool down as part of a dance class (ACADAM015)Extending technical competence

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- Discuss importance of warm up and what a warm up includes.

Warm up games: Play ONE warm up game twice to apply their theoretical knowledge of warm up.

Options could include:- Numbers game (students move around the room in a way that you direct: e.g.

walk/run/hop/jump/skip/crawl etc. When you call out a number they must get into a group of that number. Last ones to form the group or if there are any ‘extra’ students have to do 5-star jumps.)

- Tepees and Indians. - Octopus- Chain chase.

Stretch –teacher led stretch focusing on the main muscle groups.

USING INTRO BOOKLETIntroduction

Roll/change. Recap information that the teacher feels is necessary.

Warm up: game and stretch.

Choreography Main focus of learning how to choreograph is to create dance with meaning behind it. To create dance that tells a story, investigates a theme or idea.

BEST The elements of dance are the building blocks for all choreography. The different ways we use our bodies,

the space in which we dance and the timing of movement, should always be unique and interesting. The more we use these elements of dance in different ways, the more interesting the dance becomes.

The four elements of dance are: BEST (Body, Energy, Space, Time).

BODY Is used to make shapes which create interesting movement. To continually change the shape of the body is

an important part of choreography. You can make shapes individually or as a group to create interesting

control, coordination, accuracy, alignment, balance, flexibility, strength, endurance and articulation when moving.

Making DanceImprovisation skills to explore new movement ideas (ACADAM013)

Making DanceChoreographic Devices and Elements: Different elements of dance: body, energy, space, time (BEST), explored and combined to develop choreographic intent (ACADAM014)

Making DanceGroup work practices (sharing ideas, problem-solving, giving feedback, listening skills) in dance (ACADAM017)

RespondingDance reflecting and analysing: Reflective processes, using dance terminology, on their own and others’ work, and the use in dance works of the elements of dance and design concepts (lighting, music/sound, multimedia, costume, props, sets, staging) (ACADAR018)

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effects. Some shapes we use in dance are: symmetrical shape, asymmetrical shape, curved, angular, open and closed (give examples and explain each).

ACTIVITY: Students are to stand in the space and make individual shapes: symmetrical shape, asymmetrical shape, curved, angular, open and closed.

Repeat exercise but in pairs. Students need to make these 6 shapes again, but this time they also need to connect to a partner.

One they have created all 6 shapes, they now need to choose 4 of these shapes and create interesting transitions between each shape. Example: so, they could do shape 1 and add in a turn before the next one.

Give students about 5 minutes and then get them to show the class.

Recap all information at end of each lesson.

Week 2ChoreographyIntroduction

- Roll/change.

Warm up games: Play ONE warm up game twice to apply their theoretical knowledge of warm up.

Options could include:- Numbers game (students move around the room in a way that you direct: e.g.

walk/run/hop/jump/skip/crawl etc. When you call out a number they must get into a group of that number. Last ones to form the group or if there are any ‘extra’ students have to do 5-star jumps.)

- Tepees and Indians. - Octopus- Chain chase.

Stretch –teacher led stretch focusing on the main muscle groups.

Energy Movements can reflect energies and emotions. Energy can be used to describe the way movement is

performed. It is important in dance to use different energies to create variety and interesting differences in dances. NOTE- ‘The choreographic element of ‘energy’ is not the amount of energy or level of energy used.

Making DanceWarm-up and cool down as part of a dance class (ACADAM015)Extending technical competence control, coordination, accuracy, alignment, balance, flexibility, strength, endurance and articulation when moving.



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Activity [Write the following energy states on the board] Energies: Freeze, shake, vibrating, attack, heavy, light, smooth, bouncy, sudden, flowing, tight, swinging, collapse, fall, rebound and resistance.

Students group together to make groups of 4. Each group chooses 4 ‘energies’ which they must use to create a dance phrase. Students are encouraged to be as creative and non-literal/abstract as possible. Speak about “abstraction”.

Give students 10-15 minutes depending on ability of group. Teacher will walk around and support/give assistance. Teacher will view all finished phrases to make sure fit

within task guidelines. When all phrases are finished each group will show a secondary group their phrase and the opposite group

will guess the energy states chosen.

***Students need to film their phrase on a group members device, so they can use it for next lesson.

Teacher chooses 2 groups (that did the task well/correctly) to show the class and talk through what energies were used.

