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Performing Arts

 

Why study Performing Arts?

 

The importance of Performing Arts in education

Performing Arts in education provides students with the opportunity to engage the mind, the body and emotions into a collaborative expression of all that it means to be human. Through study and performance, students explore and present great themes and ideas.

Students discover their own voice, grow in confidence and develop empathy and an ethical insight into the contradictions and paradoxes of the human condition. Performing Arts students grow in understanding of what it means to not only be human, but to be good, noble, honourable, kind and compassionate.

 

The benefits of studying performing arts are:

 

1. Critical Reflection

Students gain valuable life skills by learning the importance of feedback, both positive and constructive. The arts also provide a place of solitude, where students can immerse themselves without interference from their environment. This also provides a space for students to engage in self-reflection – a vital skill for life after school.

 

2. Collaboration

Performing Arts is a discipline that encourages teamwork, whether that is in writing, creating, designing or during the act of performing. Students have the opportunity to engage in creative collaboration, a skill they have limited chance to develop outside of a rehearsal space.

 

3. Creativity

Through creative expression students learn to understand the world in a unique way, preparing them to navigate the challenges after school. There is also great cross-over between Performing Arts and other disciplines – the creative thinking and study techniques learned during rehearsal can be transferred to all areas of study.

 

4. Communication

Communication skills can be accelerated through Performing Arts, as students learn to use verbal and non-verbal techniques in new ways to deliver their message. Students also find new levels of confidence through Performing Arts which will enable them to have success across a range of situations and experiences in life.

 

 

Key Stage 3 Curriculum Overview: Performing Arts

 

Learning Cycle 1

Learning Cycle 2

Learning Cycle 3

Year 7

Exploring Dramatic Techniques:1

  • A range of drama games and activities will be explored in a collaborative manner
  • Short presentations to peers demonstrating how techniques are put into practice and begin to be able to give and receive constructive feedback

Shakespeare In Performance

  • The opening of range of Shakespeare’s plays will be explored.
  • Students will have the opportunity to perform extracts or to support within a design capacity
  • Critical reflection of their own work, and the work of their peers, will be part of the feedback process.

 

Exploring Dramatic Techniques:2

  • The work in this LC will focus upon group collaboration techniques and the understanding of what ‘devised’ drama is.
  • The theme will be ‘Travel’.

Devised work based on ‘The Sinking Of The Titanic’

  • Students to explore the background to the historic event and share ideas/thoughts.
  • Short extracts of the film ‘Titanic’ to be observed with focus on the different social classes/crew.
  • Exercises to be carried out to reinforce the need to use accurate posture; dialogue; facial expression; physicality.
  • Whole group performance to be devised incorporating clear direction student/teacher led, music; basic set; lighting; costume.
  • Critical reflection and evaluation of performance in regard to of their own work, and the work of their peers, will be part of the feedback process.

 

Exploring Dramatic Techniques:3

  • The work in LC3 will focus on study of a much-loved classic, Roald Dahl’s ‘Charlie And The Chocolate Factory’
  • Students will be introduced to this fantastic storyline and more specifically, the play, which ran for many years in the West End as well as being a well-known film (two great versions). Students will focus on the opening suspense-filled section where the race is on to find a Golden Ticket. There are numerous opportunities for both performance and design aspects within the play and this will be a great culmination of the work carried out in Y7.
  •  Again, critical reflection and evaluation of performance in regard to of their own work, and the work of their peers, will be part of the feedback process.

 

Year 8

Exploring Dramatic Techniques

  • The techniques will focus upon suspense, tension and atmosphere in performance.
  • Short improvisation tasks will enable students to put into place how they might utilise the above techniques, constantly reflecting upon their work and the work of their peers.

Set text ‘The Woman In Black’ by Stephen Mallatratt (based on the novel by Susan Hill)

  • As a class, students will read the text as a whole. They will be directed to short video extracts where they can see how the actors transform this well-known work from multiple characters to just two actors. This idea of communicating multi-role characters is very important and will be instilled within the way in which the students approach this text.
  • Students to work in pairs and present a chosen extract from ‘The Woman In Black’. They must consider technical aspects such as sound and lighting in addition to the techniques explored.
  • Critical reflection and evaluation of performance in regard to of their own work, and the work of their peers, will be part of the feedback process.

