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History of Naomi Holcombe KS3 KS3

Introduction Naomi Holcombe is a teacher and Head of Year 8 at Queen Elizabeth’s The main aim of this scheme is for students to understand different periods in Hospital school in Bristol. She has been theatre history and to learn to perform in those styles. teaching the Edexcel course at GCSE for 10 years. As drama teachers we often cover a range of theatre styles and from different time periods at KS3, but it is helpful for students to be able to contextualise these styles in terms of theatre history. Learning about the origins of drama and how it has developed can help students to understand how modern drama has evolved and gives them an overview of theatre across the world, from many thousands of years ago to the present day. Organised into six one-hour lessons delivered over six weeks, this scheme can then be followed by a more in-depth study of particular periods or plays. It is suitable for Years 7, 8 or 9 and can be tailored to the ability level of your students. There are opportunities to stretch and challenge within the lessons or develop lessons further in order to take more time than is suggested here. In this scheme I have referenced and made use of some wonderful National Theatre videos that are on YouTube. These are very useful as they clearly explain and introduce students to key aspects of each style of theatre. Learning objectives Students will gain the following knowledge/skills during the 6 lessons: Resources to be sourced: ff An awareness of the first forms of drama ff Camera/iPad to record ff Turning into drama ff Internet (YouTube clips) ff Understanding the importance of Greek theatre within drama history ff Original texts (extracts are provided ff Consideration of how the Church used drama to convey morals and messages in the Resources at the end of this scheme, full length texts need to be ff Have used example scenarios to create their own commedia dell’arte scenes sourced): ; The Tempest; and characters Waiting for Godot. ff Reflected on Shakespeare’s influence on modern drama ff Thought about how more absurdist texts have contributed to today’s modern theatre. Resources provided with this scheme: Assessment ff Script extracts ff Peer assessment ff National Theatre video links f Assessment criteria sheets ff Video recording of each style for assessment f ff Scaffolded scene outlines f Assessment criteria sheet to mark performances in each style. f ff descriptions. Lesson 1: Dramatic beginnings

How did drama evolve? As a group, discuss what could have been the origins of drama. Focus on the development of drama before Greek texts. How did any kind of ‘’ come about? Ask: What is the purpose of theatre? Does it need to have an to be considered as a performance? Discuss rituals. What is a ? How could this be an example of an early form of drama? Place students in groups of 4–5. Ask them to choose a ritual: marriage, funeral, rain , etc. and condense it down to its simplest form. For example, a marriage simply needs two people, perhaps someone officiating, a higher power (either the law or God) and words/singing in a specific order. Rehearse and perform a selected number of rituals. Now in the same groups, they are to come up with their own ritual. This can be an everyday ritual, such as brushing their teeth, but they have to make it dramatic. Having established that rituals need some sort of group worship, words/singing in a specific order and unity, ask them to devise their own unique performance. www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 1 Scheme of work|KS3 Hand out Resource 1 to help them with this. Rehearse and perform. Plenary Give them 30 seconds in a pair to discuss what they have learnt about the possible origins of drama, before Greek theatre was established. How can an everyday ritual be turned into a performance?

Lesson 2: Greek theatre

Watch the National Theatre video ‘An Introduction to Greek Theatre’. https://www.youtube.com/watch?v=aSRLK7SogvE Once you have shown the video, discuss Greek . If you have time, you could also watch this fun cartoon TED talk, which explains the Festival of . (The American pronunciations of Greek plays and are interesting!) https://www.youtube.com/watch?v=BjLrMxO4cys They must now create their own Greek . They can make their stories fit with the time period, or modernise them. Some groups I have worked with have done some wonderful things on political leaders. Hand out Resource 2: the scene cards will help structure the work, so that they know what is required in each scene. Rehearse and perform. Plenary Evaluate the tragedies. What was effective? How do you think these stories would have been received in Greek at the time? Students must come up with three points that they have learnt about Greek theatre in the lesson.