ASK: Which energy types are the easiest to use? What energy types do you think would be the most interesting to an audience?

Recap all information at end of each lesson.



Week 2ChoreographyIntroduction

- Roll/change.

Warm up games: Play ONE warm up game twice to apply their theoretical knowledge of warm up. Stretch –teacher led stretch focusing on the main muscle groups.

SPACE Space can be used to create and manipulate movement:

- Levels, direction, spacing of people. All groups must think about how they want to space their dance. (what pattern do they want to stand in? Try

and think of something more interesting than one straight line) Using the phrase students created last lesson when manipulating ‘energy,’ each group is to manipulate their



Making Dance

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phrase as below:- Manipulate levels- 2 of the steps to be done on the floor. - Change the direction of 1 of the dance moves. - Add in a ‘high level’ move at the end (a jump). - If students have completed this early- extend the task.

Students should perform their phrases for the class.Questions: What made the phrase interesting? What did the group do well?

Choreographic Devices and Elements: Different elements of dance: body, energy, space, time (BEST), explored and combined to develop choreographic intent (ACADAM014)



Week 3Introduction

Roll/change Recap of Elements of Dance.

Warm up and stretch.

Time Using time in dance can help the audience understand the story or idea behind the dance and also helps to

make the dance more interesting. We use time in dance in the form of tempo (fast, slow and stillness) as well as other ways such as ‘Cannon.’


Making DanceImprovisation skills to explore

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Create: In groups of 4, students are to create a 4-movement phrase. Students can use any moves or prompt them

from below.- A symmetrical shape.- An Asymmetrical shape- One high position- One low position

Cannon: A choreographic device or structure in which movements introduced by one dancer are repeated exactly by subsequent dancers in turn. Once explained the teacher will create and perform a cannon with 3 students as a demonstration.

Show cannon video.

Cannon Activity 1 Students then put their movement into a cannon. Student one begins the phrase, the following students

begin the phrase a few counts later (and so forth). Each group’s phrase is checked by the teacher for understanding.

Extension/Cannon Activity 2 Students create a phrase that includes 4 travelling steps.

- 4 walks (Counts 1-4)- 1 or more jumps (Counts 5-8)- Roll or Turn (Counts 1-4)- Slide (5-8)

Students put this into a cannon with each student starting 4 counts after the one before. Teacher can either have the whole class perform their phrase, or, choose a group/groups that has

completed the task successfully.

Recap definition of cannon

new movement ideas (ACADAM013)




Week 3 Focus: Choreographic Intent in dance

Give definition of ‘Choreographic Intent’- the idea/theme/story behind dance.

RespondingDance reflecting and analysing: Reflective processes, using dance

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Discuss choreographic structure- Narrative Choreographic Structure/Abstract Choreographic Structure.

Activity: Using a worksheet, students will watch videos of dance works and using dance terminology, will discuss the

choreographic intent behind the dance and reasons for coming to these conclusions. Answers will include use of design elements and manipulation of choreography. Students are then to get into small groups and choose one of these themes to inspire their own movement

phrase. Perform for the class and reflect.

Recap choreographic intent and structures.

terminology, on their own and others’ work, and the use in dance works of the elements of dance and design concepts (lighting, music/sound, multimedia, costume, props, sets, staging) (ACADAR018)




RespondingDance reflecting and analysing: Reflective processes, using dance terminology, on their own and others’ work, and the use in dance works of the elements of dance and design concepts (lighting, music/sound, multimedia, costume, props, sets, staging)

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(ACADAR018)

Week 4 Introduction Roll/ change.

Warm up and stretch.

Motif Definition of Motif given: A movement or phrase (multiple movements), which can be repeated or

manipulated. It usually helps tell the story behind the dance.

Activity: Students get into small groups. Students are shown a stimulus (series of images within the same theme). They must make up a motif that

uses the stimulus as inspiration. The first one should be done as a class. This is repeated for the next three images. Students are then to choose one of the images/motifs as inspiration to create a short phrase. They need to

manipulate their motif in the following three ways:- At a low level- Facing a different direction- Whilst jumping

This should mean they have 4 steps. Students then need to travel from movement 1 to movement 2 in a creative way. Then do the same for the transition between moves 2 and 3 and then 3 and 4.

