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Ideas, Plans, Themes for Drama Teaching May 23rd, Comments Off on Ideas, Plans, Themes for Drama Teaching After many years of drama teaching to British high school students Key StagesI have started to put together some of the ideas, themes, warm-ups, games, productions that I have worked through with students.
Some are articles published at Suite Some will be unique articles published here. These are the Suite articles on drama teaching, so far: Using Masks as a Creative Teenage Drama Tool First published on Suite24 September The mask as a device to support teaching of theatre history, culture diversity and improvisation techniques in Key Stage 4 agesis second to none.
The mask is a versatile object. For protection industry; fencingfor prevention infectionfor disguise or grotesque effect to amuse or terrifyfor replication humour, satire, identificationit has many forms.
It helps narrate tales, sets chilling scenarios, heightens comedy. Teenage girls often dislike some kinds of masks, notably clown faces and heads. Many of both sexes dislike the claustrophobia of masking, so a simple, symbolic mask on a stick serves some of the learning potential.
Masks for History Masks have been around for thousands of years, evidenced in wall paintings, pottery and ancient documents, often embedded deep in ritual. Studying Greek and Roman theatre history as origins of western tradition, for instance, is enhanced by simple masks.
Japanese Noh theatre masks are generally neutral in expression. Ancient Egyptians used mummy masks, with the death mask becoming a physical representation of the belief that the soul needed a safe journey into the afterlife.
Similar cultural tradition is found in Ghana and Zambia. They are widespread across the history of peoples in both North and South America. Theatrical links with religion are proved in most cultures, from Egyptians, Celts, Greeks, Slavs. Both pagan and Christian roots are evident in many festivities.
Halloween, witchcraft trials, Mardi Gras, Notting Hill Caribbean festival have easily accessible images for young people. Character disguise or dramatic effect are fundamental to drama and a creative opportunity. A mask does not have to be thought to embody a spirit, but it will always transform the wearer, psychologically or in a spiritual sense.
The impact on audience, either the class or a full one, is incalculable. The shock that an Artaud style treatment gives a performance piece, is magnified if the group wear appropriate masks. In simple terms, pose the questions: Why do we hide behind masks? Highwaymen and thieves, rapists, terrorists, kidnappers, the disfigured, the robotic, the psychologically disturbed, the clinically insane, Ku Klux Klan, executioners, purveyors of magic and dreams are all well served by masking.
Toby Wilshire of Trestle Theatre Company said: There is a difference between controlling the mask and being controlled by it. Students should grasp that.
They have to work harder physically to convey expression and meaning when masks take away their facial and vocal communication. Masks for Devising Drama Teaching has a simple starter student mask lesson. A Trestle schools mask workshop uses the following or related exercises. Get students to imagine a piece of string attached to the nose is leading you round the room.
What are you like? Find a voice for the face; then a body for the face and voice, then simple movements for face, voice, body. This whole creature is a mask.
Drama Edexcel GCSE portfolio + live play review what is it about watch. Announcements. I got full marks on the play review, you have to write about everything (props, acting, staging, set etc.), and talk about the what effect these things have. The Student Room, Get Revising and Marked by Teachers are trading names of The Student Room. News Corp is a network of leading companies in the worlds of diversified media, news, education, and information services. Videos From Listening to a Pogrom on the Radio Here are two new videos of me performing poems taken from my latest book, Listening to a Pogrom on the Radio, published by Smokestack Books. Both videos were directed and produced by Joe Rosen.
Exaggeration, even comedy will ensue. Next, build the idea that a character wearing a mask must always be facing audience directly.
Periodic discussion is essential to carry them with you. The dead-pan, cheap, thin plastic type masks could now be used to repeat scenes just made up.
Then, still in neutral masks make scenes sinister, a nightmare. Reduce lighting if possible; add music.Ourselves - All About Me teaching resources for Early Years. Created for teachers, by teachers! Professional Everyday Life teaching resources. [page 3] English 5 to Proposals of the Secretaries of State for Education and Science and for Wales.
The origins and scope of our proposals. 1 In April the Secretaries of State for Education and Science and for Wales appointed a Working Group to advise them on appropriate attainment targets and programmes of study for English. Complete Introduction to Drama.
15 Lesson Scheme of Work. ***updated and improved for !*** This is a fully loaded scheme of work that is an enjoyable, engaging, active and fun introduction to drama. Drama Edexcel GCSE portfolio + live play review what is it about watch. Announcements. I got full marks on the play review, you have to write about everything (props, acting, staging, set etc.), and talk about the what effect these things have.
The Student Room, Get Revising and Marked by Teachers are trading names of The Student Room. The attached is a guideline to writing a play review for GCSE Drama. I have been teaching the Edexcel Drama for 15 years and this seems to be the format which works.
However, this is a guideline therefore, please adapt as and how needed for your students. Reality and Illusion in Tennessee Williams' A Streetcar Named Desire - A Streetcar Named Desire, first published in , is considered a landmark play for the 20th century American drama, bringing author Tennessee Williams a Pulitzer Prize.