MYP Drama

2016-2017
In drama I aim to create a unique learning environment for you to fully develop and extend your artistic capabilities. Your critical,
creative and technical skills will be sparked, explored, nurtured and profiled in our inquiry- based, practical workshops and
rehearsals!
I believe in equipping you with the range of skills and mindsets required to create new and unique expressions in performance.
Through your experiences you will be able to understand the ways in which performance has the power to, not only, entertain,
empower and enlighten but to pose and answer important questions we have about the past, present and future in the rich tapestry of
our world. I hope that you will be daring, diverse and confident in your ideas as you create your unique and impacting expressions
about the world around you! Have a ball

MYP Drama @ CIS Hangzhou

Content
Year 10 Course outline
MYP Key concepts/related concepts and global concepts
The creative process
Part 1: IB Learner profile, Approaches to Learning, Creative thinking behavior
and character strengths
Part 2: Stimulus: visual, aural and text
Part 3: Applied research
Part 4: Performance concept/theme
Magic ingredients for a story
Part 5: Structure
Part 6: Character
Part 7: Understanding and application of performance techniques/skills
Part 8: Production roles
Part 9: Responding
Part 10: Checking how fabulous you are; self and peer assessment
Appendix 1: Knowledge and understanding self/ peer assessment guide
Appendix 2: Developing techniques and skills self and peer assessment guide
Appendix 3: Creative thinking behavious self and peer assessment guide
Appendix 4: Responding self and peer assessment guide
Appendix 5: The Lost Voices of Hangzhou
Appendix 6- Revolutionary Road
Appendix 7: Differences between an actor and a performer
Appendix 8: Inspirations
Appendix 9: Blood Brothers
Appendix 10: Character strengths
Examples of how to complete annotations for your soliloquy

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Year 10 Drama outline:

Performance Unit:

Statement of inquiry:

Key concepts
Related concepts
Global concepts

Introductory unit

Our body and voice are

creative gifts to fully explore
and present, each with the
power to express.

Creativity
Presentation
Personal and cultural
expression

Inquiry questions
Factual (fact and topics)
Conceptual (Analyzing big
ideas)
Debatable (evaluating
perspectives and developing
theories)
Factual:
How can we use our bodies
and voice to create
performance?

Outline of
performance
project

Students to engage
with their body and
voice to explore the
practitioners Pina
Bausch, and
Samuel Beckett

What is the practitioners

artistic identity?
How can we transfer their ideas
into our own work?
Conceptual:
What does their own work tell
us about them?
What does our work
demonstrate about us?
Debatable:
In what ways did this
practitioner explore and
challenge boundaries or initiate
change?
How can we measure
creativity?

Performance Unit:

Statement of inquiry:

Key concepts
Related concepts
Global concepts

Inquiry questions
Factual (fact and topics)
Conceptual (Analyzing big
ideas)
Debatable (evaluating
perspectives and developing
theories)

Outline of
performance
project

The lost voices

Stories create the rich

tapestry of soul and identity.

Identity and perspective

Structure
Identities and relationships

Factual:

Students to create
their own devised
performance.

Stories are a communal

currency of humanity.
Tahir Shah, In Arabian
Nights: A Caravan of
Moroccan Dreams
It's like everyone tells a story
about themselves inside their
own head. Always. All the
time. That story makes you
what you are. We build
ourselves out of that story.
Patrick Rothfuss, The
Name of the Wind
"Frankly, there isn't anyone
you couldn't learn to love
once you've heard their
story." Andrew Stanton

What information do you know

about Brechts Epic Theatre
and other key drama
practitioners?
Conceptual:
How can we successfully use
our perspective to address
another?
How can we best portray this
soul and identity through
performance?
Debatable: How can we
measure creativity?

Changed

Key events make a

permanent change on identity
and relationships
Change will not come if we
wait for some other person,
or if we wait for some other
time. We are the ones we've
been waiting for. We are the
change that we seek.
Barack Obama

Change
Interpretation
Identities and relationships

Factual:
What information do you know
about key events that have
created change?
What information do you know
about Brechts Epic Theatre
and other key drama
practitioners?

Students to create
their own devised
performance based
on change.
Students to use
influence from
Brechts Epic
Theatre and other
key practitioners.

Conceptual:
Here's to the crazy ones.
The misfits. The rebels. The
troublemakers. The round
pegs in the square holes. The
ones who see things
differently. They're not fond of
rules. And they have no
respect for the status quo.
You can quote them,
disagree with them, glorify or
vilify them. About the only
thing you can't do is ignore
them. Because they change
things. They push the human
race forward. And while some
may see them as the crazy
ones, we see genius.
Because the people who are
crazy enough to think they
can change the world, are the
ones who do.
Apple Inc.

What permanent changes on

identify and relationships will
you explore?
How can theatre be devised to
tell stories and help us
understand and interpret
historical change?
What strength in human spirit
will you expose?
How can we successfully use
our perspective to address
another?
What links will you make with
our modern day context?
How can we transfer theatre
techniques into our new
performance context to
enhance our performance
concept?
Debatable:
How can we measure
creativity?

Key MYP Concepts:

Throughout the year key concepts and relates concepts will enable you to focus your work.
Communication
Communities
Aesthetics Change
Connections Creativity
Culture
Development
Form
Global interactions Identity
Logic
Perspective Relationships
Time, place and space Systems

Related concepts
Performing arts
Audience
Expression Interpretation Presentation
Boundaries Genre
Narrative
Role
Composition Innovation Play
Structure

Global contexts for teaching and learning

Global contexts direct learning towards independent and shared inquiry into our common humanity. Using the world as the
broadest context for learning, MYP arts can develop meaningful explorations of:
identities and relationships
orientation in space and time
personal and cultural expression
scientific and technical innovation
globalization and sustainability
fairness and development.

Drama Developmental Workbook

Document all decisions fully throughout in your own reflective styles- pictures, drawing, mind maps, text, voice
recordings, movies and so on.
There are 10 core components that each creative project must cover. Please create a contents table:
Part 1: IB Learner profile, Approaches to Learning and Creative thinking behaviour
Part 2: Stimulus
Part 3: Applied research
Part 4: Performance concept and themes
Part 5: Structure
Part 6: Character
Part 7: Performance techniques and skills
Part 8: Production roles
Part 9:Responding
Part 10: Self and peer assessment

Part 1: IB Learner profile, Approaches to Learning and Creative thinking

behaviour
The aims of MYP arts are to encourage and enable students to:

create and present art

develop techniques and skills specific to the discipline
engage in a process of creative and innovative exploration
make purposeful connections between investigation, research and practice
utilize research to transfer to new settings
understand the relationship between art and its contexts
respond to and reflect on art
deepen their understanding, empathy and curiosity of the world
take a journey of discovery about self and world identity
explore feelings, experiences and ideas freely
explore, shape, communicate new perspectives and outlooks
appreciate the worth and role of art as a universal form of expression
challenge viewpoints and inspire questioning and change

IB Learner profile
How did you profile the following attributes during your project?

Inquirers
knowledgeable
thinkers
communicators
principled
open-minded
caring
risk-takers
balanced
reflective

MYP Approaches to Learning

How did you profile the following attributes during your project?
Organisation
Collaboration
Communication
Information literacy
Reflection
Thinking

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Transfer

Creative thinking behaviour:

How did you profile the following attributes during your project?

questioningoften generating new and unusual further questions from the original question
responding to ideas, questions, tasks or problems in a surprising way
challenging conventions and ones own and others assumptions
thinking independently
seeing possibilities, problems and challenges positively
visualizing alternatives
using imagination to examine possibilities
considering other perspectives than ones own
playing with ideas and experimenting
responding intuitively and trusting ones intuition
anticipating and overcoming difficulties, modifying ones ideas in the process
recognizing when an original idea has value and pursuing it
seeking unusual solutions.