They now have a phrase of movement where the motif has been extended/manipulated (changed/edited to make the dance more interesting).

Perform Each group can perform their phrase for the class, or, the teacher can select one of more groups that

completed the tasks successfully, to perform their phrase.





RespondingDance reflecting and analysing: Reflective processes, using dance terminology, on their own and others’ work, and the use in dance works of the elements of dance

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and design concepts (lighting, music/sound, multimedia, costume, props, sets, staging) (ACADAR018)

Weeks 4-7 Assessment task introduced.

TASK OUTLINE- 5 lessons to create dance- 1 lesson to perform/assess.

Introduction- Roll/ change. - Teacher led warm up

Choreography Task Students are to create a dance in groups of four that displays choreographic intent. They are to use elements of dance as well as motif, cannon, unison and repetition. Students have four lessons to create the dance. The music is already chosen for them.

Performance- Students will perform the dances in front of an audience.- Students will reflect on one another’s’ performances specifically, whether the choreographic intent was

clear and how choreographic elements and devices were used to make the dance more interesting and display choreographic intent.

Interview Students will reflect on their performances and answer questions in a one on one interview which will be

assessed.




Making DanceSkills and Techniques: Dance skills that develop technical competence in relation to body control, accuracy, posture/alignment, strength, flexibility, balance and coordination (ACADAM015)

Making DanceSafe dance practice of style-specific techniques (ACADAM015)

Task 4Making Dance

Group Choreography

Task

Task 5Responding

Written Reflection

Task/ Interview

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Making DanceRetention of movement (ACADAM017)

Making DancePerformance skills (expression, projection, focus) demonstrated to an audience and appropriate to the dance genre/style (ACADAM017)



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Week 8 Aboriginal Dance, Torres Strait Islander Dance and Asian Dance.

Differentiation/comparison between styles. Observing and identifying stylistic similarities and differences in both traditional and contemporary dances-

dances from Aboriginal people and Torres Strait Islander people and Asian communities Videos shown of different styles. History and culture discussed. Investigating the role of dance in transmitting cultural information, such as advocating change in relation to

contemporary issues (for example, land degradation)


Week 8Introduction to Hip Hop

Brief history given/function/role in Aus. and America. Characteristics Influence of cultural/social and historical context in development of style. Watch video examples.

Travelling combinations Travelling combinations down the room to address coordination, improving performance by extending own

movement vocabulary and technical competence.

Recap of contextual and historical information given



Making DanceMovement retention: Techniques that focus on developing retention of movement (ACADAM017

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Week 9-10

Hip Hop

Introduction- Roll/change. - Recap of functions of Hip Hop and characteristics.

Warm up

Travelling combinations Travelling combinations down the room to address coordination, improving performance by extending own

movement vocabulary and technical competence. Recap travelling combinations from last lesson. Give 1-3 focus points for students to focus on when

performing each combination.

Extended sequence Teacher led extended sequence to music to focus on musicality, coordination, retention of movement.


Making DanceSafe dance practice of style-specific techniques (ACADAM015)


Making DanceMovement retention: Techniques that focus on developing retention of movement (ACADAM017)

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YEAR 7: Irene McCormack Catholic College½ Course: Drama

LESSON OBJECTIVE DRAMA RESOURCESW1

To get to know each other as a class unit.

For the students to become aware of the teacher’s expectations of them in this class.

For students to gain an understanding of warm ups in Drama

INTRODUCTION TO IMPROVISATION Class Bonding/ Getting to know each other. Discuss Unit of Work

Teacher to discuss what will take place in Drama rotation (e.g. focus on improvisation, group work etc) the expectations of them and their tasks throughout the unit.

Warm up activity (At teacher discretion) Fruit Salad, Name tag, Ball Tag etc

Objects

Students are to now find a partner. They are to stand opposite each other and without speaking, together create the following objects that I call out.

a knife and fork a cup and saucer egg on toast

Now form a group of four and together create the following objects. a vase of flowers a camera a shark a clock a guitar Christmas Tree bicycle

Now form a group of eight. a piano a helicopter a hamburger a computer Motorcycle playground aquarium

Now form as a whole class. The Sydney Harbour Bridge

Lesson two:

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To be introduced to improvisation and explore making and accepting offers.

