YEAR 11 ATAR PROGRAM 2017

Week / Key teaching point and Assessments. / Syllabus/Unit content / Assessments Due / Resources
1 /
  • Drama course overview
  • Review collaborative and improvisational skills
  • Review elements of drama
  • Review Stanislavski
Introduction to AStreet Car Named Desire. Explore context of the play through improvisation workshops. /
  • Values, forces and drama practice
  • Oral communication
  • Voice and movement
  • Drama processes and the elements of drama
  • Drama forms and styles
  • Drama conventions
/
  • Scheme of Assessments
  • Unit 1 Syllabus
  • Contextual information onA Street Car Named Desire .
  • Table handout

2–4 /
  • Effective writing skills workshop – short answer and extended answer
  • Workshop on design principles – using and describing
  • Workshop on extended improvisation – review of skills and techniques for representational, realist drama: Stanislavski
Introduction to Task 1: Perform key scenes from A Street Car Named Desireusing Stanislavski’s approaches.
Due: Term 1 Week 8/9
  • Go through task sheet with students.
  • Read A Street Car Named Desireas a class and discuss themes and issues in the text.
  • Explore the forces of the play through class discussions, research and improvisation workshops.
  • Show PPT on A Street Car Named Desire
Workshop to experiment with the elements of drama, spaces of performance and selected design principles to support making meaning in the context of the external examination /
  • Oral and written communication
  • Values, forces and drama practice
  • Design and technology
  • Voice and movement
  • Drama processes and the elements of drama
  • Drama forms and styles
  • Drama conventions
/
  • Adjectives cards
  • Production images
  • Principles of design cards
  • Elements of Drama cards
  • How to write about the Principles of design handout.
  • Stanislavski handout.
  • Nelson Drama for Secondary students: Designer roles Pg 85-90
  • Task 1 sheet

5–8 /
  • Students rehearse and block chosen scene from ‘A Street Car Named Desire’ in groups.
  • Students incorporate Stanislavskis’ methods into their scenes: Review his methods and apply to work.
  • Students do workshops on accents: Southern accents.
  • Students will participate in improvisation workshops.
  • Final rehearsal of Task 1 with a technical and dress rehearsal.
  • Students perform scenes and showcase to an external audience. Due: Week 8/9
  • Review key content relevant for Task 2: Extended response. Due: Week 9
  • Review of key skills and processes in writing an extended response.
/
  • Voice and movement
  • Drama processes and the elements of drama
  • Drama forms and styles
  • Drama conventions
/
  • Unit 1: Due week 8

9–11 /
  • Design and acting roles and ‘A Street Car Named Desire’
  • Effective illustrations and diagrams workshop for design and acting roles
  • Planning an extended response based on a designer role and an acting role and the written examination ATAR Year 11 design brief
  • Selecting scripted monologues (2-3minutes) for Practical examinations
Unit 1 – Task 2: Extended response on ‘A Street Car Named Desire’
  • Hand out task 3: Monologue
  • Students to begin searching for monologues.
  • Over the holidays students must have chosen a monologue and memorised their lines as well as filling out Dramaturgical booklet.
/
  • Voice and movement
  • Drama forms and styles
  • Spaces of performance
  • Design and technology
  • Management skills and processes
  • Oral and written communication
  • Suggested World text
  • Drama processes and the elements of drama
/
  • Unit 1- Task 2: Due week 9

Term 2
Week
1-3 /
  • Review term 1: Stanislavskis’ methods and Stella Adler’s adapted approaches.
  • Workshop to explore the features of an effective scripted monologue for the purposes of the examination that demonstrate syllabus content.
  • Workshop to explore, through improvisation, forces that connect with scripted monologue and, where possible, the whole play’s forces.
  • Workshop to experiment with the elements of drama, spaces of performance and selected design principles to support making meaning in the context of the external examination.
  • Presentation of scripted monologues for feedback
  • Planning an extended response based on a designer role for Task 3.
  • Perform monologue for assessment.
Task 3: Extended response as a designer for ‘ASCND’. Week 2.
Task 4: Monologue Due end of Week 3 /
  • Voice and movement
  • Drama processes and the elements of drama
  • Drama forms and styles
  • Drama conventions
  • Values, forces and drama practice
  • Spaces of performance
  • Oral and written communication skills.
/
  • Unit 1 Task 3: Extended response on designer role. Due Week 2
  • Task 4: Monologue Due end of Week 3

4-5 /
  • Performance of scripted monologues for feedback on technique
  • Workshop on the interview
  • Workshop on spontaneous improvisations
Unit 1 Task 5: Practical Examination week 5 Friday
  • Review of structure of the written examination for Unit 1
  • Preparing for the written examination: Analysis of an unseen script and extended response structure.
/
  • Voice and movement
  • Drama processes and the elements of drama
  • Drama forms and styles
  • Drama conventions
  • Spaces of performance
  • Oral communication skills
/
  • Unit 1 Task 5: Practical exam. Week 5

