...Drama in schools second edition Like theatre, drama in schools can unlock the use of imagination, intellect, empathy and courage. Through it, ideas, responses and feelings can be expressed and communicated. It carries the potential to challenge, to question and to bring about change. Jude Kelly (theatre director and founder of Metal) Contents Foreword 2 1 Introduction 4 2 Why drama in schools? 6 3 Recognising good drama 9 3.1 What does good drama look like at the Foundation Stage? 9 3.2 What does good drama look like at Key Stages 1 and 2? 12 3.3 What does good drama look like at Key Stage 3? 18 3.4 What does good drama look like at Key Stage 4? 22 3.5 What does good drama look like at post-16? 24 3.6 What does good drama look like in special schools? 26 3.7 What does a good drama enrichment programme look like? 27 4 Structuring drama in schools 32 4.1 Level descriptions for drama 33 5 Policy, facilities, resources 41 5.1 Useful points for schools managers and subject leaders to consider 41 5.2 What does a good school policy for drama look like? 42 5.3 What do good facilities and resources in drama look like? 44 6 Conclusion 46 Appendix 1 Drama and the early learning goals within 48 the Foundation Stage Appendix 2 The National Curriculum for England – English 50 Appendix 3 Drama within the Primary Strategy...
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...re tu ra li CAPE Modern te ng Languages Literatures nE e siniEnglish ur e at l er g it En sin ur e at er it L Caribbean Examinations Council ® SYLLABUS SPECIMEN PAPER CSEC® SYLLABUS,MARK SCHEME SPECIMEN PAPER, MARK SCHEME SUBJECT REPORTS AND SUBJECT REPORTS Macmillan Education 4 Crinan Street, London, N1 9XW A division of Macmillan Publishers Limited Companies and representatives throughout the world www.macmillan-caribbean.com ISBN 978-0-230-48228-9 © Caribbean Examinations Council (CXC ®) 2015 www.cxc.org www.cxc-store.com The author has asserted their right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988. First published 2014 This revised version published 2015 Permission to copy The material in this book is copyright. However, the publisher grants permission for copies to be made without fee. Individuals may make copies for their own use or for use by classes of which they are in charge; institutions may make copies for use within and by the staff and students of that institution. For copying in any other circumstances, prior permission in writing must be obtained from Macmillan Publishers Limited. Under no circumstances may the material in this book be used, in part or in its entirety, for commercial gain. It must not be sold in any format. Designed by Macmillan Publishers Limited Cover design by Macmillan Publishers Limited and Red Giraffe CAPE® Literatures...
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...Modern Performance and Adaptation of Greek Tragedy Helene P. Foley Barnard College, Columbia University “Leave it to a playwright who has been dead for 2,400 years to jolt Broadway out of its dramatic doldrums” begins a recent New York Times review (December 4, 1998) of a British Electra by Sophocles starring Zoe Wanamaker and Claire Bloom. This fall the Times has repeatedly remarked on the “deluge” of Greek tragedy in the 1998-99 theater season: the National Theater of Greece’s Medea, Joanne Akalaitis’ The Iphigeneia Cycle (a double bill that combines Euripides’ two Iphigeneia plays), a revival of Andrei Serban’s famous Fragments of a Greek Trilogy, and a four-and-a-half-hour adaptation of the Oedipus Rex were announced at the start of the season. Off-off Broadway versions will inevitably follow. The Brooklyn Academy of Music even hosted a dance/theatre piece based on the Eleusinian Mysteries. 1 The Classic Stage Company, an off-Broadway theater group devoted to performance and adaptation of Western classics, currently receives more scripts that re-work Greek tragedy than any other category of drama. 2 From a global perspective, New York is simply reflecting a trend set by important modern playwrights and directors worldwide. Greek drama now occupies a regular place in the London theater season. In the past twenty years, acclaimed productions have been mounted not only in Europe but also in Japan, India, and Africa. Translations are even beginning to proliferate in China, occasionally...