Discuss what improvisation is: Being spontaneous, unplanned, thinking on your feet. Anyone can improvise…Handout worksheet.

Exercise 1: Demonstrate with a student first then get students to pair up. It’s your birthday:

- In pairs label yourself A or B- A say happy birthday to B and gets them a gift (mimed)- B accepts the gift and tell A what it is.- Do vice versa- See if there is an emotional response- See if you can match that response- Do opposite emotions

Exercise 2:3 ways to do things:

- In pairs label yourself A or B- Teachers says 3 ways to wash a dog- Person A has to improvise and act out 3 way to wash a dog- 3 ways to drive a car

Exercise 3: What are you doing: Students mime out activities given to them and have to improvise the next activity to give out to the next person?

- Students come in and mime the action (can include dialogue)- Think about how you feel about doing the action. what comes before you do the action?

Watch Thank God You’re Here episode and discuss what the conventions of improvisation were used. (Josh Lawson Dogs episode)

Discuss what conventions of improvisation were used. Was this successful? If so why?

Follow the leader (improvising through use of movement)Students sit in a circle and tap on their knees; the leader will change the movement whilst the inspector guesses.

First Lines / Last Lines- Students pair up- Label A / B- Give a student A the first line they need to start their improvisation with and student B needs to end

with the last line.

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W2 Students will know how stage positioning can affect the audience’s understanding of a scene

Students gain terminology on vocal techniques

Students extend their skills on improvisation

VOICE & IMPROVISATION- MAKING OFFERS, ACCEPTING AND EXTENDING Lesson one:

Discuss stage geography with warm up activity. Discuss Voice: The 5 P’s: Pitch, Pace, Pause, Projection, Pronunciation. By manipulating our voice, we

can show emotions, thoughts and personality. Vocal warm up: Tongue Twisters Vocal warm up handout. Improvisation Warm up activity (At teacher discretion)

Recap on the techniques of improvisation: Offers, Accept and Extend Students are to play the following games as a class and will then break up into pairs.- What are you doing?- Freeze- Post Cards (in pairs)- Alphabet challenge- First lines (if time)

Lesson two:Improvisation Warm up activity: Working on Extending and Advancing: FreezeSituation - improvisation

Spontaneous improvisation Exercise:Students work with a partner and begin improvising speaking the following lines: A: What are you making?B: Mind your own businessA: That’s amazingB: It’s meant to be a secret.

Get some students to show improvised scenesDiscussion points: Where did your improvisation go?What worked/ what didn’t work?What did you find most challenging?How did you set up a sense of space?Did we see any types of characters?

Improvisation Workshop: Bus stopWorking in groups of 4-5, spontaneously improvise being a character at a busy bus station.

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- Think about what type of character you’re- Why you’re there.

Whole class improvisation/ role play: Out of Space- Students are to imagine that they’re about to go out of space. - Think about the movement you will use.

W3 Students will know what a tableau is

Apply elements of a tableau to create exaggerated facial expressions

Identify purpose of movement/ body in Drama

Lesson one:

Improvisation Warm up activity: Working on Extending and Advancing Starter – In Pairs: First Line / Last Line activity students should aim to have a scene that lasts a

minute.

Using movement to convey emotions and characters

Speed Tableaux

Whole class individually stand in a space in the room and create a frozen image based on a title or action that the Teacher will call out. Students will have 5 seconds initially to get into the frozen image and then FREEZE. Teacher will then shorten the countdown to 3 seconds then 2 when the game is nearly finished.Students are out if they do not freeze when FREEZE is shouted or are smiling or giggling. Once out they can be judges to say who else in the room is moving on FREEZE.Use this list as a starting point:TerrorPlease believe meJoyDagger through the heartSuspicionLooking out to seaThe big ideaX factor auditionJLS concertSupermarketQ – What makes an effective frozen image? - tension, body language, facial expressions, levels etc. Teacher to explain actors used precise gestures to represent clear emotions.

Activity One - Exaggeration Experimentation

In groups of 3-4, students to devise a short original scene based on one of the titles given to them.An over the top acting style must be used. Each line of dialogue (and actors must only speak one person at a

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Assess students’ skills in improvisation.