 

Exploring Dramatic Techniques:2

Relationships in Performance

  • Improvisation and devising skills will be the focus of this LC.
  • Students will be presented with a range of starting points and they will be supported through tasks to produce performances of their own creation.
  • Starting points will include:
  • Scenarios (given to them be the teacher)
  • Images
  • Lyrics
  • Poetry
  • Newspaper Headlines
  • Sculptures/Art
  • Music
  • Historic moments in time

 

  • The idea of collaborative work is very much at the heart of this LC, as with other work students will have explored. The fact that the stimulus/starting point is not rooted in published text will allow different challenges.

 

  • As with other learning, critical reflection and evaluation of performance in regard to of their own work, and the work of their peers, will be part of the feedback process.

Exploring Dramatic Techniques:3

Of Mice And Men

  • Study of this iconic work, in collaboration with the English Department (this text is a focus of LC3 in Y8 English). Students will explore the characters, themes, issues, concepts, emotions and staging of this work.
  • Techniques to be considered:
  • Hot-seating/Thought-alley’ and the impact they can have on an audience. The interaction with the audience in these situations can also be incredibly powerful.
  • Students will be assigned groups and will present extracts from the work. There is a great deal of maturity that is required within this text and the students will be supported in the way that they will be expected to deal with these topics/issues.
  • Following the text study, students will create a ‘what happened next’ scenario and ‘characters’ will be expected to demonstrate their actions through a hot-seat task or ‘thought-alley’

Year 9

Exploring Dramatic Techniques: 1

  • The techniques will focus upon Musical Theatre as a genre. Students will learn how the three discrete areas of dialogue, song and dance all combine to form this energetic and escapist form of theatre.
  • Reflection on the professional repertoire will support students in choosing the scenes and sections that they choose to rehearse and ultimately present. Students will consider how they might utilise the three elements of Musical Theatre as their rehearsals progress. There will be constant reflection upon their work and the work of their peers. In addition, students may support the performers from a design perspective.

Set text ‘Grease The Musical’ by Jim Jacobs and Warren Casey

  • As a class, students will select extracts from the text. They will be asked to focus on characterisation, physicality and the combination of the three musical theatre elements. They do not have to ‘showcase’ all three elements, but they must display a collaborative approach at all times.
  • Students to work in groups of 4-6 performers (plus designers) and present a chosen extract from ‘Grease The Musical’. They must consider technical aspects such as sound and lighting in addition to the techniques explored.
  • Critical reflection and evaluation of performance in regard to of their own work, and the work of their peers, will be part of the feedback process.

 

  • LC1 links to the KS4 curriculum in Performing Arts (Component 1 and 2)

 

Exploring Dramatic Techniques:2

Approaching Drama From A Devised Perspective

  • During this LC the focus will be on using existing repertoire as a starting point.
  • Students will watch/read the text ‘An Inspector Calls’ by JB Priestley
  • This intriguing play will form the basis of the devised tasks that they will be asked to create.
  • By building upon the devising process (as seen within previous LCs in Y7&8) the intention is to equip the students with the confidence in techniques and skills when they do not have a script to follow) and to be able to plan, rehearse and perform collaboratively with peers.

 

Skills and techniques which will be focused upon are:

  • Character Motivation
  • Vocal techniques, to include volume; pace; pitch; accent
  • Physicality
  • Blocking
  • Interaction with other performers on the stage
  • Students should aim to keep a brief log of their development across the skill areas. This will enable them to physically see the progress they are making and to be able to acknowledge where gaps are within their acting/design specialisms. Log boog details may be set as an ongoing homework where recall of skills will be the focus.

 

  • The idea of collaborative work is very much at the heart of this LC, as with other work students will have explored.

 

  • As with other learning, critical reflection and evaluation of performance in regard to of their own work, and the work of their peers, will be part of the feedback process.