Martin Seligmans Character strengths- see appendix

11

Part 2
Stimulus: visual, aural and text
Examples of stimulus poems, artefacts, photographs, music, scripts, stories, live performance, film, radio, television, the
web, newspaper, magazines, literary fiction, non fiction and so on.
Exploring stimulus
What do I see?
What do I hear?
What do I taste?
What do I smell?
What do I feel?
What do I sense?
Write down 10 words or more to summarize the stimulus literally
Write down 10 words or more to summarize the stimulus metaphorically
What themes/issues/concepts could my piece encompass?
What research can I do?
How can I relate my research to other time periods/places? Imagine being there in the 16th Century/2011/2045/3056.
How can I relate my idea/stimulus to a piece of music?
How can I relate my idea/stimulus to an image/picture/painting?
How can I link my stimulus material/research to another country?
How can I link my stimulus material/research to my own experience?
How can I link my stimulus material/research to a newspaper article I have read?
How can I link my stimulus to a story I remember?
How can I link my stimulus material/research to a question I would like to find the answer to?

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How can I find further stimulus material to parallel/contrast?

What practitioners/styles can I link the stimulus to?
What characters would fit with the stimulus?
What activities can I do to further explore the stimulus?

Working on text based stimulus:

Read the text- while extracting a mountain of key quotes and ideas for performance. Create mind maps to suit your
discoveries.
Place quotes underneath headings linked to plot lines/characters/themes.
Pose some poignant questions that can be answered throughout your rehearsals/performance.

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Part 3
Applied research
What research will I do? Write bullet points, insert quotes, pictures etc.
How will I apply this research to my practical/theoretical work?
I can do research into...
o
o
o
o
o
o

Stimulus
Performance concept/themes
Historical, social, cultural and political contexts
A text or playwright
Practitioners in theatre
History, traditions and cultures in theatre- links to a time period and country of theatre.

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Part 4- Performance concept/message/theme

As directors you need to gradually develop a perspective from which you will build your performance.
You will then develop your performance concept in the form of a question or statement to encompass this perspective.
Directors use:
Stimulus
Research
Memory and experiences - How can I apply my own memories and experiences to my stimulus and research?
Imagination and creativity- How can I apply my imaginative and creative capabilities?
Perspective- What is my perspective? What perspective do I want to explore?
Gradually
Story and character will start to form.
You will develop a performance concept/message.
Important question:
How will this concept (s)/message (s) filter throughout our work in each scene?
Refer back to the performance concept (s)/message (s) in every decision you make.

15

The magic ingredients to a story!

http://www.ted.com/talks/andrew_stanton_the_clues_to_a_great_story#t-59675

The magic ingredients to a story!

Your goal
Deepens our understanding of human beings
Gives life meaning
Connects us through the story- cross barriers of time
Cross boundaries of difference in age, race, status etc.
Mr. Rogers always carried in his wallet a quote from a social worker that said:
"Frankly, there isn't anyone you couldn't learn to love once you've heard their story."
Make me care!
Spine to character

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2+2
How
Truthcreates doubt
Theme
Wonder!
Capture a truth from an experience
Deep down core values (ethics, pathos!)

Add your own!

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Part 5
Your structure- plot and subplots
Mind map/document/storyboard:
Dramatic structure- your plot line:
o Exposition
o Complication
o Revelation
o Resolutions
The threads- The plots main goal- preconditions consequences- requirements to reach the goal- forewarningsthe great cost - dividends that the character receives along the way- prerequisites that need to happen before
the goal is achieved
For each scene consider the effect you want to achieve:
o Structure
o Cause and effect
o Transitions between scenes
o A change in the pace
o Mood and atmosphere
o Key moments to develop characterization
o Key moments to highlight theme/concept
o Symbolic meaning and imagery

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o
o
o
o
o
o
o

Climax/anti-climax
Tension
Dramatic irony
Cliff hangers
Contrasts
Comedy (humour, wit, satire, irony)
Audience thought and emotional reaction

For each scene pose these questions to explore:

What?
Who?
When? (Time period)
Where?
Why?

19

Part 6
Your characters
Within a character profile record for each key character.
Character dimensions of your protagonist and antagonist plus others
Physiological- what they look like
Sociological- what they do, background
Psychological- character, habits, traits, personality
Character considerations for each scene
Characters own words
Characters own actions
Other characters words
Other characters actions
Stage directions
Sub text behind the actions
Motivation in each scene
Motivation for the whole play
Obstacles
How do they change?

20

Character timeline graph

o Before
o During
o After the play
Character research
Who have you based your character on?
How can you relate to your character?
In key scenes, document key moments:
Characters words:
What do they say?
What do they not say? Think?
Why do they not say it?
What subtext does this create?
What different character emotions do they portray/hide?
Character relationships
What is their relationship with the other characters?
How do they want to be seen by others?
How do others see them?
What do they learn throughout?
What does the audience learn from them? About them?

21

Character appearance
How does the character move?
Why do they move like this?
How does the character speak?
Why do they speak like this?
How did you form your characters appearance and what does it tell us about them?
How does your characters appearance change?

22

Part 7
Performance techniques and skills
Understanding and application of performance techniques and skills
How and why will I use the performance techniques and skills?
How will they connect to my performance concept?
How will they interrelate?
What -Descriptive writing about what you did (what technique or skill did you apply)
How Describe in detail how you created the scene
Why What was the significance of this moment? Analyze using active verbs and link clearly to your performance
concept/characters/context and an effect of theatre.
ACTIVE VERBS- use these to write analytically about your discoveries
show - display - demonstrate - highlight - emphasise - define - deduce - devise - illustrate - indicate - interpret - construct represent - introduce - detail - characterise - express- reveal - prove - narrate - acknowledge - attribute - state - compare evaluate - distinguish - determine - propose - simplify - inform - suggest - imply - support - extend - isolate - combine
convert

23

Non- naturalistic techniques

o
o
o
o
o
o
o
o
o
o
o
o
o
o

Still image
Narration
Thought tracking
Hot seating
Synchronised movement
Marking the moment
Flashback
Flash forward
Choral speaking
Slow motion
Split scene
Cross cutting
Reversal of the action
Soliloquy/monologue

24

Performance skills

Be a Brilliant, Spectacular, Fabulous, Engaging, Vibrant star!

o Body movements (Size, direction, pace, energy, security)
o Space (Blocking, levels, audience)
o Facial expressions
o Eye contact (with a fixed point or a character)
o Voice (Clarity, dynamic (volume), pace (speed), pitch (high or low), accent,
emphasis, pause/silence, expression, energy, security)
o Structure (Scene- transitions, cue lines, production elements, non naturalistic
techniques, skills, effects)

25

Magic movement!
Movements: pushing, pulling, lifting, stillness, falling, elevation, turning
Formation: Pathway, levels, meet and part, synchronization, act and react

Travel: Elevation, weight, flow, time, speed, energy

Devises: Motif, unison, canon, repetition, contrast

The effects
How did the techniques and skills help develop...
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o

Structure
Cause and effect
Transitions between scenes
A change in the pace
Mood and atmosphere
Characterisation
Themes
Symbolic meaning and imagery
Climax/anti-climax
Tension
Dramatic irony
Cliff hangers
Contrasts
Comedy (humour, wit, satire, irony)
Audience thought and emotional reactio

26

Part 8:
Production roles: What role will I play?
Casting director
Timings, space availability, production meeting and minutes
Publicity/front of house- Producer
The use of staging and props- Stage Manager
The use of costume- Costume designer
The use of masks - Mask designer
The use of makeup- Make up designer
The use of sound/music- Sound designer technician
The use of lighting- Lighting designer
The use of special effects- Special effects
Director- rehearsal timetable, research log with their aims for the rehearsal actions in the next rehearsal, proxemics
(blocking) deadline for learning lines, tech runs, dress rehearsals
Dramaturg- resources, past productions, research
Actors- maintain diary entries, brainstorming, notes from the director, annotated sketches/diagrams, character
development, learning lines and performance!