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...to provoke rational self-reflection and a critical view of the action on the stage and to invole the audience to other infomation that the other chacters don't know about (dramatic irony)all the way to making the audience think about the perofmance not just about the entertainment. Paragrph 1 Epic thertre was a form of therete to provoke rational self-reflection and a critical view of the action on the stage, a form of didactic drama presenting a series of loosely connected...
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...Association for Drama Education What is Drama? Drama is an artform highly accessible to young people. In education, it is a mode of learning that challenges and supports students to make meaning of their world and enables them to express and communicate ideas in the artform. ΅΅ Drama is the enactment of real and imagined events through roles and situations. ΅΅ Drama enables individuals and groups to explore, shape and symbolically represent ideas and feelings and their consequences. ΅΅ Drama has the capacity to move and transform participants and audiences. It can affirm and challenge values, cultures and identities. ΅΅ Drama includes a wide range of experiences, such as dramatic play, improvisation, role-play, text interpretation, theatrical performance and multi-modal/hybrid texts. It includes the processes of making, presenting and responding. ΅΅ Drama draws on many different contexts, from past and present societies and cultures. Drama is one of the five arts subjects that make up the Australian Curriculum: The Arts. View website » Drama Australia uses the term drama broadly to represent related fields of artistic activity including theatre and performance. Drama encompasses a range of activities that both share conceptual similarities as well as specific differences relating to form and purpose. Drama is recognised and celebrated as a relevant and significant art form that both reflects and contributes to culture. An Education in Drama Drama in the school curriculum can develop...
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...out as he didn’t like the style of performance, he thought it was over-dramatic, unrealistic...
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...refers to a variety of genres, including liturgical drama, mystery plays, morality plays, farces and masques. A theatrical performance in the Middle Ages was much more than just an example of a literary genre; it was often a social, religious, and commercial event affecting a whole community and involving not only the spoken word, but also spectacle, music, and even dance. 2. HIGH AND LATE MEDIEVAL THEATRE As the Viking invasions ceased in the middle of the 11th century A.D., liturgical drama had spread from Russia to Scandinavia to Italy. Only in Muslim-occupied Spain were liturgical dramas not presented at all. Despite the large number of liturgical dramas that have survived from the period, many churches would have only performed one or two per year and a larger number never performed any at all. The Feast of Fools was especially important in the development of comedy. The festival inverted the status of the lesser clergy and allowed them to ridicule their superiors and the routine of church life. Sometimes plays were staged as part of the occasion and a certain amount of burlesque and comedy crept into these performances. Although comic episodes had to truly wait until the separation of drama from the liturgy, the Feast of Fools undoubtedly had a profound effect on the development of comedy in both religious and secular plays. Performance of religious plays outside of the church began sometime in the 12th century through a traditionally accepted process of merging...
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...work and set the tone and mood for the characters. 3. A) Weimer Classicism: Johann Wolfgang von Goethe is related to this type of movement. He made rules for actors to follow on stage so the piece would be well-composed. All the actors had to read the text together rather than memorizing it on their own. B) Meiningen Players: Georg II, Duke of Saxe-Meiningen, ran this company. He wanted his costumes and setting to be very accurate to history. Crowd scenes displayed each actor as an individual character, while at the same time working in unison with the other actors. C) Naturalism: Andre Antoine used naturalism in his productions. In La Terre he used real hay and live chickens in a farm scene. He also used natural lights from candles showing that a real barn is being presented. 4. A) Choosing the Text: This is the first job of the directors. They may want to address an important issue or present themes that the director wants to explore. A director may want a script that accommodates a particular actor or theatre space. The director also has to take into account the audience as they play a key role, having to decide what they might enjoy or if there are any problems in the community that should be addressed in the text. B)...