 

  • LC2 links to the KS4 curriculum in Performing Arts (Component 3)

 

 

Exploring Dramatic Techniques:3

Our Day Out by Willy Russell

  • The work in LC3 will focus on study of an entire set text. This will complement the learning that will be taking place in English lessons but will be a different text.
  • The introduction of the playwright, Willy Russell is strategic (in collaboration with the English Department, Y10 Blood Brothers set text for GCSE) and the intention is that the students will have exposure to Russell’s style as a playwright and also to the context and recognisable setting that Russell uses.
  • Whole class reading of the set text ‘Our Day Out’
  • Discussion and analysis of the characters, recalling and reflecting upon the techniques that we focused on in LC2 (Character Motivation
  • Vocal techniques, to include volume; pace; pitch; accent
  • Physicality
  • Blocking
  • Interaction with other performers on the stage)
  • Students to choose the extract that they wish to focus upon and put a plan in place for how the work will be physically blocked and presented on stage.
  • Students should aim to keep a brief log of their development across the skill areas. This will enable them to physically see the progress they are making and to be able to acknowledge where gaps are within their acting/design specialisms. Log boog details may be set as an ongoing homework where recall of skills will be the focus.

 

  • The idea of collaborative work is very much at the heart of this LC, as with other work students will have explored.

 

  • As with other learning, critical reflection and evaluation of performance in regard to of their own work, and the work of their peers, will be part of the feedback process.

 

  • LC3 links to the KS4 curriculum in English

 

 

Key Stage 4 course:

BTEC TECH AWARD IN PERFORMING ARTS

http://qualifications.pearson.com/content/dam/pdf/btec-tec-awards/performing-arts/2017/specification-and-sample-assessments/BTEC-L1-L2-AWD-PA-SPEC.pdf

 

How does the course work?

The course is made up of three components: two that are internally assessed and one that’s externally assessed. The three-block structure, explore, develop and apply, has been developed to allow students to build on and embed their knowledge. This will allow them to grow in confidence and then put into practice what they have learned.

 

 

Learning Cycle 1

Learning Cycle 2

Learning Cycle 3

Year 10

Component 1 and Component 2 are taught in correlation with each other (i.e. they run across the whole of Y10 LCs

During Component 1, you will:

  • explore performance styles, creative intentions and purpose
  • investigate how practitioners create and influence what’s performed
  • discover performance roles, skills, techniques and processes.

This component is internally assessed and is worth 30% of the overall course.

Aim: You will get a taste of what it’s like to be a professional actor, musical theatre performer or designer/production role.

 

During Component 2, you will:

  • take part in workshops, classes and rehearsals
  • gain physical, interpretative, vocal and rehearsal skills
  • apply these skills in performance
  • reflect on your progress, your performance and how you could improve.

This component is an internally assessed unit and is worth 30% of the overall course.

Aim: develop skills and techniques in the chosen discipline(s) of acting, musical theatre or a chosen design focus.

 

In LC 1, you will study NATURALISTIC theatre (Set text ‘Sparkleshark’ by Philip Ridley)

 

Component 1 and Component 2 are taught in correlation with each other (i.e. they run across the whole of Y10 LCs

During Component 1, you will:

  • explore performance styles, creative intentions and purpose
  • investigate how practitioners create and influence what’s performed
  • discover performance roles, skills, techniques and processes.

This component is internally assessed and is worth 30% of the overall course.

Aim: You will get a taste of what it’s like to be a professional actor, musical theatre performer or designer/production role.

 

During Component 2, you will:

  • take part in workshops, classes and rehearsals
  • gain physical, interpretative, vocal and rehearsal skills
  • apply these skills in performance
  • reflect on your progress, your performance and how you could improve.

This component is an internally assessed unit and is worth 30% of the overall course.

Aim: develop skills and techniques in the chosen discipline(s) of acting, musical theatre or a chosen design focus.

 

In LC 2, you will study MUSICAL THEATRE (this text will vary from year to year. Past choices have been ‘Blood Brothers’ by Willie Russell; ‘Grease’ by Jim Jacobs and Warren Casey; ‘We Will Rock You’ by Ben Elton/Queen)

 

Component 1 and Component 2 are taught in correlation with each other (i.e. they run across the whole of Y10 LCs

During Component 1, you will:

  • explore performance styles, creative intentions and purpose
  • investigate how practitioners create and influence what’s performed
  • discover performance roles, skills, techniques and processes.

This component is internally assessed and is worth 30% of the overall course.

Aim: You will get a taste of what it’s like to be a professional actor, musical theatre performer or designer/production role.

 

During Component 2, you will:

  • take part in workshops, classes and rehearsals
  • gain physical, interpretative, vocal and rehearsal skills
  • apply these skills in performance
  • reflect on your progress, your performance and how you could improve.