Students will apply their knowledge and skills of improvisation in performance.

time) must be accompanied by a posture and facial expression.“Complaint at the chocolate factory”“Argument at breakfast”“Crisis in the X Factor studio”“Robbery at post office”

Perform and evaluate

Q – Why is movement in theatre so important?Q – What movement techniques did you use?Q – What skills can you take from today’s lesson for all drama lessons in the future?

Lesson 2: Improvisation Assessment

Students will be assessed in partners on their improvisation skills.

- Assessment will be recorded for students to watch back and reflect on.

Marking Key (Digital on Seqta)

Use IPAD to record performances for reflection.

W4 Students reflect on their own performances and the performances of their peers using Drama languages and Terminology

Introduce students to what clowning is and how we can use this in performance.

REFLECTINGLesson one:Students watch back improvisation performances and fill-out reflection.

INTRODUCTION TO CIRCUS & CLOWNING

Lesson two:Introduction to Clowning Unit

Moving towards clowning Group task You don’t need to know how to do magic tricks or circus skills- but you do need to know and

demonstrate the fundamentals of clowning.

In groups, brainstorm "What makes us laugh?" (5min)Brainstorm - Groups (Five): Have students discuss; What makes us laugh? They can form a spider-gram on a card or visualise it on the card. After they have gathered enough ideas, have them categorise each idea as either

Assessment: Reflection

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physical, visual or verbal; what is more prominent? Gather stats from the class What is a clown? What are their attributes? Field answers & discuss as class; many different concepts; make class wall chart (5min) Show students’ images of the different types of clowns. (for homework students are to research the different types of clowns)

Warm-up (Whole class) 5- 10min: Red ElbowPlace some large coloured card in various random places around room; call out commands such as ‘yellow foot’; everyone then has to find a yellow object or card and place their foot on it; last one in or someone who falls over and can’t keep strange position is out; vary the commands Activity (Individual): Centring BodyGet students to find their own free space and stand with feet together; go over correct breathing; now ask them to sway without falling, like a bowling pin, a little at first, then gradually increase rate; see if they can reach extremities with lean without falling to front, back and side. Activity (Individual): Character PullStudents imagine they are standing, and a rope is attached to their nose, you pull that imaginary rope and they will gradually move their head forward, but their feet should be the last to move, so have them explore the extreme threshold of being pulled by the nose without losing balance; how did it feel? Have them reset and pull again this time, they need to walk toward you, as you pull the rope; after ask - what kind of character would walk like this? nosey? pushy? pesky? Try also with the torso (proud) and knees (lazy, calm); they should have three comic walks; can they suggest other parts of body? chin; head; hands, hips, feet, bottom? what characters are they? Group (Threes): Party SceneHave students prepare a party scene where one is the host and the others are guests. They should have three characters who walk leading by the nose, torso or knees, who would the nose character be? etc. Students are not using voice, just actions, movements and facial expressions.Prep; present and debriefIf left over time - have them invent a new scenario with different leading points.

W5

Students gain an understanding of how to manipulate voice to create dramatic

Lesson One: Using voice in clowning

Recap on the different types of clowns. . Warm-Up (Pairs): Echo - Have students pair up and face each other; A speaks series of simple sentences, sounds, B echoes; reverse roles; have them move normally around the room and see if they can maintain the echo or vary it according to distance (5-10mins)

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meaning.

Students experiment with pitch, pace, tone and inflection.

Students use pantomime to create comedy.

Students to break the 4th wall and interact with their audience.

Discussion: Extreme Voices - what character would have an extreme high-pitched voice? Which a low-pitched voice? Experiment with demos (10mins) Activity - Pairs (A/B): Speaking in One Voice - Have students sit on floor and face each other; A and B try and say alphabet speaking at the same time with no one following; have them then try simple sentences (5-10mins) Activity - Groups (Four): Speaking in One Voice - Join two pairs to make a group of four have one become interviewer and the othersthe one person, interviewer asks questions such as ‘what’s your name’; ‘where are you from?’; ‘what do you like to eat?’; combined students answer with general beginning such as ‘my name is...’, but last word(s) will be technically gibberish as they will be all trying to follow each other; they should ensure they are watching each other’s faces as they speak and keep together as one person;Rotate interviewer around, so all have a chance to speak in one voice. have some groups present their character to the class and the class asks random questions with them answering in one voice. (try to vary with more unusual, extreme voices, varying pitch, pace and inflection) (10mins) Discuss (Whole Class): discuss physicality, if you were being led by the nose, how would you talk? Think about body position, breathing and restriction of lungs, voice box etc. Have students’ demo Activity - Groups (Three): Go back to the original threes for the party scene we did last class - explore this scene again adding unusual voice to your extreme movements. Think you are being led by the hip. You may have a silly or restricted walk. Think of an accompanying voice to match. Prep and present, discuss. Your scene should simply be 3-4 minutes. (20mins) Time permitting:Brainstorm - Groups (Five): Have students re-discuss; What makes us laugh? They can form a spider-gram on a card or visualise it on the card. After they have gathered enough ideas, have them categorise each idea as either physical, visual or verbal; what is more prominent? Students can record this in their notebooks.