27

Exploring your individual production role

Create notes and sketches about the below. All annotated, linked to research and the performance concept:
o
o
o
o

Indicate an understanding of your production area

Evidence of developed ideas 1,2,3 etc
Evidence of final idea
Provide pictures of the final production

28

Part 9
Responding
How do you evaluate work?
Detail your thoughts
Detail your group thoughts
How did your thoughts/ideas change because of everyone?
Detail group discussion, disagreement and decisions
Detail rehearsal/performance decisions
What worked?
What didnt?
How did my group work together? Who did what? How and why were decisions made? What went well? What could be
improved?
Workings and technical proficiency of individual production elements and of the performance as a whole
Sample questions: How did that scene change take place? What caused the lighting effect on stage left? What practical
problems were caused by those costume choices? How did so many characters get on stage so quickly? How were levels
created and used? What colours in costume and set design worked and what colours were lost?
The artistic effect of the performance and production choices made
Sample questions: Could I perceive the themes of the piece in the design elements? Could I identify the directors
interpretation/performance concept and their practical/aesthetic/symbolic choices in the performance/production
elements? Did I find them effective? How? Why? How did the director mark the moment when necessary? How did the
different performance/production elements fuse to create effect? What directorial choices did I not understand? What
could have been the reasons for those choices?

29

Reflective/philosophic: Impacts and resonances of the performance upon the individual and the audience
Sample questions: How, in this performance, did the drama of everyday life become theatre? What did I feel/
think/experience while being part of this performance? Is there an attempted pedagogy in this piece of theatre? A lesson?
A moral? How were my/our perspectives challenged by this performance? How was meaning conveyed to the audience?
What links were there in this performance to other theatre practices/cultures/traditions I have experienced? What other
aspects of work I have covered in class did I recognize in this performance?
How did your audience:
o respond to their positioning?
o respond to certain moments?
o respond to production elements?
o respond to certain characters?
o relate to certain characters?
o transfer their understanding of your performance concept to every day experiences?
o switch their emotions?
o learn from the performance?
o feel as they left the performance?

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Part 10: Checking how fabulous you are!

Performance magic!
A. Knowing and understanding
Through the study of practitioners of the arts, students discover the aesthetics of art forms and are able to analyse and
communicate in specialized language. Using knowledge alongside an understanding of the role of the arts in a global
context, students inform their work and artistic perspectives.
B. Developing skills
The acquisition and development of skills provide the opportunity for active participation in the art form and in the
process of creating art. Skill application allows students to develop their artistic ideas to a point of realization. The point
of realization could take many forms. However, it is recognized as the moment when the student makes a final
commitment to his or her artwork by presenting it to an audience. Skills are evident in both process and product.
C. Thinking creatively
The arts motivate students to develop curiosity and purposefully explore and challenge boundaries. Thinking
creatively encourages students to explore the unfamiliar and experiment in innovative ways to develop their artistic
intentions, their processes and their work. Thinking creatively enables students to discover their personal signature
and realize their artistic identity.
D. Responding
Students should have the opportunity to respond to their world, to their own art and to the art of others. A response
can come in many forms; creating art as a response encourages students to make connections and transfer their
learning to new settings. Through reflecting on their artistic intention and the impact of their work on an audience
and on themselves, students become more aware of their own artistic development and the role that arts play in
their lives and in the world. Students learn that the arts may initiate change as well as being a response to change.

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Criterion A: Knowing and understanding

Maximum: 8
1=1-5 2=6-9 3=10-14 4=15-18 5= 19-23 6=24-27 7=28-32
At the end of year 5, students should be able to:
i. demonstrate knowledge and understanding of the art form studied, including concepts, processes and the use of subject-specific terminology
ii. demonstrate understanding of the role of the art form in original or displaced contexts
iii. use acquired knowledge to purposefully inform artistic decisions in the process of creating artwork.
Achievement
level
0

12

34

56

78

Level descriptor
The student does not reach a standard described by any of the descriptors below.
The student:
i.
demonstrates limited knowledge and understanding of the art form studied, including concepts, processes and limited use of subjectspecific terminology
ii.
demonstrates limited understanding of the role of the art form in original or displaced contexts
iii.
demonstrates limited use of acquired knowledge to purposefully inform artistic decisions in the process of creating artwork.
The student:
i.
demonstrates adequate knowledge and understanding of the art form studied, including concepts, processes and adequate use of
subject-specific terminology
ii.
demonstrates adequate understanding of the role of the art form in original or displaced contexts
iii.
demonstrates adequate use of acquired knowledge to purposefully inform artistic decisions in the process of creating artwork.
The student:
i.
demonstrates substantial knowledge and understanding of the art form studied, including concepts, processes and substantial use
of subject-specific terminology
ii.
demonstrates substantial understanding of the role of the art form in original or displaced contexts
iii.
demonstrates substantial use of acquired knowledge to purposefully inform artistic decisions.
The student:
i.
demonstrates excellent knowledge and understanding of the art form studied, including concepts, processes and excellent use of
subject-specific terminology
ii.
demonstrates excellent understanding of the role of the art form in original or displaced contexts
iii.
demonstrates excellent use of acquired knowledge to purposefully inform artistic decisions in the process of creating artwork.

32

Criterion B: Developing skills

Maximum: 8
At the end of year 5, students should be able to:
i. demonstrate the acquisition and development of the skills and techniques of the art form studied ii. demonstrate the application of skills and techniques to create,
perform and/or present art.
Achievement level Level descriptor
0
12

34

56

78

The student does not reach a standard described by any of the descriptors below.
The student:
i.
demonstrates limited acquisition and development of the skills and techniques of the art form studied
ii.
demonstrates limited application of skills and techniques to create, perform and/or present art.
The student:
i.
demonstrates adequate acquisition and development of the skills and techniques of the art form studied
ii.
demonstrates adequate application of skills and techniques to create, perform and/or present art.
The student:
i.
demonstrates substantial acquisition and development of the skills and techniques of the art form studied
ii.
demonstrates substantial application of skills and techniques to create, perform and/or present art.
The student:
i.
demonstrates excellent acquisition and development of the skills and techniques of the art form studied
ii.
demonstrates excellent application of skills and techniques to create, perform and/or present art.