This component is an internally assessed unit and is worth 30% of the overall course.

Aim: develop skills and techniques in the chosen discipline(s) of acting, musical theatre or a chosen design focus.

 

In LC3, you will study THEATRE IN EDUCATION (set text ‘Too Much Punch For Judy’ by Mark Wheeller) The specific techniques linked to this text will be challenging but will provide a fantastic insight into this style of theatre.

Year 11

This Component is an externally assessed task, where you will work in groups of between 3 and 7 members to create a performance or a design based on a set brief, provided by Pearson.

This Component is worth 40% of the overall course.

The component is released to centres in January of Year 11.

During Component 3, students will:

  • use the set brief and previous learnings to generate creative ideas
  • build on your skills in classes, workshops and rehearsals
  • review the process using an ideas and skills log
  • perform a piece to your chosen audience
  • Reflect on their performance in an evaluation report.

 

 

Learning and exploration will continue in the same way as described in LC1.

During Component 3, students will:

  •  use the set brief and previous learnings to generate creative ideas
  • build on your skills in classes, workshops and rehearsals
  • review the process using an ideas and skills log
  • perform a piece to your chosen audience
  • reflect on their performance in an evaluation report.

During LC2, it is anticipated that the students will complete their performance and present it, according to Pearson’s exam conditions. They will also complete the evaluation log/

All work will be collated and each student will have their own unique digital folder.

It is anticipated that by 15th May of Y11, all work will be completed and with the exam board.

 

 

Performing Arts - Expectations Year 7 KS3

Age Related Expectations

KS3 DRAMA

YEAR 7

 

 

CREATING

 

 

PERFORMING

 

 

RESPONDING

Working towards

 

 

I can create drama which shows my research, exploring different characters and plots with help from my teacher. I experiment with some sound, lights, props or costume.

 

I can perform drama by staying in role in my group, sustaining some mood or atmosphere and taking part in whole class activities such as hot-seating.

 

I respond to drama by using some drama terms when evaluating performances, offering some ideas as to how it can be improved.

Approaching

 

 

I can create drama that shows my research and my ideas in the group. I can devise a simple script and experiment with dialogue, space and sound.

 

I can perform drama by co-operating with others, showing a character through my words and gestures. I understand how to create some tension in my performance.

 

I respond to drama by accepting others' comments about my work to help improve it. I recognise different genres such as soap and melodrama.

Meeting

 

 

 

 

 

 

 

 

I can create drama which is original in how it presents emotions. I challenge other's ideas sensitively and contribute to script work. I am starting to use symbols as a way of showing a feeling or idea.

 

I can perform drama by showing a clear and committed character, and by communicating, what the playwright wants me to in a script.

 

I respond to drama by discussing how it engaged the audience, whether the effects used in it were suitable and by knowing the features of different types of drama.

Above

 

 

I can create drama which, after research, shows I have thought about and experimented with what I want to perform for a specific purpose and audience. It uses structure, language, gestures, style in a unique or sometimes abstract way so that I use colour or objects to represent a theme.

 

I can perform drama by working responsibly and sensitively in my group, taking part in a full-length piece and by incorporating technical resources to enhance my performance.

 

I respond to drama by analysing how plots and characters work in different types of drama and by identifying how other groups achieved certain effects and if they were successful or not, and why.

Well-above

 

 

I can create drama which shows I have thoroughly developed my ideas based on research and knowledge, taking risks and shaping both the drama and others in my group very well.

 

I can perform drama by working really well to perform independently with good control over my voice, movement and words and show insight, originality and inspiration to others.

 

I respond to drama by clearly evaluating my contribution to the performance and writing in detail about how successful it was and why, showing a good knowledge of a range of theatre.

Performing Arts - Expectations Year 8 KS3

Age Related Expectations KS3 DRAMA

YEAR 8

 

 

CREATING

 

 

PERFORMING

 

 

RESPONDING/EVALUATING

Working towards

 

 

I listen to and co-operate with others, sometimes suggesting ideas to develop my own role. I can create a character who is different from myself. I can stay focused for most of the time in rehearsal.

I remember most of my part and stay in role for most of my performance. I can speak in role and show some support for others on stage. I am aware of what I want to communicate to an audience.

