A and B place pressure against the ball and try to move them off balance.

Stage 6 Drama: Studies in Drama and Theatre Approaches to Acting. TOPIC: Studies in Drama and Theatre Topic 6, Approaches to DURATION: 10 weeks Acting YEAR: 12 TERM: 1 DESCRIPTION: In this unit students learn through theoretical and experiential learning about practitioner s Augusto Boal and Vsevolod Meyerhold and the aspects of drama and theatre, the societies and cultures, themes, issues, the historical, social, cultural and political contexts that influenced their particular forms, styles and movements. OUTCOMES: Making The student: H1.5 Demonstrates directorial skills. Performing The student: H2.4 Appreciates the dynamics of drama as a performing art. Critically Studying The student: H3.1 Critically applies understanding of the cultural, historical and political contexts that have influenced specific drama and theatre practitioners, styles and movements. H3.2 Analyses, synthesizes and organizes knowledge, information and opinion in coherent, informed oral and written responses. Teaching & Learning Strategies Critically Studying Content: Making & Performing Content: Resources Reg. Augusto Boal 1.Introduction What is Power/Oppression? Physicalising Power/Oppression: Juggling Balls Students brainstorm in groups using butcher s Juggling Ball Activity: In pairs, person A holds a ball to their Butcher s Paper paper to write down their ideas on what the forehead. Person B leans in and places their forehead Markers terms mean. Groups then share their responses against the ball. On the teacher s instruction both Person What is Power and Oppression? Handout with each other. Each student compiles an individual brainstorm in the workbook. A and B place pressure against the ball and try to move them off balance. Structuring an Experiential Learning Response Handout. How is Power misused? Individual/Group Tableaus: Using the definitions from the Definitions of Power and Oppression. brainstorm and the official dictionary definitions students Students receive dictionary definitions of both terms. stand in a circle and think of a time when they felt oppressed or victimized. Students physicalise and face in Logbook Reflection on Experiential Learning Content. towards the circle showing the group their pose. Discuss. Students then split into two groups and offer physical Students revise the structure suggestions to create a visual image of oppression. Add a sound, word or single action to create a human machine. 2.Cultural and Historical Background to the Theatre of the Oppressed. Brief biographical details about Augusto Boal. Warm-Up: Oppressed/ Oppressor: Students form a circle. 2 Unit Drama Excel Handbook by Miranda Jefferson, Look at the influence of Aristotle, Hegel and Brecht on the development of his philosophy. One student enters the circle and physicalises being oppressed. Another student enters the circle and Augusto Boal, pg 119-120 About Augusto Boal, Poetics of the Oppressed and The Theatre of the The Poetics of the Oppressed (Philosophy) becomes the oppressor. The oppressed student leaves the Oppressed. Students learn the main aim of the ToO is to change people, to sympathise with the oppressed in any situation and believe in humanities ability to change. circle and the oppressor then becomes the oppressed. Another student then enters the circle to become the oppressed. Check your Understanding 1 & 2 Hand out. Students learn the difference between an actor 1

and a non-actor. Students learn the concept of the spect-actor and their role in the dramatic action. Students learn Boal s definition of theatre and acting. Students look at an overview of how Boal believes actors should prepare for ToO. The creation of The Theatre of the Oppressed and its main goal to know and to transform. 3.The Arsenal of the Theatre of the Oppressed The Structure of the Actor s Work Students learn the importance of the body to Boal, that it is where the physical and psychic are combined, that it is a thought and a thought expresses itself in corporeal form. The role of senses and their link to the body (sight, touch, taste, sound, smell) and the development of exercises and games under specific headings: feeling what we touch, listening to what we hear, dynamising several senses, seeing what we look at, the memory of the senses, image theatre. The concept that actors can be empowered by demechanising the patterns of the actor s physical and emotional habitual behaviour. By becoming aware of these functions an actor can then re-tune. Students learn the following terms: Arsenal, Exercises, Games, Gamesercises. Examples from text: West Side Story p93, The President s Bodyguards p 97, Bradford p99. Warm-Up: Stanislavski Based Memory: Daily Recall (homework) Muscular: Picking up a Shoe Sensory: Picking up from the Same Point Discussion: What ability do the senses have? What happens when we change environments? Feeling What We Touch Circle and Cross pp 50-51 Colombian Hypnosis pp 50-5 Minimum Surface Contact pp 51-52 Trust Circle p 62 Listening to What We Hear A round of rhythm and movement p 92 Machine of Rhythms p 96 Preuvian Ball Game p96 Seeing What we Look At Mirrors: Everyone Joins Hands p 131 Modelling: The Sculptor Touches the Model pp 136-137 The Sculptor with 4 or 5 People pp 138 Puppet: Strong Puppet p139 Fear and Protector p 142 Building Character Relations p143 Complete the Image p139 2 Unit Drama Excel Handbook by Miranda Jefferson, Augusto Boal, pg 123-125 The Structure of the Actors Work, The Arsenal of the Theatre of the Oppressed. Arsenal of the Theatre of the Oppressed Definitions Handout. Games for Actors and Non-Actors 2 nd Edition, Chapter 2 The Structure of the Actor s Work, Muscular and Sensory Exercises pp31, Memory and Imagination Exercises pp32. Dynamising Several Senses The Point of Focus p 115 Noises p 116 The Magnet p 119 The Vampire of Strasbourg p120 The Memory of the Senses Remembering a Day in the Past p 172 Memory, Emotion, Imagination 173 Remembering an Actual Oppression p 173 2