Lesson 3: Medieval Mystery and Morality plays

Moving on in time, in the Church used drama to teach and convey messages to its congregation. Discussion: Why do you think that the Church used drama? How could dramatised stories be a way of manipulating people into leading morally upstanding lives? Watch this video, which gives an overview about medieval mystery and morality plays: https://www.youtube.com/watch?v=Yzcxd8tsJ3Q Then hand out Resource 3, the Everyman script. Read this as a class and explain that this script is a morality . Discuss the characters Everyman and . (I do not ask them to play the character of God, as some students are not able to do this for religious reasons, so I tend to stick to Everyman and Death.) In your classroom/studio ask students to walk around the space. They are a happy-go-lucky character. How would they move? Why is the character called Everyman? How does he represent you and me? Now walk around the space as Death. How might Death move? Think about facial expressions. Does Death have any props? Spotlight some students who are demonstrating good work to show others. Discuss the character of Death. He doesn’t necessarily have to be the dark hooded character with a scythe, but you need to show that he is powerful and frightening. Why does he need to be scary? Ask each student to come up with a line, either for Everyman, or for Death. Think about vocal qualities. How would these characters speak? Hear some of the lines out loud. Now ask them to use the script, from the line ‘Everyman, stand still’ and it out, thinking about all of the work they’ve just been doing on characterisation. Rehearse and see a few in performance. Now they must create a new scene which adds onto this script. Death asks Everyman what he has done in his life that is good and what he has done that is bad. Introduce the idea of a flashback. Students must freeze, flashback and show one good deed and one bad one. At the end they can decide whether Everyman lives or dies! Think about how Death could finish off Everyman. He is very www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 2 Scheme of work|KS3 powerful, so just the click of his fingers, or a ‘Jedi’-style hand movement could have Everyman drop to the floor. Rehearse, and if there is time, see and some of these performances. Plenary Ask them to discuss with the partner that they have been working with this lesson what they have learned about medieval drama and specifically about morality plays.

Lesson 4: Commedia dell’arte

Introduce the six stock characters; see Resource 4. Please note that the stock characters listed here are a simplified version. There are many more Commedia characters, as referenced in the National Theatre video, which they will watch in this lesson. Go through their character traits. Spend time exploring these practically. Remind students that this style of theatre was very exaggerated. For each character, read out their physical attributes and ask students to enact them. Work on the physical shape first, before adding any text. After this, they may devise one line which sums up the character and say this out loud. To reinforce this practical work, show the National Theatre video, which explores the characters and how to create different shapes. You could do this during their practical exploration of the characters, or before they start, depending on the strength of your students. https://www.youtube.com/watch?v=JJEwuurzDe4 Now explore the idea of a comic lazzi. Model this in front of the class with two students. Work on the idea of the Old Miser and Pulcinella the . Pulcinella is mimicking the old man and stealing his money as he counts it into his hand. Explore the idea that the old man regularly turns around to see if anyone is watching and Pulcinella hides, freezes, turns into a tree or a stool, etc. to add to the scene. Also mention that the clown can communicate with the audience using facial expressions, so that we are all in on the joke. Now hand out Resource 4a, Commedia scenarios. Put students into groups and ask them to pick a scenario. They can choose the one that was just modelled or pick their own. Spend time coming up with basic dialogue and really focus on the movement and lazzi of the scenes. Rehearse and perform. Plenary Who are the stock characters? What style of theatre is Commedia?

Lesson 5: Shakespeare

Many of your students might be quite familiar with Shakespeare; it is useful at the start of this lesson to ask them to do a subject audit, so that you can assess the level of your group. Give them one minute to talk to the person next to them about everything they already know about Shakespeare. Have a discussion with the class to assess how much they know/have studied previously. Many junior schools now are exploring a range of Shakespearean texts in class and in performance. Introduce Shakespearean text by watching this TED video. https://www.youtube.com/watch?v=vdCjKH5IKJ8 If your students enjoy humour, you could also play them this! Hand out Resource 5a – Shakespearean insults. This is taken from an online ‘Insult Generator’. There are many other examples online which you can download. Take lines from each column to create insulting phrases! In pairs, ask students to read lines to each other. Enjoy using the most descriptive phrases. Spotlight some of the most fun and energetic performances. Now explore text. Introduce the idea of The Tempest. Discussion: How can you create a storm on ? Think about lighting, sound, movement, set, , the audience hearing it but not seeing it, etc. Ask students to form a circle, sitting on the ground. They are going to create a soundscape of a storm. Think about interesting sounds and how to layer this up www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 3 Scheme of work|KS3 to a crescendo. Lead this activity by asking each student in turn around the circle to add a sound. ‘Conduct’ the exercise to play around with sound levels. Put students into groups of 5–6. Ask them to develop a movement sequence, using physical theatre, to show the shipwreck at the beginning of the play. Add in some of the sounds from the soundscape at the beginning of the lesson and include the lines from Resource 5b. Think about how to show motion, the splitting up of the ship and the characters being washed overboard. Rehearse and perform these scenes. Finish with this short one-minute piece by Simon Schama, which explains why Shakespeare is so important not only in drama, but in England. https://www.youtube.com/watch?v=CJNttzGHMTc