I can identify features of good performance work. I am able to discuss some aspects and can write in full sentences about my strengths and weaknesses and identify targets for improvement.

Approaching

 

 

I can stay focused throughout rehearsal and suggest some ideas to develop the work and roles. I can create a well-developed character with a viewpoint different from my own and shape work into a satisfactory dramatic structure.

I can speak clearly and use movement and gesture to show a character. I can stay in role on stage and provide reasonable support for others in performance. I can convey ideas to an audience through my stage work.

I can identify strengths and weaknesses in both my work and that of others. I can discuss and write thoughtfully about the skills and processes of drama in my log book. My writing shows a reasonable level of literacy.

Meeting

 

 

 

 

 

 

 

 

I suggest lots of ideas to develop work and roles, helping others sensitively in rehearsal. I can create drama in a variety of styles and devise a range of well-developed characters with extended roles. I can use some exploratory drama techniques.

I have good voice and movement skills and can convey well-sustained and convincing characters with confidence and some originality. I support others well on stage. I can convey complex ideas to an audience through my stage work.

I can compare drama interpretations, approaches and styles. My evaluations show a high level of understanding of the skills and processes of drama through extended discussion and a good level of literacy.

Above

 

 

I can lead others sensitively, keeping a positive working atmosphere and making contributions which significantly improve the effectiveness of the work. I can develop a variety of characters and create and explore drama for a range of purposes.

I have excellent control over all aspects of stage performance, showing confidence, originality and commitment in role. I provide sensitive support for others on stage, and my performance has a major contribution in conveying the play’s intentions to an audience.

I can analyse and evaluate play scripts, styles and genres perceptively. I discuss and can communicate thoughts and ideas as well as write analytically and in depth about drama skills, processes and techniques using drama terminology and show a high level of literacy.

Well-above

 

 

I work with total commitment and sensitivity in a group, leading and inspiring others. I experiment creatively with drama conventions and techniques, using my own initiative to develop work with a high degree of originality.

I have complete control over all aspects of stage performance and can display originality and create impact within a range of acting styles. I support other performers superbly and demonstrate a very high level of audience awareness.

I show an excellent understanding of drama genres, styles, conventions and techniques. My discussion and writing is perceptive, analytical and detailed, showing original insight. I use drama terminology with accuracy and display excellent literacy skills.

Performing Arts - Expectations Year 9 KS3

Age Related Expectations KS3 DRAMA

YEAR 9

 

 

CREATING

 

 

PERFORMING

 

 

RESPONDING/EVALUATING

Working towards

 

 

I can communicate effectively and make a positive contribution to a group by inputting ideas to convey meaning.

I can apply performance skills effectively to portray convincing characters.

I can analyse and evaluate drama and make thoughtful comments, sometimes using dramatic terminology.

Approaching

 

 

I can demonstrate good communication skills and begin to generate a range of clear and interesting ideas for performance or production to convey meaning effectively.

I can apply a range of performance skills effectively to portray convincing and believable characters as well as artistic intentions.

I can provide detailed analysis and evaluation of drama making insightful comments using dramatic terminology.

Meeting

 

 

 

 

 

 

 

 

I can demonstrate leadership skills and generate an extensive range of excellent ideas for performance or production to convey meaning.

I can apply a wide range of skills successfully to convey convincing and believable characters/or design skills realising credible artistic intentions.

I can analyse and evaluate drama using sophisticated, analytical dramatic terminology with technical accuracy.

Above

 

 

I can demonstrate confident leadership to generate an extensive range of excellent ideas for performance or production skills to convey meaning successfully.

I can apply an extensive range of performance skills successfully to portray a wide range of engaging, credible characters or designs applying artistic intentions through an awareness of stage craft.

I can rigorously analyse and evaluate drama using sophisticated, dramatic terminology with technical accuracy and fluency.

Well-above

 

 

I can demonstrate outstanding leadership to help generate highly creative and surprising ideas for performance or production skills to convey meaning successfully.

I can apply complex performance or production skills expertly to portray a wide range of engaging and realistic characters or designs applying a sophisticated use of stage craft.

I can rigorously analyse and evaluate drama (performance/production) using sophisticated, dramatic terminology with technical accuracy, fluency and creativity.

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