The Principle Elements of Examining Secondary School Drama In the 1960s and much of the following decade, where there was British school drama going on it was unstructured and delivered by a handful of inspired devotees who had seen the enormous potential of getting teenagers to roleplay, simulate and make-believe. Nobody thought it was possible to evaluate significantly drama work for examination purposes. When the National Curriculum arrived in the late 1980s drama was not included in the 10 core subjects, but curriculum drama began to come under pressure to come up with some examinable criteria. The Arts Council report Drama in Schools (2003) began to define the drama process as making (exploring, devising, shaping and interpreting); performing (presenting and producing) and responding (evaluating and applying knowledge and understanding).
Teaching Drama: Characterization Through Costume Putting on costume pieces engages the imagination and aids the actor to move in character. This group drama game uses simple costume pieces and pantomime to teach young actors the importance of movement and physicality. As a drama teacher, collect and store various items useful as costume pieces. Any hat will spur imaginative impulses in acting students, but no need to stop there. An old suit coat turns a child into a businessperson or politician. A red throw blanket transforms a student into a super hero or little red riding hood.
Acting Exercises: For High School Students and Beginners Here are a few acting exercises you can use to sharpen up your craft. Some of them are simple theatre games, while others are more complex. All of them are designed to help your acting abilities. The Paradox of Devised Theater on the Twenty-First Century Stage For about a year now, my theater company, The Krane, has been working on a piece of devised theater called The Underground. During this period, we have, appropriately, been living in a kind of metaphoric underground bunker of ideas wherein what we are doing, in essence, is building a ladder to the surface of the contemporary stage. This ladder to the surface is complex. Our intent is that, once we come out from our den of creativity, we are able to reach a broad audience, while, at the same time, remaining true to the “underground” nature of the form. To start—a definition.
Classroom Exercise: Verbatim Theatre - The Theatrefolk Weblog If you’re looking for a great cross-curricular activity for your drama classroom, delve into Verbatim Theatre. verbatim: in exactly the same words, word for word Verbatim Theatre uses a process in which a playwright interviews subjects on a particular topic and issue, records the responses, then use those words exactly as they are – no changes. There are some challenges to this type of project: How do you construct a theatrical experience with this material? You can’t change things around to make them more dramatic.
THE CRAFT: Mechanics of Movement - Laban Theory can help actors suit the acti... By Jean Schiffman | Posted Feb. 21, 2001, midnight We've probably all heard of Laban Movement Theory, a system of studying the mechanics of human movement. For actors, it can help us connect up our external movement and our internal impulses-especially useful in creating characters. But although it's taught at various training centers and universities in the United States, it's apparently more popular in Europe than here. American actors, in creating a character, tend to focus on emotion first, movement second (if at all). comm21 / Laban Movement Exercises Workshop format, simplified by Matt and Tracy Hill Download these Laban Movement Exercises: Laban_workshop.doc We will be using Laban’s techniques to identify your effort/shape- how your body moves through space- as a starting point from which to create an effort/shape for the character of the speaker/agent in your poetry performances. Laban called the description of how one moves “effort.” Theoretically, while the definition of “work” in physics refers to weight being moved along a path within a certain time, “effort” refers to how kinetic energy is expanded in space, force, and time within functional and expressive behavior. The form of the movement through space he called “shaping.”
Main - TEDb GCSE Bitesize: Choosing a style or practitioner for your devised piece.