Lesson 6: The modern era

This lesson aims to bring the up to date and to develop an understanding of current theatre practice. Discuss the modern era and the current state of theatre. With iPads and and film, why hasn’t theatre ceased to exist? What is it about theatre that is still appealing to an audience? Discuss any theatre that the students have been to see. How has theatre changed since Shakespeare was writing plays? (Suggest: women on the stage; special effects; indoor spaces; etc.) Show this clip of Waiting for Godot starring Ian McKellen and Patrick Stewart: https://www.youtube.com/watch?v=MUXtzkLTABI Give a brief background to the play. Discuss how responded at the time it first appeared, and the idea of a , clowning and absurdism. Hand out Resource 6, an extract from Waiting for Godot. Read it as a class and discuss the text. In pairs, students work through the extracts looking for moments of humour and moments of sadness. Consider the use of pauses carefully. Allow time for and then see the performances. Plenary How does the modern era keep audiences interested in going to the theatre? Hand out Resource 7, a theatre history quiz. Ask students to complete this in class, or for homework to complete the scheme. Assessment You can assess each piece of theatre as you go along, using Resource 8 which outlines what needs to be included in each piece. Or you can develop extension work to get students to create a piece of drama from any style you have studied over the scheme and work on an extended rehearsal and assess this as a separate piece. A few extension ideas Greek theatre Chorus work. Look at Antigone or Oedipus and focus on the demise of the central characters. There are some great videos on the recent National Theatre production of Antigone, which was performed in a modern style. Commedia dell’arte Some original script is available and students can develop their own scenarios further using props and . Shakespeare The Globe website has some lovely resources and handouts. Gifted and talented students could be assigned research projects and present their findings to the class about the history of The Globe.

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 4 Scheme of work|KS3 RESOURCES Resource 1: Ritual

Once you have decided what your ritual is, make sure you include the following:

1. Ensemble movement – everyone moving together and in time with each other 2. Choral speaking – everyone saying a line of text/dialogue at the same time 3. Adoration of some kind of power – if your ritual was brushing your teeth, the higher power could be the God of Toothpaste for example 4. Movement – either a dance, or just a more simple set of moves 5. Chanting or singing of some kind.

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 5 Scheme of work|KS3 Resource 2: Greek Tragedy

Once you have decided what your storyline is, remember to include the following: Scene 1

A central heroic figure. You must create a scene demonstrating why your central character is a hero. Perhaps he has fought in many wars and won many battles. The people love him.

At the end of your scene, the chorus must create a line which sums up how the people feel about the hero. For example ‘He is great, he is magnificent, he is our King’. This must be said all together, or you could sing it! Add in some movement too, to show the audience how the people feel.

Scene 2

Your central heroic figure does something which displeases his people. Perhaps he has raised taxes, ordered too many people around, taken money for himself?

Demonstrate what he has done and create a scene where his people start to show their displeasure.

The chorus must speak at the end and show the audience what they think.

Scene 3

The people have plotted to kill their heroic leader. Create a scene where we see people against him.

The downfall of the figure can be shown.

The chorus praise his demise and perhaps start worshipping a new leader.

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 6 Scheme of work|KS3 Resource 3: Everyman Script HERE BEGINNETH A STORY ABOUT HOW THE HIGH FATHER OF HEAVEN SENDETH DEATH TO SUMMON EVERY CREATURE TO COME AND GIVE ACCOUNT OF THEIR LIVES IN THIS WORLD, AND IS IN MANNER OF A MORAL PLAY.

DEATH: Almighty God, I am here at your will, Your commandment to fulfil.

GOD: Go thou to Everyman, And show him, in my name, A journey he must take, A pilgrimage. Go without delay.

(God withdraws)

(Enter Everyman, skipping along the road quite merrily. Suddenly a figure appears to him.)

DEATH: Everyman, stand still! Where are you going so merrily? Have you forgotten your maker?