Lesson Two: Pantomime and Master & Servants

Engagement with the audience: Clowns live in conversation with the audience. This exercise allows students to perform for each other and teaches them that charm or stage presence is about truly believing that you have gifts to offer.

Clap and cheer Do ‘nothing’ with the chair

Playing with Pantomime: Introduction to Pantomime Use the worksheets- practice the pantomime actions. Choose some students to show their pantomime actions. Discuss how they exaggerated movements to

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Students use their bodies/ movement to embrace the clowning role.

Students learn what status is and how to create status

make it funny.

Master & Servants exercises

Warm-Up (Pairs-10mins): 60 second Master/Servant - A is master, B is servant; master should order servant to do jobs (in the bounds of reason) in their honour; servant should react with melodramatic affection/worship (both physically and vocally); switch roles B is now master, A is servant; how did you feel as character? Activity (Pairs): A as Master, walks around the room as though shopping at markets for a banquet; B follows as servant; every time master faces servant, servant is very loving, doting and admiring but every time master turns away servant becomes cheeky, disrespectful and naughty. If master turns around and discovers servant doing something strange, servant should freeze and then try to give an excuse of why they are in that position. Servants should risk themselves both physically and vocally. Allow this activity to run 2 mins, then switch roles. Performance Activity (Whole Class) – 10 -15mins: "I am the King" - have three chairs set up beside each other; central chair is for the King/Queen (this character remains constant); two chairs on either side for the servants (these characters could be eliminated and will be replaced). King then gives commands to servants and acts in space, they may leave their throne and move around. Servants follow orders but only when King is looking at them; same objectives as previous activity, they should try and play up or disobey King, when he is not looking; if King spots a servant not doing their job or misbehaving, they ask “what are you doing?”, if servants excuse is in appropriate/lame they can decide to eliminate them by saying “Off with your head!” plus striking the servant with the inflatable sword in the torso area (not head). Rest of class should be audience and be numbered to take over from eliminated servant. Servants should be challenged to risk their physicality and vocals behind the King’s back. King may be changed after half the class, use an audience member who has already been a servant; try to create comic characters, even with the King Scene work (Four): Create a scene with a King/Queen and three servants, one clumsy, one sneaky and one very loving. Give them a scenario - kingdom wars; preparing for banquet; marriage of princess etc. Characters should use leading points and comic vocals, plus over exaggerate their attributes e.g. clumsiness etcPrep, present and debrief. How could this become clowning?

Discuss: How was status explored? What attributes did the characters have? How did they manipulate their voice and movement to show their character?

W6

Students use their imagination and

Lesson One & Two:

Introducing your clown.

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energy to perform simple tasks.

Students experiment with props and use them in as many different ways.

Students exaggerate their movements to create humour.

Students experiment with sound and music for their skit. How does this type of music enhance the mood and atmosphere for your

Curiosity: Clowns believe they can do anything and their desire and curiosity to try new things is limitless.

Break out of the baggage (pg. 3 Modern Clowning) Ta da (pg. 3 Modern Clowning) Circus train- following one another. Ability circle.

Clowns see the extraordinary in the ordinary. Clowns and children see the world with endless possibility.

Making space out of ordinary objects. Props game. Playing with equipment: hula hoops, juggling balls – how can we make our mistakes funny?

Physicalising: Clowns need to exaggerate their emotion to tell their story. They do not hesitate to become physically connected.

Physicalising the clown to tell your story.