33

Criterion C: Thinking creatively

Maximum: 8
At the end of year 5, students should be able to:
i. develop a feasible, clear, imaginative and coherent artistic intention
ii. demonstrate a range and depth of creative-thinking behaviours
iii. demonstrate the exploration of ideas to shape artistic intention through to a point of realization
Achievement level Level descriptor
0
12

34

56

78

The student does not reach a standard described by any of the descriptors below.
The student:
1. i develops a limited artistic intention, which is rarely feasible, clear, imaginative or coherent
2. ii demonstrates a limited range or depth of creative-thinking behaviours
3. iii demonstrates limited exploration of ideas to shape artistic intention, which may reach a point of realization.
The student:
1. i develops an adequate artistic intention, which is occasionally feasible, clear, imaginative and/or coherent
2. ii demonstrates an adequate range and depth of creative-thinking behaviours
3. iii demonstrates adequate exploration of ideas to shape artistic intention through to a point of realization.
The student:
1. i develops a substantial artistic intention, which is often feasible, clear, imaginative and coherent
2. ii demonstrates a substantial range and depth of creative-thinking behaviours
3. iii demonstrates substantial exploration of ideas to purposefully shape artistic intention through to a point of realization.
The student:
1. i develops an excellent artistic intention, which is consistently feasible, clear, imaginative and coherent
2. ii demonstrates an excellent range and depth of creative-thinking behaviours
3. iii demonstrates excellent exploration of ideas to effectively shape artistic intention through to a point of realization.

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Criterion D: Responding
Maximum: 8
At the end of year 5, students should be able to:
i. construct meaning and transfer learning to new settings
ii. create an artistic response which intends to reflect or impact on the world around them iii. critique the artwork of self and others.
Achievement level Level descriptor
0
12

34

56

78

The student does not reach a standard described by any of the descriptors below.
The student:
1. i constructs limited meaning and may transfer learning to new settings
2. ii creates a limited artistic response, which may intend to reflect or impact on the world around him or her
3. iii presents a limited critique of the artwork of self and others.
The student:
1. i constructs adequate meaning and occasionally transfers learning to new settings
2. ii creates an adequate artistic response, which intends to reflect or impact on the world around him or her
3. iii presents an adequate critique of the artwork of self and others.
The student:
i.
constructs appropriate meaning and regularly transfers learning to new settings
ii.
creates a substantial artistic response, which intends to reflect or impact on the world around him or her
iii.
presents a substantial critique of the artwork of self and others.
The student:
i.
constructs meaning with depth and insight and effectively transfers learning to new settings
ii.
creates an excellent artistic response which intends to effectively reflect or impact on the world around him or her
iii.
presents an excellent critique of the artwork of self and others.

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Appendix 1: Self and Peer marking rubrics

Knowledge and understanding
Demonstrate understanding of the following (where applicable):
Excellent

Substantial

Adequate

Limited

Performance
concept/themes
Art form studied: Historical,
social, cultural and political
contexts
Art form studied: A
text/playwright
Art form studied:
Practitioners in theatre
Art form studied: History,
traditions and cultures in
theatre- links to a time
period/ country
Evidence of how knowledge
and understanding of the art
form in its original and new
context has informed the
artistic process
Evidence of how knowledge
and understanding have
informed artistic decisions
and processes
Application of subject
specific terminology

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Appendix 2
Developing techniques and skills
Demonstrate the acquisition, development and application of these skills (where applicable):

Body:
Excellent
JJJJ

Substantial
JJJ

Adequate
JJ

Limited
LLL

No fiddling/dancing
Change in size of body
Change in direction of
body
Change in speed of
body
Energy
Security
Creative movements
Well detailed and
rehearsed blocking
Change in levels
Consideration of
audience
Change in facial
expressions
Eye contact
Focus

37

Voice:
Clear voice (could hear
everything! No
mumbles!)
Change in volume
Change in speed
Use of pitch
Use of accent
Use of emphasis
Use of pause or
silence
Use of expression
Energy
Security

Magic movement

Excellent
JJJJ

Substantial
JJJ

Adequate
JJ

Limited
LLL

Movements: pushing,
pulling, lifting, stillness,
falling, elevation, turning
Formation: Pathway,
levels, meet and part,
synchronization, act and
react
Travel: Elevation, weight,
flow, time, speed, energy
Devises: Motif, unison,
canon, repetition, contrast

38

Non naturalistic techniques

Skill
Still image
Narration
Thought tracking
Synchronized movement
Marking the moment
Flashback
Flash forward
Choral speaking
Slow motion
Spilt scene
Cross cutting
Reversal of the action
Soliloquy/monologue

Excellent

Substantial

Adequate

Limited

Comments:

39

Creating intended effects

Effects
Structure

Excellent

Substantial

Adequate

Limted

Cause and effect

Transitions
A change in the pace
Characterisation

Themes/performance concept
Symbolic meaning and
imagery
Climax/anti-climax
Audience thought and
emotional reaction
Tension
Dramatic irony
Cliff hangers
Contrasts
Comedy (humour, wit, satire,
irony)

40

Appendix 3
Creative thinking behaviours
Creative thinking behaviour

Excellent

Substantial

Adequate

Limited

questioningoften generating new and unusual further questions from the

original question
responding to ideas, questions, tasks or problems in a surprising way
challenging conventions and ones own and others assumptions
thinking independently
seeing possibilities, problems and challenges positively
visualizing alternatives
using imagination to examine possibilities
considering other perspectives than ones own
playing with ideas and experimenting
responding intuitively and trusting ones intuition
anticipating and overcoming difficulties, modifying ones ideas in the process
recognizing when an original idea has value and pursuing it
seeking unusual solutions.
In final performance- demonstrating artistic intentions
In final performance- demonstrating an exploration of ideas

41

Appendix 4
Responding
Excellent

Substantial

Adequate

Limited

Transfers learning to new

settings
Reflects on the world
Critiques the artwork of self
and others

42

Appendix 5- The Lost Voices

The Devising Process: The lost Voices
Inquiry statement: Stories create the rich tapestry of soul and identity.
Stories are a communal currency of humanity.
Tahir Shah, In Arabian Nights: A Caravan of Moroccan Dreams
It's like everyone tells a story about themselves inside their own head. Always. All the time. That story makes you what you are. We build ourselves out of that
story.
Patrick Rothfuss, The Name of the Wind
"Frankly, there isn't anyone you couldn't learn to love once you've heard their story."
Andrew Stanton

Factual questions: What information do you know about Brechts Epic Theatre and other key drama practitioners?
Conceptual questions: How can we successfully use our perspective to address another? What is soul and identity? How can we best portray this soul and identity through
performance?

Debatable questions: How can we measure creativity?

Key Concept: Identity and perspective
Related concept: Structure
Global concept: Identities and relationships
Summative Tasks
Criterion A
Knowledge and Understanding
You will:
Task 1: Submit a minimum of two pieces of stimulus either from your own research or from our class workshops. For each piece of stimulus you are to explain
how it helped you develop your own story and characters identity for your devised performance.

43

Task 2: Submit your applied research that you have undertaken into Brechts Epic Theatre or another practitioner, answering the question: What is the
practitioners ideology and how have you applied their techniques in your work?
Task 3 and 4: You are to develop a soliloquy, which is to be delivered by someone from your story. You need to decide on a character and their perspective in
relation to your story.
For the first set of annotations you must annotate each line with a least three instructions for your delivery of the soliloquy. For the second set of
annotations you must annotate with instructions for your group and the application of the non-naturalistic techniques.
See instructions how to do this on page 60.
You must use the following structure for each instructions:
What -Descriptive writing about what you did.
On the line. I used the drama technique of still image.
How Describe in detail how you created the scene with your body movement, facial expressions and voice.
Why What was the significance of this moment? Analyze using active verbs and link clearly to your research, characters, context, ideas and effects.