4.Will/Counter Will Students learn the following concepts: Acting is emotion with reason and a character s emotion is not static but in a dynamic with other characters. The actor s role of interpretation is dialectical (logical discussion in investigating the truth of a theory or opinion). Will is a want or motivation; Counter-will is something that acts against emotion or will because no emotion is pure. There is always an inner conflict of wills. Conflict: the different types of conflict. The dominant will leads to the character s actions which link with the central idea of the play which is the result of ideas in conflict. Quantitative variation is the building up of wills. Qualitative Variation is the change or action of the characters. Experiential Learning Reflection 5.Image Theatre Students learn the following concepts: Dynamisation, Real vs, Ideal. Cop in the Head Discussion of Pasha on pp178-180. Experiential Learning Reflection. CHOOSE EXERCISE 2 Unit Drama Excel Handbook by Miranda Jefferson, Augusto Boal, pg 123-125 The Structure of the Actors Work, The Arsenal of the Theatre of the Oppressed. Will and Counter-Wills Handout. Games for Actors and Non-Actors 2 nd Edition, Chapter 2, The Structure of the Actor s Work, Emotion Exercises pp 32-40. Experiential Learning Reflection Template. Warm-Up: Peruvian Ball Game pp. 96 Activity: Illustrating a Subject with your Body. Class forms a circle and faces out. Students think of what it is like to be an HSC student and physicalise that emotion/experience (This is a psychological/personal vision). 1 st dynamisation: group several of these images together (This is a social vision/multiple point of view). 2 nd dynamisation interrelates the images. This is a unified/global vision. Activity: Illustrating a Subject Using Other People s Bodies. Think of the idea of the family meal. One participant sculpts the others to create the image of the family meal. 1 st dynamisation: make a repeated, rhythmic movement that elaborates on the character (up to the actor to interpret not the sculptor to direct). 2 nd dynamisation: actor utters a sound, word or phrase which fits in with the character presented. 3 rd dynamisation: repeats, then continues as an improvisation. Activity: Image of Transition. Reach a consensus on oppression to be depicted then construct an image of oppression using other people s bodies. This is the REAL oppressive image. No words are to be used when depicting this image. Construct an IDEAL (non oppressive) image. No discussion, except in response to what has been sculpted. Return to the REAL. Take turns to suggest steps to move from REAL to IDEAL image. Are solutions realizable by MAGIC? Activity: Form pairs and one sculpts the other into an image of happiness. 1 st dynamisation: the sculptors examine each of the images to decide the happiest. On 3 2 Unit Drama Excel Handbook by Miranda Jefferson, Augusto Boal, pg 121-122 About Augusto Boal, Poetics of the Oppressed and The Theatre of the Oppressed. Check your Understanding 3 Handout. Experiential Learning Reflection Template. Cop in the Head Handout.

6.Forum Theatre Students learn the following concepts: The Joker (pp260), The Protagonist. Students engage in discussion about changes to the dramatic action. a signal (clap) they rush to the image they perceive as being the happiest and replace it (First in, it slower must choose second happiest). 2 nd dynamisation: on signal, those now observing again choose the happiest but combine in the image in the same position (so everyone is on stage). 3 rd dynamisation: on signal move around trying to form relationships with the aim of forming a happier relationship all at the same time creating a permanent state of flux and modification. Warm-Up: Pushing Against Each Other pg 59-60. Groups of 3-4 recount stories to each other of their experiences of oppression. They then select one story to be workshopped and developed into a scene. This is performed for the class as a prepared improvisation. One scene is then selected and performed again. Class members are invited to call halt to the scene and to take the place of the oppressed person. Many ideas are encouraged and enacted. 7.Invisible Theatre Background and Examples. Invisible Theatre example enacted in front of class. Discussion of observations. Vsevolod Meyerhold 1.Introduction Brainstorm ideas on butcher s paper about the stage space, audience, actor and dramatic meaning based on the following questions: What do I already know and understand about this concept? Cultural and Historical Background to Vsevolod Meyerhold. Meyerhold s Philosophy and Writings. Students watch introductory video on Meyerhold http://www.youtube.com/watch?v=duugaqqgbs0. Games for Actor s and Non-Actors, Chapter 5, Forum Theatre: Doubts and Uncertainties, pp253-275, specifically, pp260, The Conduct of the Joker. Translator s Introduction pp. xxi-xxii Experiential Learning Reflection Template. Invisible Theatre handout. Chapter 6, Games for Actors and Non Actors pp 277. ppxxiii Vsevolod Meyerhold handout (summarised link from meyerhold.org). Meyerhold s Philosophy and Writings handout. Butcher s Paper. Markers. 2.7 Key Areas of Thinking Students are provided with an overview of Meyerhold s seven key areas of thinking: naturalism, stylization, rhythm and music, the mask, the grotesque, biomechanics and montage. These seven key areas can be linked to the four main aspects of Meyerholds theory: the stage space, the audience, the actor s performance and dramatic substance. Naturalism vs. Stylisation Pg. 47 Vsevolod Meyerhold, Jonathan Pitches Naturalism & Stylisation Theory and Workshop handouts. Check your Understanding: Meyerhold so Far Handout Script Excerpt from The Tarantella Scene in A Doll s House by Henrik Ibsen. 3.Rhythm & Music Students explore the concept of rhythm and music in a stylized performance. In particular students study Pg. 53 Vsevolod Meyerhold, Jonathan Pitches Rhythm and Music Handout. Requiem for a Dream Soundtrack. the concept of otkaz, posil and tochka. 4.Biomechanics Pg 67, Vsevolod Meyerhold, Jonathan Pitches Biomechanics and The Actor of the Future 4