6-7 / Examination week
Completing Task 5 and Task 6 /
  • Selected sampling of unit content for both practical and written examination
/
  • Written exam

Year 11 Program

Unit 2- Presentational

Week / Tasks and activities / Unit content / Assessments/Resources
Term 2
Week 8-10 / UNIT 4
Hand back & Go over Task 5 &6: Practical and Written Examination
  • What were the strong points
  • What were the weaknesses
  • How can we improve?
Drama unit overview
  • Review representational-presentational continuum
  • Hand out Unit 2 syllabus
Introduction to Task 7: Performance of key seen from ‘Hoods’
  • Reading Hoods and discussing the themes, forces and the context.
  • Selection of key scene for Task 7.
  • Scheduling rehearsal processes to allow time for acting role.
/
  • Voice and movement
  • Drama processes and the elements of drama
  • Drama forms and styles
  • Drama conventions
  • Spaces of performance
  • Values, forces and drama practice
  • Design and technology
  • Oral and written communication
/
  • Task 8 Review Handed out. Due date TBA
Task sheets for Task 7 & Task 8
Previous productions of Hoods
Term 3
Week 1 /
  • Workshops on Hoods
  • Revise over themes:
  • Revise over context:
  • Begin looking at style and form
  • Presentational acting techniques.
  • What is Presentational?
  • Presentational VS Representational
  • Audience Theory
/
  • Oral and written communication
  • Values, forces and drama practice
  • Design and technology

2-5 /
  • Workshops on Grotowski
  • Workshops on Brecht.
  • How to incorporate presentational acting methods into a performance.
  • Begin rehearsing for Task 7
  • Revise over extended response structure for designer role.
/
  • Voice and movement
  • Drama processes and the elements of drama
  • Drama forms and styles
  • Drama conventions
  • Spaces of performance
  • Values, forces and drama practice
  • Design and technology
  • Management skills and processes
  • Oral and written communication
  • Suggested world text
/
  • Worksheets on Grotowski
  • Worksheets on Brecht
  • Nelson Drama for Secondary students: Research activity on Presentational theorists Pg 6

6-8 /
  • Rehearsals and refinement of Task 7: Hoods performance
  • Incorporating Elements of Drama and Principles of design
Task 7: Hoods performance
Drama Night: Tuesday Week 8 /
  • Voice and movement
  • Drama forms and styles
  • Drama processes and the elements of drama
  • Drama conventions
  • Spaces of performance
  • Design and technology
  • Management skills and processes
  • Oral and written communication
/
  • Task 7 Due: Week 8
  • Drama Night Week 8 Tuesday

9-10 /
  • Revise over analysis of unseen script: short answer responses
Analysis of unseen script: Go through structure and give practise exams.
  • Selection of monologue (2-3 minute) for practical examinations – presentational, non-realist approach
  • Work-shopping scripted monologues to suit particular approach to presentational, non-realist drama – Brecht, Grotowski or Artaud.
  • Revise over new structure for extended response: 2 texts, one role, one challenge.
/
  • Voice and movement
  • Drama processes and the elements of drama
  • Drama forms and styles
  • Drama conventions
  • Values, forces and drama practice
  • Spaces of performance
  • Written communication
  • Suggested texts
/
  • Take home practice extended response questions to do over the holidays.

Term 4
Week 1-2 /
  • Revise over extended response structure for designer role.
  • Rehearsing presentational monologue
  • Spontaneous improvisations
  • Interview questions and responses.
Task 9: extended answer responses based on a designer question (question sets the focus of the designer role) /
  • Voice and movement
  • Drama processes and the elements of drama
  • Drama forms and styles
  • Drama conventions
  • Values, forces and drama practice
  • Spaces of performance
  • Oral and written communication
  • Suggested texts
/
  • Task 9 Extended Response on both texts Due Week 2.

Week 3-5 /
  • Performance of scripted monologue for feedback
  • Review of improvisation skills and conventions.
  • Review of structure of improvisation stimulus
  • Review of structure of good answers in interview
  • Review of past questions from the interview
  • Review old written exams and revise Section 1 and Section 2.
/
  • Whole unit
/
  • Practical exam Week 5? TBC

Week 6 / Exams

Study skills:

  • Note taking and annotating
  • Highlighting important notes from handouts
  • Use the planner to record homework / due dates for assessments
  • Using graphic organisers
  • Review and revise materials before test
  • Testing terminology on a weekly bases
  • Recording work-shops and activities done in class.
  • Watching and reflecting on performance work.
  • Asking for feedback from teacher and students.