ACTIVE VERBS- use these to write analytically about your discoveries

show - display - demonstrate - highlight - emphasise - define - deduce - devise - illustrate - indicate - interpret - construct - represent - introduce - detail characterise - express- reveal - prove - narrate - acknowledge - attribute - state - compare - evaluate - distinguish - determine - propose - simplify - inform suggest - imply - support - extend - isolate - combine convert
You must refer to the terminology below:
Non- naturalistic techniques
o
o
o
o
o
o
o
o

Still image
Narration
Thought tracking
Hot seating
Synchronised movement
Marking the moment
Flashback
Flash forward

44

o
o
o
o
o
o
o

Choral speaking
Slow motion
Split scene
Cross cutting
Reversal of the action
Soliloquy/monologue
Physical theatre

Performance skills
Be a Brilliant, Spectacular, Fabulous, Engaging, Vibrant star!
o
o
o
o
o
o

Body movements (Size, direction, pace, energy, security)

Space (Blocking, levels, audience)
Facial expressions
Eye contact (with a fixed point or a character)
Voice (Clarity, dynamic (volume), pace (speed), pitch (high or low), accent, emphasis, pause/silence, expression, energy, security)
Structure (Scene- transitions, cue lines, production elements, non naturalistic techniques, skills, effec

How did the techniques and skills help develop...

o
o
o
o
o
o
o
o
o
o
o
o
o
o
o

Structure
Cause and effect
Transitions between scenes
A change in the pace
Mood and atmosphere
Characterisation
Themes
Symbolic meaning and imagery
Climax/anti-climax
Tension
Dramatic irony
Cliff hangers
Contrasts
Comedy (humour, wit, satire, irony)
Audience thought and emotional reaction

45

Criterion B & C (Developing skills and Creativity Thinking Behaviours)

You will:
In groups of 3 5 create a performance based on the workshop sessions and the work you have completed for Criterion A. You should ensure your performance
includes the following techniques.
Non- naturalistic techniques
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o

Still image
Narration
Thought tracking
Hot seating
Synchronised movement
Marking the moment
Flashback
Flash forward
Choral speaking
Slow motion
Split scene
Cross cutting
Reversal of the action
Soliloquy/monologue
Physical theatre

You will be assessed on your ability to demonstrate an understanding of how to plan, devise and rehearse for a formal performance. In the performance you give
you must demonstrate an understanding of how to manipulate the elements of drama by utilising the non-naturalistic techniques of theatre. Your creative
thinking behavior will be tracked over the rehearsal period in each lesson by yourself, your peers and your teacher and evidenced in your final performance piece

46

Criterion D- Responding

You must submit at least two rehearsal/performance reflections throughout the devising experience. Each reflection must cover the following areas.
Transferring learning to your new setting
Prompt questions- how have you used Brechts Epic Theatre/practitioners ideas in your work? How have you used techniques in your work?
Reflecting on what you are learning about the world
Prompt questions- What have you learnt about the world throughout your process? What do you appreciate more about your own personal setting? What have
you learnt about yourself and/or others during this project? Plus your own questions
Critiques your own work and the work of others
Prompt questions- What worked well in rehearsal? What was a challenge? How was this challenge overcome? What worked well in performance? What actions
can be taken to improve this for next time? Plus your own questions
Consider how the MYP approaches to learning, IB learner profile, creative thinking behaviours and engaging with your character strengths has influenced your
development and document this in your responses.

47

Appendix 6- Changed.
The Devising Process: Changed.
Inquiry statement: Key events make a permanent change on identity and relationships.
Change will not come if we wait for some other person, or if we wait for some other time. We are the ones we've been waiting for. We are the change
that we seek.
Barack Obama
Here's to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently.
They're not fond of rules. And they have no respect for the status quo. You can quote them, disagree with them, glorify or vilify them. About the only
thing you can't do is ignore them. Because they change things. They push the human race forward. And while some may see them as the crazy ones,
we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do.
Apple Inc.
Factual questions: What information do you know about Brechts Epic Theatre and other key drama practitioners?
Conceptual questions: What permanent changes on identity and relationships will you explore?
How can theatre be devised to tell stories and help us understand and interpret historical change?
What strength in human spirit will you expose?
How can we successfully use our perspective to address another?
What links will you make with our modern day context?
How can we transfer theatre techniques into our new performance context to enhance our performance concept?

Debatable questions: How can we measure creativity?

Key Concept: Change
Related concept: Interpretation
Global concept: Identities and relationships

48

Summative Tasks
Criterion A
Knowledge and Understanding
You will:
Task 1: Submit a minimum of two pieces of stimulus either from your own research or from class workshops. For each piece of stimulus you are to explain how
it helped you to develop your own character (s) identity for your devised performance.
Task 2: Submit your applied research that you have undertaken into Brechts Epic Theatre and/or other key practitioners, answering the question: What is the
practitioners ideology and how have you applied their techniques in your work?
Task 3 and 4: You are to develop a soliloquy, which is to be delivered by someone affected by the change.
For the first set of annotations you must annotate each line with a least three instructions for your delivery of the soliloquy. For the second set of
annotations you must annotate with instructions for your group and the application of the non-naturalistic techniques.
See instructions how to do this on page 60.

You must use the following structure for each instruction:

What -Descriptive writing about what you did.
On the line. I used the drama technique of still image.
How Describe in detail how you created the scene with your body movement, facial expressions and voice.
Why What was the significance of this moment? Analyze using active verbs and link clearly to your research, characters, context, ideas and effects.

ACTIVE VERBS- use these to write analytically about your discoveries

show - display - demonstrate - highlight - emphasise - define - deduce - devise - illustrate - indicate - interpret - construct - represent - introduce - detail characterise - express- reveal - prove - narrate - acknowledge - attribute - state - compare - evaluate - distinguish - determine - propose - simplify - inform suggest - imply - support - extend - isolate - combine convert
You must refer to the terminology below:
Non- naturalistic techniques

49

o
o
o
o
o
o
o
o
o
o
o
o
o
o
o

Still image
Narration
Thought tracking
Hot seating
Synchronised movement
Marking the moment
Flashback
Flash forward
Choral speaking
Slow motion
Split scene
Cross cutting
Reversal of the action
Soliloquy/monologue
Physical theatre

Performance skills
Be a Brilliant, Spectacular, Fabulous, Engaging, Vibrant star!
o
o
o
o
o
o

Body movements (Size, direction, pace, energy, security)

Space (Blocking, levels, audience)
Facial expressions
Eye contact (with a fixed point or a character)
Voice (Clarity, dynamic (volume), pace (speed), pitch (high or low), accent, emphasis, pause/silence, expression, energy, security)
Structure (Scene- transitions, cue lines, production elements, non naturalistic techniques, skills, effec

How did the techniques and skills help develop...

o
o
o
o
o
o
o
o

Structure
Cause and effect
Transitions between scenes
A change in the pace
Mood and atmosphere
Characterisation
Themes
Symbolic meaning and imagery

50

o
o
o
o
o
o
o

Climax/anti-climax
Tension
Dramatic irony
Cliff hangers
Contrasts
Comedy (humour, wit, satire, irony)
Audience thought and emotional reaction

Criterion B & C (Developing skills and Creativity Thinking Behaviours)

You will:
In groups of 3 5 create a performance based on the workshop sessions and the work you have completed for Criterion A. You should ensure your performance
includes the following techniques.
Non- naturalistic techniques
o
o
o
o
o
o
o
o
o
o
o
o
o
o
o

Still image
Narration
Thought tracking
Hot seating
Synchronised movement
Marking the moment
Flashback
Flash forward
Choral speaking
Slow motion
Split scene
Cross cutting
Reversal of the action
Soliloquy/monologue
Physical theatre

You will be assessed on your ability to demonstrate an understanding of how to plan, devise and rehearse for a formal performance. In the performance you give
you must demonstrate an understanding of how to manipulate the elements of drama by utilising the non-naturalistic techniques of theatre. Your creative
thinking behavior will be tracked over the rehearsal period in each lesson by yourself, your peers and your teacher and evidenced in your final performance
piece.