Students study Meyerholds method of actor training looking at the breaking down of movements, the etude, the dactyl and how it aids a stylized performance. 5.Mask & The Grotesque Students explore the role of the mask in contributing to an actor s performance in a stylised performance and the grotesque as part of the stylization of a piece of theatre. 6.Montage Students explore the role of montage in creating a stylized performance. Chapter 4, Practical Exercises, pg 111. handout. Working on the Etude pp138-142 from Practical Exercises in Vsevolod Meyerhold by Jonathan Pitches. Pg 57-67 Vsevolod Meyerhold, Jonathan Pitches The Mask Handout. Arlecchino Handout. The Grotesque Handout. Goya print The Sleep of Reason Produces Monsters (1797). Excerpt from The Fairground Booth by Aleksander Blok (1906) Excerpt from The Mines of Falum by E.T.A Hoffman (1819). Pg 73. Vsevolod Meyerhold, Jonathan Pitches Chaplin and Eisenstein: A Theory of Montage Handout. Program Evaluation: Teacher: Faculty: Student: Evidence of Learning: Making & Performing: Assessment Task 1/2/5: Facilitating workshop. Appreciating: Essay Response. Feedback: Teacher observation, written and oral feedback during discussions and performances. Constructive criticism from peers and audiences. Quality Teaching: Intellectual Quality Quality Teaching: Learning Environment Quality Teaching: Significance Deep Knowledge: key concepts are explored as a foundation for producing work throughout Drama. Deep Understanding: concepts are understood through practical tasks and written reflections. Problematic Knowledge: improvisation and performances reflect social constructions. Audience members interpret and analyse using verbal or written reflection as to whether it is appropriate or interpreted correctly. Audience offer suggestions for improvement through discussion and questioning. Higher Order Thinking: written reflections and construction of performance tasks refer to Bloom s Taxonomy. Meta Language: terminology and concepts are frequently referred to through verbal and written reflections. Explicit Criteria: assessment tasks contain explicit submission guidelines and marking criteria, examples of previous work or an example/scaffold by the teacher of what is expected is provided, classroom activities refer back to assessment tasks and how they can be used in tasks and tasks themselves look at quality and high achieving responses. Engagement: varied activities of both practical and theoretical components and are influenced by Gardner s 8 Intelligences used. Tasks are short and ensure time for revision and reflection of concepts learnt. High Expectations: encouragement to work hard individually or in groups, take risks and be creative is encouraged. Giving it a go is the minimum and is recognised. Social Support: respecting each other s work and opinions, working in groups or pairs. Student Self-Regulation: students regulate their own 5 Background Knowledge: previous Drama courses, theatre/films watched and local, social culture that can be used to support concepts. Cultural Knowledge: drama history and traditions linking with the crosscurricular areas of civics and citizenship of Australia, difference and diversity and gender help to present both the dominant culture and multiculturalism as equal and valued. Knowledge Integration: varied teaching and learning strategies, ICT, literacy, numeracy, communicating ideas and information, problem solving help students to make meaningful connections between concepts and their practicality in Drama. Inclusivity: all students are expected to genuinely participate in all tasks and encourage, support and respect others when doing so. Connectedness: performances during assembly, for the school community and feeder schools, connecting the skills learnt to future jobs. Narrative: students perform narratives and discuss and write about the processes of their learning in their logbooks, stories of experiences relating to concept.

Substantive Communication: Performances, written exercises, oral exercises, feedback provide opportunities to ensure teacher is clear and students understand the work. behaviour and remain engaged and on task at all times when performing or in the audience. Student Direction: choices relating to performance situations including props, music, lighting, costume, make-up, movement, dialogue etc. Cross Curriculum Content: ICT: Work, Employment & Enterprise: communication skills, meeting deadlines. Aboriginal & Indigenous: Civics & Citizenship: Difference & Diversity: group work skills, problem solving, responding to different points of view and beliefs. Environment: exploring performance spaces within the school and in public. Gender: 6