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...Moldenhauer Archives at the Library of Congress | Table of Contents Music History from Primary Sources An Introductory Essay Alfred Mann A vellum leaf, 22 by 17 cm., from a prayer book. The letter forms of early Gothic script suggest the twelfth century, or a period even earlier. Neumes (marked in red) are placed above the first four lines of the Latin text. The entire page is richly illuminated in black, red, and blue, with a heavy gold layer decorating the initial A for the phrase beginning "Adoro te." The leaf was obtained for the Moldenhauer Archives from the music dealer and publishing firm Schneider, Tutzing. The Art of Musical Notation In its primary sources, music merges with the representational arts. Oral tradition has played a fundamental role in all ages, but in its formal sense, history--and the history of music--begins with the visual record. Musical notation, having emerged on a wide scale in all civilizations, produced in itself a highly individual record of artistic endeavor. The medieval monks who compiled the missals and other liturgical books for the service of worship rose from their function as scribes to artists in their own right; among the greatest documents of Baroque art are the holographs by Bach; and an entirely novel phase in artistic musical score design was initiated in the twentieth century. The primary sources of music reproduced in this volume rely on various aspects of the graphic arts, but foremost among them stands the representation...
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...Elements of Drama by: Christina Sheryl L. Sianghio Character Most simply a character is one of the persons who appears in the play, one of the dramatis personae (literally, the persons of the play). In another sense of the term, the treatment of the character is the basic part of the playwright's work. Conventions of the period and the author's personal vision will affect the treatment of character. Most plays contain major characters and minor characters. The delineation and development of major characters is essential to the play; the conflict between Hamlet and Claudius depends upon the character of each. A minor character like Marcellus serves a specific function, to inform Hamlet of the appearance of his father's ghost. Once, that is done, he can depart in peace, for we need not know what sort of person he is or what happens to him. The distinction between major and minor characters is one of degree, as the character of Horatio might illustrate. The distinction between heroes (or heroines) and villains, between good guys and bad guys, between virtue and vice is useful in dealing with certain types of plays, but in many modern plays (and some not so modern) it is difficult to make. Is Gregers Werle in The Wild Duck, for example, a hero or a villain? Another common term in drama is protagonist. Etymologically, it means the first contestant. In the Greek drama, where the term arose, all the parts were played by one, two, or three actors (the more actors, the later the...
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...On-line Resources Welcome to Part 1 of TAG’s on-line resources for our production of The Birthday Party by Harold Pinter. These resources are divided into 2 parts. Part 1 is intended to give an insight into Pinter, his style of writing and the play itself by looking at previous productions of The Birthday Party. Generally aimed at Higher Drama students, this pack complements units 1, 2 and 3 of the syllabus. However, these resources are also useful for the Knowledge and Understanding elements of Standard Grade as well as the Special Study for Advanced Higher Drama. I have collated information from various sources in order to provide material for use before your students see TAG’s production. In September 2003, Part 2 will be available to download from TAG’s website. This section of the resources will focus on the process of creating our production of The Birthday Party. It will include contributions from the Director, the Designer, the Performers and other members of the creative team. I hope that Part 2 will open up TAG’s working methods and provide a real insight into how a theatre company works. Please feel free to reproduce any section of the on-line resources for your use in the classroom. We are always aiming to provide the most effective and beneficial resources for teachers and so please do offer any comments you have regarding either part of this pack. We welcome and appreciate all feedback. I very much hope that you and your pupils find the resources useful and enjoy...
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...Most comedies can be criticised for a lack of seriousness - Is this affirmation true or not? By definition, comedy is a species of the dramatic genre which satirizes events, be them social or moral (moral conduct of a people, a social group). It does that by ridiculing characters, among which conflicts can arise. Comedy aims to straighten those hard (defects) social and human laughter, therefore, having a moralizing role. The main ways of achieving comic are irony, satire and sarcasm. used to create a ridiculous grotesque, illustrating both immoral aspects (standards) that happen in our society as well as human character dominated by strong moral. The main artistic medium is comic, an aesthetic category includes situations and ridiculous characters, vices and habits, being sanctioned by laughing and watching it, so straighten them. Comedian illustrates the contrast between essence and appearance. of serious and ridiculous, between illusion and reality, between effort and its results, between goals and means, etc. Forms of comic are very different: the comic situation, comic character, comic language, manners comic, comic cover, comic name etc. Comedy appeared as tragedy, in ancient Greece, manifesting as a joyful procession with the public in the end of a party organized in honor of the god Dionysus, with acid jokes, satirical songs with lyrics lines causing ironic laughter and fun needed for the revival of this God. Tragedy and comedy are the oldest theatrical events...