EVERYMAN: Why do you ask?

DEATH: In great haste I am sent to you from God, out of his majesty!

EVERYMAN: What, sent to me?

DEATH: Though you think not of him here, he thinks on you in his heavenly sphere.

EVERYMAN: What does God want of me?

DEATH: That I shall show you. You must go on a journey, a pilgrimage. Before God, you must show how you have spent your life.

EVERYMAN: I know you not. What messenger are you?

DEATH: I AM DEATH!

(Everyman sinks to his knees, crying and whimpering)

EVERYMAN: Oh Death, you come when I had you least in .

DEATH: It does no good to cry, weep and pray, no Everyman!

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 7 Scheme of work|KS3 Resource 4a: Commedia dell’Arte Scenarios

Scenario This is a quick Commedia scenario using two or three characters each, to get you started with your . Read the scenario through with your partner/group. Then use this sample scenario to create an expanded scene. Get used to the body and of your character before you begin (check the character cards if you are unsure, or have forgotten!)Find out what it’s like to act without a script, but with a given character. Your scene is described below: Pantalone enlists Arlecchino’s help in getting a date with Flaminia, who doesn’t know he exists. Arlecchino gives him a lot of bad advice about his clothes and how he should act.

Scenario This is a quick Commedia scenario using two or three characters each, to get you started with your improvisation. Read the scenario through with your partner/group. Then use this sample scenario to create an expanded scene. Get used to the body and mannerisms of your character before you begin (check the character cards if you are unsure, or have forgotten!)Find out what it’s like to act without a script, but with a given character. Your scene is described below: Capitano enters. This is a new town to him, and he has heard that a rich widow lives here. He wishes to marry her, but so does Flavio. So he challenges Flavio to a duel.

Scenario This is a quick Commedia scenario using two or three characters each, to get you started with your improvisation. Read the scenario through with your partner/group. Then use this sample scenario to create an expanded scene. Get used to the body and mannerisms of your character before you begin (check the character cards if you are unsure, or have forgotten!)Find out what it’s like to act without a script, but with a given character. Your scene is described below: Isabella has received a letter from her lover, Flavio, and has taken all of his compliments the wrong way. She sees him on the street, and sends her servant to him with a verbal message. The servant of course, gets the message wrong, and Flavio sends a message back to Isabella. The servant is sent back and forth with messages, until the two lovers meet face-to-face.

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 8 Scheme of work|KS3

Scenario This is a quick Commedia scenario using two or three characters each, to get you started with your improvisation. Read the scenario through with your partner/group. Then use this sample scenario to create an expanded scene. Get used to the body and mannerisms of your character before you begin (check the character cards if you are unsure, or have forgotten!)Find out what it’s like to act without a script, but with a given character. Your scene is described below: Arlecchino is pretending to be a waiter at a restaurant where Pantalone is eating. He is not a very good waiter and spills food on him and trips him up. He tries to distract Pantalone so he can steal his money!

Scenario This is a quick Commedia scenario using two or three characters each, to get you started with your improvisation. Read the scenario through with your partner/group. Then use this sample scenario to create an expanded scene. Get used to the body and mannerisms of your character before you begin (check the character cards if you are unsure, or have forgotten!)Find out what it’s like to act without a script, but with a given character. Your scene is described below: Pulcinella is showing off in the square, demonstrating his mime skills and acrobatic abilities. Capitano, not wanting to be upstaged in front of ladies, tries to compete.

Scenario This is a quick Commedia scenario using two or three characters each, to get you started with your improvisation. Read the scenario through with your partner/group. Then use this sample scenario to create an expanded scene. Get used to the body and mannerisms of your character before you begin (check the character cards if you are unsure, or have forgotten!)Find out what it’s like to act without a script, but with a given character. Your scene is described below: Pantalone is suffering from terrible back pain. He goes to see the Doctor to ask for a remedy. But Pulcinella is pretending to be the Doctor and plays tricks on Pantalone. Eventually Pantalone realises!

Scenario This is a quick Commedia scenario using two or three characters each, to get you started with your improvisation. Read the scenario through with your partner/group. Then use this sample scenario to create an expanded scene. Get used to the body and mannerisms of your character before you begin (check the character cards if you are unsure, or have forgotten!)Find out what it’s like to act without a script, but with a given character. Your scene is described below: Pantalone goes to the Doctor with back pain. The Doctor is taken ‘hostage’ by Pulcinella the clown and he decides to play the Doctor and experiments on the old miser!