1. Show us everything you can do with your costume. 2. How goofy can you be with your skirt? 3. How do you enter and exit a room? 4. How would you be flirtatious? 5. How noisy can you be? 6. What would you do if you wanted to surprise us? 7. You don’t sing, but I heard you were an unusual singer. Sing in that unusual way. 8. Show me the winning photo that you took on “America’s next top model?” 9. I heard you were a jewel thief; show me your mission impossible moves? 10. You invented a dance move that the Russian ballet company is now using in their next production of

“Swan Lake”. Show me that dance move. 11. Show me the instrument that you play. 12. How neutral can you be?13. I heard that you are a great rapper! 14. Let me see your audition for the film called, ‘The end of the world!’

Using music for your skit: What sort of music would you use to perform a short skit?How could you use the following music to perform your skit?

Warm-Up (Pairs) 10mins: Throw a Face - A and B are neutral faced looking at each other; A sculpts his face into an exaggerated face e.g. extremely happy, grabs his expression and throws it to partner’s (B’s) face, B immediately takes on that expression. This requires extreme observation of B, they have to copy every detail of

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performance?

Students use Lecoq’s methods of mask to create facial expressions.

A’s expression. They should both now, have the same extreme expression. Now A and B wipe their expressions clean and B starts the process.Try this a few times with different extreme expressions, it is better to often move from positive to negative to positive expressions Continue Warm-Up (5mins), this time have class walk randomly around room not colliding or interacting with each other - on the count of 3, they freeze with an extreme expression, have them now find another with the same or similar type of expression and interact. Try this a few times; also try alternative, find another with the opposite expression.Ask: What makes this funny? How does expression show character? Input: Define Mirroring, Mimicry & Morphing - what’s the difference? (10mins) What do the students know? Mirroring - Facing another and copying everything they do, but obviously in opposite; they raise right hand, you raise left hand Mimicry - Copying another, but over exaggerating what they do Morphing - Changing both physical posture and movement from an extreme emotion/state of being/attitude to another 3 Ms important in clowning. Why? We’ll explore now.https://youtu.be/VKTT-sy0aLg

Activity (Class): Mirroring - teacher does basic actions, movements, e.g. waving, pointing; class mirrors teacher’s actions, movementsActivity (New Pairs): Mirroring - A is mirror, B is person; try some basic movements and everyday actions e.g. looking at watch; take your time; detail is important; Switch roles Activity (Four): Basic Copying - Students gather in a line, first person goes through a series of basic movements and everyday actions. Once they complete four actions, number two takes over and the original first student goes to the back of the line. The student should always copy the person in front of them, not the leader of the line (unless they are behind the leader). You can advance this to include walking around the room and copying walks too if you wish. Activity (New Pairs): Mimicking - A is waiting at bus stop; B is copying them from behind, but over exaggerating; when A becomes suspicious at any time they can look around and B freezes. Switch roles; present some to class; debrief - uses in clowning? Activity (New Pairs): Morphing - A and B stand side by side; A is one extreme attitude, B is the opposite extreme, both in posture and gesture; Slowly in ten counts A morphs into B and B morphs into AExamples: Proud <> Humble; Angry <> Afraid; Serious <> Joking; Outgoing <> Shy; Sophisticated <> Rude; Happy <> UnhappyPresent some to class, debrief - uses in clowning?

Lesson 2: Attitude and the hat23

https://youtu.be/VKTT-sy0aLg

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Students explore and experiment with props in different ways.