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...Annotated and Abbreviated List of Tompkins’ Literacy Instructional Procedures Morgan Lewis Grand Canyon University: RDG 512 June 17, 2015 Just as the needs of students vary teachers methods of instruction should vary. Meeting the literacy needs of students should be done through a wide variety of instructional strategies that meet the needs of students and meet the requirements of a balanced literacy program. The following information shares 12 instructional procedures to be used in a third grade classroom. The procedures are from the Tompkins’ Compendium shared in the text Literacy for the 21st Century: A Balanced Approach (6th ed.). Introduction Meeting the literacy needs of diverse students can be an overwhelming task. Teachers need to have well organized and well prepared lessons that allow students to focus on developing their literacy skills. Literacy lessons that include specific strategies designed to support literacy instruction through a variety of approaches leads to successful readers. The goal of each lesson is to increase student’s literacy success while supporting their literacy needs. To help support third grade literacy skills a teacher can use several, if not all, of the instructional procedures shared in Literacy for the 21st Century: A Balanced Approach by Gail E. Tompkins, 2014. Annotated and Abbreviated List of Tompkins’ Literacy Instructional Procedures ...
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...Dramatic Review of Macbeth The Classical Theatre Project’s rendition of the “cursed” play is simply brilliant. In this professional production presented at the distinguished Winter Garden Theatre, Director Charles Roy delves into Macbeth through the viewpoint of modern military regimes. While each director will view Macbeth with different perspectives, Roy does an outstanding job by transforming Macbeth from a friendly hero to a Stalinesque tyrant. It is clear that the entire ensemble cast had created a production that was true to Shakespeare’s intent, true to their characters and true to our modern times. Having watched several renditions of Macbeth in the past, I was certainly surprised when I found myself thoroughly engaged and intrigued throughout out the entire show. Opposed to other performances, I found the this play to be exceptionally well executed because of the well trained actors, unique sets, gorgeous costumes, stunning special effects and the brilliant modernization of the play. One of the many things I specifically enjoyed was that the Witches were portrayed as nurses to fit into the modern military regime. I really enjoyed the first act in the beginning scenes when the Witches told the prophecy to Macbeth and Banquo because of how Roy added a touch of humour to that part lifting the "darkness" that typically clouds the play. One part I did not like however was the fact that the witches seemed to be not evil or mysterious unlike the text where the witches...
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...self and others. We do not expect reality television and social media to be completely fictitious, and they are not; but we only see a version of reality that the authors want you to see. While there are some differences in audience and scale of reach between writing for reality television and social media, the similarities in their use of person and persona, and how those lines are blurred, are interesting and merit some analysis. A reality television writer’s job is to take the everyday moments of the chosen cast and develop a story that creates drama in order to keep the attention of its audience. This calls for countless hours of analysis of developing relationships between the cast members and crafty editing to angle storylines for dramatic affect. In his article, “Of Losers and Moles: You Think Reality TV Just Writes Itself?” Derrick Speight, a reality TV writer, says his job is to “sniff out what I think the story will be, then craft the interviews or situations that will draw it out”. (Speight p.351) He essentially dissects the mundane and reassembles it to highlight an interesting line for the audience. The writers do not script the lines of the cast members but they “make sure the right interview questions are asked to round out what appear to be the prominent stories.” (Speight p.352) In essence, they take the mundane, private real life and personality of cast members and create a public one. The lines become blurred between what is the real person and the character...
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