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 9 Scheme of work|KS3 Resource 4b: Commedia dell’Arte stock characters

Name Status Movement/Gesture Props

The Pulcinella Can be high or He can be played two ways – either slow low and clumsy or fast and acrobatic. He takes small jerky steps. Uses few gestures but is an excellent . Impersonates birds and animals.

Arlecchino Low Energetic and acrobatic. He jumps, hops, runs. Slapstick His knees are often bent. Quick physically but slow mentally. He uses very precise gestures, especially when telling stories. He cannot read or learn from his actions. Enjoys planning tricks which don’t always work out.

The Lovers Flavio High, but Hopelessly in love all the time, but mostly A mirror to look at hopeless. with himself. himself Light on his feet. He leans, sways and falls from side to side. Elegant and fragile. Doesn’t A handkerchief look for a fight, but is a good swordsman. He waves his handkerchief through the air. A sword.

Flaminia High, but made Dainty, light and floating, like a ballerina. A fan low by her Uses lots of arm and hand gestures. Very infatuations. fickle. Spoilt and impatient. Loves to be flattered by men. Lives in her own fantasy world.

Isabella High. Very rich Elegant and graceful, until she loses her A fan and eligible. temper. Flirtatious, clever and headstrong. Usually gets her own way. Men constantly fall in love with her, but she plays hard to get.

The Old Miser Pantalone Very high. He He is old and hunched. He stoops and hops Gold medallion has lots of from one foot to the other. His hands flutter servants. all the time over the purse in which he keeps Dagger in his sock his money. He preys on women! Thinks everything can Walking stick be bought and sold. Purse

The Show-off Capitano A loner. Broad shoulders, straight back, wide stance, A long sword Pretends to be chest high. He takes long bouncing strides. high status. Runs when frightened, kicking his feet forwards. He loves to show off, but is a coward. He thinks himself to be handsome and brave, but he is actually ugly and cowardly. Not a real Captain.

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 10 Scheme of work|KS3 Resource 5a: Shakespeare Insult Kit Combine one word from each of the three columns below, prefaced with “Thou”: Column 1 Column 2 Column 3 artless base-court apple-john bawdy bat-fowling baggage beslubbering beef-witted barnacle bootless beetle-headed bladder churlish boil-brained boar-pig cockered clapper-clawed bugbear clouted clay-brained bum-bailey craven common-kissing canker-blossom currish crook-pated clack-dish dankish dismal-dreaming clotpole dissembling dizzy-eyed coxcomb droning doghearted codpiece errant dread-bolted death-token fawning earth-vexing dewberry fobbing elf-skinned flap-dragon froward fat-kidneyed flax-wench frothy fen-sucked flirt-gill gleeking flap-mouthed foot-licker goatish fly-bitten fustilarian gorbellied folly-fallen giglet impertinent fool-born gudgeon infectious full-gorged haggard jarring guts-griping harpy loggerheaded half-faced hedge-pig lumpish hasty-witted horn-beast mammering hedge-born hugger-mugger mangled hell-hated joithead mewling idle-headed lewdster paunchy ill-breeding lout pribbling ill-nurtured maggot-pie puking knotty-pated malt-worm puny milk-livered mammet qualling motley-minded measle rank onion-eyed minnow reeky plume-plucked miscreant roguish pottle-deep moldwarp ruttish pox-marked mumble-news saucy reeling-ripe nut-hook spleeny rough-hewn pigeon-egg spongy rude-growing pignut surly rump-fed puttock tottering shard-borne pumpion unmuzzled sheep-biting ratsbane vain spur-galled scut venomed swag-bellied skainsmate villainous tardy-gaited strumpet warped tickle-brained varlot wayward toad-spotted vassal weedy unchin-snouted whey-face yeasty weather-bitten wagtail www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 11 Scheme of work|KS3 Resource 5b: Lines from The Tempest ‘Down with the top mast’

‘Take in the top sail’

‘I pray now masters, keep below’

‘Mercy on us, we split, we split’

‘All lost, all lost, to prayers all lost’

You must include these lines in your piece. Don’t forget to add in the soundscape around the lines as well. Use physical theatre to show the audience the ship breaking up and the characters being cast adrift.