51

Criterion D- Responding

We will discuss at the end of the project the following: The inquiry questions posed at the beginning of the project plus:
Transferring learning to your new setting
Prompt questions- how have you used Brechts Epic Theatre/practitioners ideas in your work? How have you used your understanding of the change to create your
work? Plus your own questions
Reflecting on what you are learning about the world
Prompt questions- What do you appreciate more about your own personal setting? What have you learnt about yourself and/or others during this project? Plus
your own questions
Critiques your own work and the work of others
Prompt questions- What worked well in rehearsal? What was a challenge? How was this challenge overcome? What worked well in performance? What actions
can be taken to improve this for next time? Plus your own questions
Consider how the MYP approaches to learning, IB learner profile, creative thinking behaviours and engaging with your character strengths has influenced your
development and document this in your responses.

52

Appendix 7Differences between an actor and a performer

Actor
Believability
Narrative structure
Naturalistic acting/characters to
evoke empathy
Audience
Forth wall- Audience as onlookersisolated from the action
Creating an imaginary word which is
cut off from the outside the world.
What they are seeing is real.
Memorised lines
Function of the theatre is to entertain
and enlighten
Provokes emotion through the
workings and development of their
character on stage
Fixed message to leave the audience
with

Performer
We are aware they are pretending
Episodic structure
They create persona and not
character
Spectators
No forth wall- Audience as an active
participant in the action.
Spectator is clear that what they are
watching is an illusion
Improvised sections can take place
Function of the theatre is to question
Provoke emotion among the audience
through what they do- explore real
time
Spectators can construct a narrative
or meaning around what is
happening, but there are no intention
to this in their work.

53

Appendix 8Inspirations
DV8 are breaking down the barriers between dance, theatre and the personal politics and of taking risks- aesthetically and physically.

Complicite describes its principles as seeking what is most alive, integrating text, music, image and action to create surprising, disruptive
2
theatrewhat is essential is collaborationwith a common physical and imaginative language

Artaud placed emphasis on spontaneity, creative freedom, the power of image, instead of the spoken word and the necessity of theatre to
3
engage the senses not simply the intellect,
It is not possible to control the plurality of meaning.

The tossing head, the bowed head, the stroking of hair, the onstage undressing, changing of clothes, genuine exhaustion, the popular song, the
operatic aria, the social dance, the manipulation of limbs, the sleepwalking, direct address, the confessions, the microphone, the eternal human
5
tango between aggression and tenderness are all dominant in Bauschs work.
Actor
Believability
Narrative structure
Naturalistic acting/characters to evoke empathy

Performer
We are aware they are pretending
Episodic structure
They create persona and not character

Physical Theatre A critical Introduction (2000) Simon Murray and John Keefe

Physical Theatre A critical Introduction (2000) Simon Murray and John Keefe

Antonin Artaud Blows and bombs (1993) Stephen Barber

Antonin Artaud Blows and bombs (1993) Stephen Barber

Physical Theatre A critical Introduction (2000) Simon Murray and John Keefe

54

Audience
Forth wall- Audience as onlookers-isolated from the action
Creating an imaginary word which is cut off from the outside the
world. What they are seeing is real.
Function of the theatre is to entertain and enlighten

Spectators
No forth wall- Audience as an active participant in the action.
Spectator is clear that what they are watching is an illusion

Provokes emotion through the workings and development of their

character on stage
Fixed message to leave the audience with

Provoke emotion among the audience through what they do- explore
real time
Spectators can construct a narrative or meaning around what is
happening, but there is no intention to this in their work.

Function of the theatre is to question

I am the enemy of the theatre. I always have been. I love the theatre so much. I am, for that reason, hostile to it Artaud

The visual language of objects, of movements, of attitudes, of gestures...language of sounds, of cries, lights, of onomatopoeia.

Brechts theatre is reformist, if not revolutionary, in intent. He wanted to sharpen an audiences political consciousness.
Frantic Assemblys Pool No Water - 80 dynamic minutes that turn its characters inside out

He wants his spoken material to be explosive in sound, equivocal in meaning and unnatural in its delivery. He meant to be memorable on stage.
10
Where another actor would walk across the stage, Artaud would crawl, hop, or limp.
Artaud aimed to bring the spectator into a personal relationship with the actor.

11

Where there is no certainty, there can be no definite meanings- and the impossibility of ever attaining certainty is one of the main themes in
12
Becketts plays.

Antonin Artaud Blows and bombs (1993) Stephen Barber

Antonin Artaud Blows and bombs (1993) Stephen Barber

Antonin Artaud Blows and bombs (1993) Stephen Barber

Guardian UK 2006
10
Antonin Artaud Blows and bombs (1993) Stephen Barber
11
Antonin Artaud Blows and bombs (1993) Stephen Barber
12
Antonin Artaud Blows and bombs (1993) Stephen Barber
9

55

deliberate breaking of the tensions and disillusionment of the actor.

13

new narrative aids; they became a means of breaking the magic spell, of jerking the spectator outand making him use his critical sense.

14

Take a look
Artaud- https://www.youtube.com/watch?v=8mjofllsvkE
Beckett- https://www.youtube.com/watch?v=RGvwqERVkFw
Brecht- https://www.youtube.com/watch?v=aU_SREjYQT0
Bausch - https://www.youtube.com/watch?v=5pftKZoVndM
Complicate - https://www.youtube.com/watch?v=uba-qzbZsV8
DV8 - https://www.youtube.com/watch?v=5PFR2OXf9iQ
https://www.youtube.com/watch?v=5NlOPzP4UM8
Frantic Assembly- https://www.youtube.com/watch?v=haDie6_cPQw
Physical theatre- https://www.youtube.com/watch?v=Ha34d0UCA4A

13
14

The theatre of Bertolt Brecht (1977) John Willett

The theatre of Bertolt Brecht (1977) John Willett

56

Appendix 9
Blood Brothers

MRS. JOHNSTONE
Tell me it's not true
Say it's just a story
NARRATOR
So did y' hear the story
Of the Johnstone twins?
As like each other as two new pins
Of one womb born, on the self same day,
How one was kept and one given away?
An' did you never hear how the Johnstones died,
Never knowing that they shared one name,
Till the day they died, when a mother cried
My own dear sons lie slain.
An did y' never hear of the mother so cruel,
There's a stone in place of her heart?
Then bring her on and come judge for yourselves
How she came to play this part