Warm-Up (Class) (5min): The Shakes - students stand in circle and one starts with a particular part of the body shaking e.g. leg, they keep shaking it until it erupts and they throw the shake to another student; who in turn shakes that body part, but then transfers it to another part, shakes then erupts that and throws it to another student, and so it goes on, until everyone is shaken out. Recap - mirroring, mimicry and morphing + attitude Activity (Pairs): Linking the Morph - go back to original pairs who attempted the morphing last class; try to develop an action or interaction between the two characters; that may have led to the characters changing their attitude. e.g. Happy character has ice cream and unhappy character doesn’t, happy character drops ice cream and unhappy character laughs at his misfortune. Thus, the morph is complete from happy to unhappy. Try to show this change with the interaction/action in between the two attitudes, ensure there is exaggerated expression, actions, and postures. Present some to class and debrief - how has this changed/extended the morphing? Stolzenberg pp.19-20 Input: The Hat - the clown’s everything, a changeable object/being; their friend, their bowl, their umbrella, their pet; their handkerchief Activity (Class): Hat Morphing - In a seated circle, demo a way of making the hat into something (you could pretend to eat from it as a bowl), then pass the hat around the circle and have each create something with the hat; remember as they pass it on they should acknowledge the previous person’s idea, so if you’re handed it as a bowl, use it as a bowl, then transform it, then pass it on to the next in the circle; try not to copy another person’s idea for your hat morph Stolzenberg pp.15-18 Distribute hats to students, make sure you stress the need for care of the hat; the hat is the clown’s second, their muse, their soul, their partner, you should never destroy the hat or harm it unless it’s in jest,and it comes out positively in the end Activity (Class): With their selected hat, they need to look at it and form a bond; what is its shape, colour, texture etc.? Now try it on, how does it feel, how does it make you want to move? Don’t think, just walk. What are your impulses? Now, act a series of relationships/partnerships. Teacher can call out this (allow them time to improv it): Act with it as a friend, enemy, roof, toy, obstacle, handkerchief, steering wheel, weapon, pacifier, symbol of wealth, symbol of poverty, pillow, costume, pet, cooking pot, symbol of affection Stolzenberg pp.15-18 Scene (Pairs): Meet and Greet with your hat; use your hat as something; no voice, just exaggerated actions, movements

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Students will be working in pairs/ small groups to plan their performances

Prep; present some to class, debrief; Why is the hat imp in clowning?If time show video clips.

https://vimeo.com/36957995


Hand out Assessment task sheet

Planning your skit:Space and time: set up the areaSituation: how are you going to create your skit – what is your skit about?Character and role: how are you going to show your clowns personality?

Planning sheet

Designing your clown Costume- design and explanation Clowning make up

Using the clowning make up Take photos.

W7 Students begin rehearsal process

Actively develop effective group work processes (problem-solving, listening skills)

REHEARSAL PROCESSESLesson one:

Recap & Review: Essential Ingredients and Clown Character Warm-up (Class): In circle, say ‘Hello’ and each student has to repeat it but over exaggerate it both physically and vocally as it moves around the circle. Change lines, directions and starting points. Input: Basic Hello! Clown must have a signature hello introduction; e.g. shy, laughing, tip hat, singing, sneezing, waving frantically etc Activity (Pairs): Experiment saying Hello to each other; watch some Input: Basic 3 Part Routine - Entry, Greeting, Exit - has to be reason for entry and exit e.g. swat a bug, escaping from someone, innocent discovery (see Stolzenberg p. 31 for more ideas) Demo one?Remind with routines - everything should be BIG, SIMPLE, EASY!

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Students give feedback and apply to their performances.

Activity (Pairs): Practice 3 Part Routine; watch some selected ones

Input: 5 Part Structure - Entry, Greeting, Conflict, Resolution, Exit -Importance of double takes, exaggeration, interaction with audience.Emphasise the seven essential ingredients (see Stolzenberg pp. 122-23 + p.137-8) Activity (Pairs): Experiment with the 5-part routine to show the class.Remember, the routine should not be aggressive or violent - children will watch it. See some selected routines. (this could bleed to a second lesson

REHEARSAL at teacher instruction based on progression. 5 minutes before the end of the lesson students will be instructed to film / record their skits.

Lesson two: Improvisation Warm up activity (At teacher discretion) REAHEARSAL at teacher instruction based on progression At the end of this lesson students will do a short showing to get feedback. Students will record their

skits.

W8

Students do a final dress rehearsal and use checklist to make sure everything has been covered

DRESS REHEARSAL/BACKSTAGE CREWLesson one:

Improvisation Warm up activity (At teacher discretion) FINAL REAHEARSAL – DRESS REHEARSAL

Lesson two: PERFORMANCE

Performance checklist.

Marking key

W9/10

Critically reflect on own work to identify strengths and weaknesses.

Lesson one & Two: Performance reflection

Performance reflection sheet (not weighted)

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This is for information only. If you would like to use this for professional purposes, please contact the Head of Department.This is a working document and is subject to change

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introduction to improvisation - imcc.wa.edu.au€¦ · web viewintroduction to improvisation....

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