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 12 Scheme of work|KS3 Resource 6: Waiting for Godot, script extract Estragon draws Vladimir towards the tree. They stand motionless before it. Silence.

ESTRAGON: Why don’t we hang ourselves?

VLADIMIR: With what?

ESTRAGON: You haven’t got a bit of rope?

(Silence)

VLADIMIR: Let’s go.

ESTRAGON: Wait, there’s my belt.

VLADIMIR: It’s too short.

ESTRAGON: You could hang onto my legs.

VLADIMIR: And who’d hang on to mine?

ESTRAGON: True.

VLADIMIR: Show all the same (Estragon loosens the cord that holds up his which, much too big for him, fall about his ankles. They look at the cord). It might do, at a pinch. But is it long enough?

ESTRAGON: We’ll soon see. Here.

(They each take an end of the cord and pull. It breaks. They almost fall.

VLADIMIR: Not worth a curse.

(Silence)

ESTRAGON: You say we have to come back tomorrow?

VLADIMIR: Yes.

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 13 Scheme of work|KS3 Resource 7: Theatre History Quiz! 1. Name some of the earliest forms of drama that we know about. 2. What was the festival called in Greek theatre where plays were performed as part of a competition? 3. What type of stage is a Greek theatre? 4. What was the function of a chorus in Greek theatre? 5. How and why did the Church in Medieval times use drama to tell their stories? 6. What is a ? 7. Name three stock Commedia characters 8. What style of performance was commedia dell’arte? 9. What is the theatre called, which has been re-built in , where Shakespeare’s plays were performed? 10. What time period was Shakespeare writing in?

Answers: 1. Accept any of the following answers: storytelling, ritual, Greek theatre. 2. The Festival of Dionysus. 3. An amphitheatre. 4. To represent and reflect the views of the people and comment on the story. 5. To get their congregation to lead good and moral lives, they created mystery plays. 6. A play which asks you to consider your own morals and persuades you to live a good life, otherwise Death will come for you. 7. Pulcinella, Arlecchino, Flavio, Flaminia, Isabella, Capitano, Pantalone. 8. Exaggerated and physical. 9. The Globe theatre. 10. 1590–1613.

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 14 Scheme of work|KS3 Resource 8: Assessment grid for each theatre time period (You can cut these up and use them at the end of each lesson, or present all the styles together in one lesson at the end to be assessed).

Each style of drama must have certain elements included in order to be clear. Look at the lists below. Which performances that you have seen have included all of these bullet points? Look at the final few bullet points. The most successful performances should have also considered these points. Assess the performances that you see and give them a mark according to the criteria. Which groups were the most successful at capturing the style of theatre they were presenting and why?

1. Ritualistic drama 2. Greek Theatre yy An element of choral movement yy A central heroic figure, who has flaws yy Repetitive action yy A chorus which reflects the views of the community yy Adoration of a higher power yy A tragic ending yy A few lines of text yy A moral or thought-provoking ending Successful performances will also have considered: Successful performances will also have considered: yy Choral speech yy Well-developed lines of dialogue between the hero yy Lines of dialogue and his company yy /sung text yy used for the chorus yy Links to Ancient or modern .

Mark / 7 Mark / 7

3. Commedia dell’Arte 4. Shakespeare yy An exaggerated performance style yy Some use of the original text yy Clear, well developed mime yy Clear defined characters yy Distinct characteristics for each ‘’ yy Staging ideas for a modern audience Successful performances will also have considered: Successful performances will also have considered: yy Some devised lines of dialogue yy Original ideas for performance using physical theatre yy Use of props yy A clear soundscape which builds and crescendos yy A comic ‘lazzi’ throughout the scene yy Interaction with the audience yy Lines learned off by heart

Mark / 7 Mark / 6

5. Everyman plays 6. Absurdism yy A clear moral message yy Use of comic pauses yy Definite characteristics which differ for Death and yy An awareness of who the characters are Everyman yy Clear use of body/movement y The consequences of not living a good life y Successful performances will also have considered: Successful performances will also have considered: yy How to deliver the original text and convey meaning to yy How this relates to people in today’s society an audience yy Some more moral dilemmas yy Some costume/props in performance yy An interesting and fresh approach to the yy Differentiation between the characters Vladimir and characterisation of Death. Estragon

Mark / 6 Mark / 6

www.teaching-drama.co.uk Teaching Drama · Summer term 1 · 2015/16 15