57

Appendix 10- Martin Seligmans Character strengths

Creativity (originality, ingenuity): Thinking of novel and productive ways to conceptualize and do things.
Curiosity (interest, novelty-seeking, openness to experience): Taking an interest in ongoing experience s afor its own
sake; exploring and discovering
Open-mindedness (judgment, critical thinking): Thinking things through and examining them from all sides; weighing
all evidence fairly.
Love of learning: Mastering new skills, topics, and bodies of knowledge, whether on ones own or formally.
Perspective (wisdom): Being able to provide wise counsel to others; having ways of looking at the world that
make sense to oneself and to other people
Bravery (valor): Not shrinking from threat, challenge, difficulty, or pain; acting on convictions even if unpopular.
Persistence (perseverance, industriousness): Finishing what one starts; persisting in a course of action in spite of
obstacles.
Integrity (authenticity, honesty): Presenting oneself in a genuine way; taking responsibility for ones feeling and actions
Vitality (zest, enthusiasm, vigor, energy): Approaching life with excitement and energy; feeling alive and activated
Love: Valuing close relations with others, in particular those in which sharing and caring are reciprocated.
Kindness (generosity, nurturance, care, compassion, altruistic love, niceness): Doing favors and good deeds
Social intelligence (emotional intelligence, personal intelligence): Being aware of the motives and feelings of other
people and oneself.
Citizenship (social responsibility, loyalty, teamwork): Working well as a member of a group or team; being loyal to the

58

group.
Fairness: Treating all people the same according to notions of fairness and justice; not letting personal feelings bias
decisions about others.
Leadership: Encouraging a group of which one is a member to get things done and at the same maintain time good
relations within the group.
Forgiveness and mercy: Forgiving those who have done wrong; accepting the shortcomings of others; giving people a
second chance; not being vengeful
Humility / Modesty: Letting ones accomplishments speak for themselves; not regarding oneself as more special than
one is.
Prudence: Being careful about ones choices; not taking undue risks; not saying or doing things that might later be
regretted.
Self-regulation (self-control): Regulating what one feels and does; being disciplined; controlling ones appetites and
emotions.
Appreciation of beauty and excellence (awe, wonder, elevation): Appreciating beauty, excellence, and/or skilled
performance in various domains of life.
Gratitude: Being aware of and thankful of the good things that happen; taking time to express thanks.
Hope (optimism, future-mindedness, future orientation): Expecting the best in the future and working to achieve it.
Humor (playfulness): Liking to laugh and tease; bringing smiles to other people; seeing the light side.
Spirituality (religiousness, faith, purpose): Having coherent beliefs about the higher purpose, the meaning of life, and
the meaning of the univers

59

Examples of how to complete annotations for your soliloquy

Dont forget to include

ACTIVE VERBS
show - display - demonstrate - highlight - emphasise
define - deduce - devise - illustrate - indicate
interpret - construct - represent - introduce - detail
characterise - reveal - prove - narrate - acknowledge
attribute - state - compare - evaluate - distinguish
determine - propose - simplify - inform - suggest - imply
support - extend - isolate - combine convert

You must say WHAT YOU/THEY did (Descriptive writing about WHAT YOU/THEY did)
You must say HOW YOU/THEY did it (Describe in detail HOW YOU/THEY created the scene with their body movement,
facial expressions, voice, skills/techniques)

60

You must say WHY YOU/THEY did it (To show, to express, to indicate, to highlight, to convey, to demonstrate etc)

There are different formats to select from below:

Body movements: (Size, direction, pace, energy, security)
Body movements:
Size
Direction
Pace
Energy

How

Why

Space (space, set, blocking, levels)

Space
Set
Blocking
Levels

How

Why

Voice (Clarity, dynamic (volume), pace (speed), pitch (high or low), emphasis, pause/silence, expression, energy,
security, accent)
Voice:
Clarity
Dynamic (volume)
Pace (speed)

How

Why

61

Pitch (high and low)

Emphasis
Pause
Silence
Expression
Energy
Accent

Written work
Example 1
What
We created a scene based
on a how Eva Galler lived
in the ghettos using still
images, narration,
syncrhronised movement

How

Why

We were all cramped

together on the floor.

This was to highlight how

the Jews were kept in
confined and unfair
conditions.

We started the scene with

our heads down in a still
image.

This was to show how

weak and sick the Jews
were after all of their
mistreatment.

62

We clenched our hands

together.

This was to emphasis how

frightened the Jews were
as they did not know what
was going to happen to
them on a daily basis.
They always lived in fear
and wondered how safe
their lives were.

We raised our heads

together using
synchronised movement
on the first line of the
narration This is our fate.

This was to demonstrate

how we were controlled
and all lost out identity as
we moved together...

We spoke softly and

slowly.

We spoke softly to show

how sad we felt about our
present situation. We
spoke slowly to
demonstrate that we felt
weak from our
mistreatment by the
Germans.

We said the line with a sad

expression on our face

Our facial expressions

indicated a frown as we
expressed the pain that we
were going through both
physically and mentally. ..

63

I shouted the words

caged individually

I shouted this word to

show how frustrated my
character felt about being
stuck in the ghetto. This
sudden outburst of anger
displayed how the Jews
could not believe that they
were treated so poorly.
Through saying it
individually this
demonstrated that the
Jews were still individual
human being with a name
and not just a
commodity

I cut my eyes and frowned

This was to show that I

was resentful of the
Germans

64

On the narrated line This

was a reflection of what we
had become, how we were
scum and how we had lost
our identity we fell
suddenly in three stages to
our knees, forwards to the
floor and then flat onto the
ground in a synchronised
form.

We did this to reflect that

there was an invisible force
behind us who was
physically beating us down
to reflect how poorly the
Jews were treated. We did
this together to reflect how
we were powerless against
the force of the cruel
Germans.

We kept our heads up

throughout the movement

We did this to show that

we still were resistant and
hopeful that life would get
better.

65

On the narrated line Is this

what we have become?
we shouted this line and
looked away from the
audience at the end

We shouted this line to

show how angry we were
at being treated like
animals and pushed to the
floor. We looked away
from the audience to
reflect how ashamed we
felt as every success had
been taken away from
us.

Example 2

What: We created a scene to reflect Eva's experience on the train to the concentration camp
How: We were lying on the floor Why to show (TS) Eva's terrible experience on the train and to create tension
amoungst the audience
How: We were slumped on the floor, with our heads down Why (TS) we were tired
How: We were cramped together Why (TS) how mistreated the Jews were...to highlight the contrast between
How: We starred out to the audience Why (TS) that we were controlledhighlighting the symbolic meaning of
How: I spoke quietly on 'starvation' Why (TS) how weak they were due to the mistreatment...
How: We shouted loud on 'Systematic killing' Why TS
How: We spoke quickly on 'Adolf Hitler' Why TS
How: We changed to a low pitch on 'Extermination' Why TS

66

Example 3
In this lesson we looked at when Billy is caught doing ballet behind his dads back. We used marking the moment to show
the relationship between Billy and his dad when he finds out that Billy does ballet. We used thought tracking to help
reveal what the characters were really thinking or feeling but weren't saying. For example Billy said What does he know,
he's just a miner, he will never understand. This shows how passionate he is about ballet and how much he doesn't
want to be a miner. Tension is suspense that is created to lead up to a climax and we created it with effective silences and
building up aggression, anger and fear in the scene.
The father sat rigid in his chair to highlight the anger that is built up inside of him as he does not understand why Billy
would want to do ballet and go behind his back. His fists are clenched in front of him to show he is trying to keep himself
calm as he talks. He has a tense jaw to express his irritation and he is frowning and glaring to highlight his anger. He is
grinding his teeth to convey his frustration as Billy is reminding him of his wife because she was a musical person and he
feels guilty because she would of let Billy dance. The grinding of the teeth also emphasizes his built up anger as he can't
control himself, although he is trying to. As he talks to Billy he starts of quiet to show he is trying to reason with him but
his tone is sharp to show he is extremely angry. He articulates his words to show he wants to make sure that Billy fully
understands him. As they continue to argue he starts to lose control and shouts to express his anger and frustration with
Billy. His eyes widen into a glare to highlight his anger and his face turns red to demonstrate his frustration. His whole
body is tense to suggest his anger as Billy isn't listening to him and he wants him to understand how he is feeling but he
can't find the words. After Billy doesn't give up his tone changes and his body goes limp to show how fed up he is with
him arguing back and not listening. He looks away to show he knows he is wrong but he doesn't want to show it.
The still image of the dad captured how tired and fed up he is with everything. It reflected the burden of his wifes death,
his frustration with the grandma and his anger towards Billy and himself. He is trying to hard to keep the family together
but everything seems to be falling apart, including himself. He also knows his wife would of let Billy dance and this makes
him feel slightly guilty. His hand covers his face to highlight his irritation. His shoulders are bent forward to show how
tired he is. His lips are tightly pressed together and he is frowning to express his anger and frustration. His thought
tracking reveals why he is mainly angry at Billy which is because he reminds him of his wife and he can't handle the pain
that comes with the memories of her.

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Billy is sitting straight to express his nervousness as he is scared of what his dad is going to say. His arms are held close
to his body to convey his fear of confronting his father. He is fidgeting with his hands to highlight his anxiety. His
eyebrows are raised and frowning to show his anger because he is not only scared of his father but he is angry because
he wants him to understand his love for ballet. He is biting his lips and has wide eyes to suggest his fear and to
emphasize how anxious he is. His voice is high pitched to show he is worried and scared. His voice shakes as he speak
to show his fear but it gets louder to show his anger building and to express his passion for ballet. As the argument turns
aggressive he shouts back at his dad I hate you to highlight his passion and his frustration.
His still image reflected his confusion and anger as he doesn't understand why his dad won't let him do what he loves to
do and he is angry because he won't try to understand. He has an open hand gesture to show him questioning his dad
and he is frowning to highlight his anger as he doesn't understand why his dad has to be so narrow minded. His thought
tracking reveals what he really thinks of miners which shows he does not want to follow in his dads and brothers
footsteps. He wants to do ballet to break the cycle and get out of the town. All of his anger keeps building up and he finally
cracks and yells at his dad. Both him and his dad are silent to portray their shock. The dads face is stern to highlight his
anger and he suddenly moves forward and shouts to show his anger exploding and him at his last straw. Billy is rigid to
show his fear and widens his eyes to portray his realization and then he bolts to highlight his fear.
The grandma sits and follows them both with her eyes to show her fear as she doesn't talk. Her arms held close to her
body to show her fear of the situation. Her shoulders are bent forward to demonstrate her bad posture due to her age and
to highlight how frail she is. Her eyes are wide to highlight her fear and to show her confusion as she doesn't really
understand half of what is going on. Her hands shake as she eats to highlight how frail she is and to express her fear. Her
still image reflected her fear of Billy and his dad fighting and her confusion. She doesn't understand why they are fighting
and the screaming scares her. When the argument turns aggressive she leans back to show her shock and flinches to
highlight her fear and confusion as she only wants them to get along.
This coursework example is good analytically but it lacks any quotes and research.

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Example 4
We used narration and mime to create a piece to highlight how Dereks parents did not like Craig and his influence on
their son.
The narrator who was Bentleys dad, stood tall and firm to show his authority. He spoke slowly in a low tone to highlight his
superiority as he knew what his son and Craig were up to. He stood behind them and followed them around while they
smoked and traded guns to show his helplessness in the situation as he knew they were doing bad things but he couldn't
stop them. He raised his voice to express his anger as Derek continued to be influenced by Craig because he believed
Derek knew better. His body was tense to show his awareness of the dangerous scene with Christopher pointing the gun
at Derek. His fists were clenched to suggest his hatred for Craig as he his getting his son into a lot of trouble and
influencing him badly. In the end when Derek is trapped his fathers tone changes to highlight his disappointment because
even though his son had realized Craig was trouble he couldn't escape the situation he was in. His body was limp to show
himself giving up on trying to help his son and his head was down to suggest his dismay in him. It linked to when Derek
will be sentenced to be hanged as even though he was innocent he was blamed for Craigs actions.
Derek stood broad to show the confidence he gained after putting on the jacket and hat that was considered fashionable
in that era. This highlighted the youth conforming to the media and new trends. The jacket he put on suggested the style
of the Teddy Boys which was popular in the 1950's because of the influences that affected them such as Elvis and James
Dean. He walked slowly to show his laziness and not being bothered about anything. He shrugged his father off to
suggest his embarrassment with being told what to do in front of his friend. He frowned at his dad to show his anger and
smirked to highlight his new found confidence because he thinks he's more superior now that he's in a gang. He lit a
cigarette to express his want for a reputation as a trouble maker or gang member. It highlighted Craigs bad influence and
their need to rebel in any way possible. Craig showed off his gun to Derek to suggest his pride in violence and crime
which highlighted his bad influence because he dangerous and violent. It showed the youths deterioration into crime
because they thought it was cool or trendy. Derek didn't accept the gun to express he had morals and didn't fall into peer
pressure, this highlighted how he was different from the other people his age. Craig frowned to show his anger as Derek
wasn't listening to him or doing what he said. It highlighted his longing for power and crime. Christopher held the gun to
dereks head to show his dangerous nature and unpredictable personality. It suggested he was not safe to be around,

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proving Dereks father right. He frowned to suggest his confusion and regret of not listening to his father as he is now in
danger because he followed in his friends footsteps. Craig and Bentleys actions highlighted the negative affects on the
youth culture in the 1950's due to rebelling, crime and violence.

In this lesson I performed a monologue from a lawyer in court defending Bentley.

I stood with my feet together and back straight to express my authority and confidence, as I knew what I was going to say
and do to help my client. I did not move a lot as I spoke to emphasize my control and to intimidate the audience with it. As
I referred to Christopher Craig I squinted my eyes to highlight my anger and tensed my jaw to suggest my hatred for him
as I knew he was the guilty one, not Derek. I took long and slow strides when I walked to show my confidence as I talked
to the judge and jury which suggested I was professional and highly experienced whilst also intimidating the audience
further. I asked rhetorical questions one after another to emphasize and highlight my points to the audience, making them
feel guilty for believing Derek was a killer. As I said them I pierced my eyes and pointed my finger to express my
enthusiasm and belief in what I was saying which suggested my need to prove Bentley innocent. I changed my voice to a
more sympathetic tone as I talked about the accident Derek went through to highlight the hardship he had to face. I shook
my head at the ground to show my pity and sympathy for him. I squinted my eyes as I asked more rhetorical questions to
express my anger and disbelief in how the jury can't see he is obviously innocent. As I spoke I emphasized his mental age
of 11 to highlight how young his brain works at and my astonishment at how people can judge a child so harshly. I raised
my voice and spoke in a more harsh tone to express my passion for proving Bentley not guilty I tensed my whole body
and clenched my fists while staring at them to highlight my outrage which intimidates the audiences into believing me. On
the line the blood is on his hands I emphasized the word blood to highlight the raw truth and reality of the man dying
because of Craig. I ended with a question How can you sit here and tell me this young man should be punished for an act
he did not do? which highlighted how unjust the case was and making it seem so simple to the audience so that they
realize Derek is innocent.

We created a dream styled scene with a soundscape to show Derek in his cell the day before he was to be hung. The
thoughts and the pressures of people start to act on him and he begins to see and hear things from his past memories

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which highlighted the guilt and deep regret he was feeling because he understands that if he had not tried to fit in with
Craig and his gang he would not be in jail with a sentence for death.

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