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Olympics: The naked truth L


UCKY BUCKET PRODUCTIONS provide original musicals to schools across the country and they are delighted to present OLYMPICS: THE NAKED TRUTH. With a humorous script aimed at large casts of young performers and memorable tunes which are easy to learn this is the perfect resource for schools. The show charts the progress of the Olympic games, from its origins in Ancient Greece, through a revival in the Shropshire town of Much Wenlock and up to the modern games of today. The photocopiable script, score, rehearsal and backing CDs along with the licence to perform the show are available for just £20.12p. That is it. Not a penny more. Lucky Bucket Productions passionately believe in the power of music to aid learning and pupils and teachers will remember the fun facts for years to come!


u0844 879 4558 uwww.luckybucket.co.uk


November 2011


www.education-today.co.uk


13


Kabuki Helen Stanley


IB


Kabuki Helen Stanley


IB Higher or Standard Leve


Introduction gh


The Theatre in the World component of I s (


ntroduction e


d p t a a d rad a , rld tra


provide your students with sufficient contact with world theatre just in itself – you need more). which you teach, you might f w rk ty


world theatre tradition by the IBO, and whic whi h is an excellent focus fo rst


r s e t


y the s


i w


the World,, but we allso felt quite inspired and excited about broadening our expertise in response to the demands of teaching the course.. GeGetting experts and practitiioners in to lead workshops with here is a cost


p t u m


programme of study for I b t w


ra f s fs o I as s so


to use Kabuki-specific terminology with some confidence, to identitify key conventions, to be able to talk and write about Kabuki. ki


tio on


grown as a result of my work developing this scheme. Wha I a in


rit s re


encourage them to compare the semiotics of Kabuki with the language of western theatre; there are opportunities for research and (my favourite part of the scheme, and my studen s’dents’ too, I think), an cre


scheme are not to enable students to be Kabuki actors (I couldn’t possibly begin to show students (and to enable them to discover for themselve ) just h tics ofK rit


en


t t (


ki ac co d p s


.T e k i


m l ll t l h p


opportunity to create and realise a make-up design. fthe I d T


ies y


f T ll


address the synthesis criterion through comparison with aspects of western theatre which youyo have covered, or a second world theatre tradition. They will be able to show evidence of applied


e b h


g


research in relation to their make-up design, and they will be able to reflect upon their experiences as an actor, as a designer and as a spectator. Your students will develop r sep research skills which will be


el


You will need to invest in some resources (see below for details) in order to deliver this schs heme of work, and you will need to do some reading and research of your own prior to beginniing teaching it, but you don’t need to be a Kabuki expert to lead your students thrs through this scheme. I e


valuable to them as they tackl hkle the researc ee


t t


s th ill


sth s d n t n tn o t be a K


ar h investigation too. es (


n to


(see b l g


really love teaching Kabuki, and my students find the exploration a revelation.


n p a


Introduction pact of the S


ction ar on Great


living at the time, and the great changes they witnessed both in their own lives and those of their f interesting stimuli for w


provide rich material with whicrial with and the gr ies, p


www.teaching drama.co.uk co uk Teaching Drama autumn term 2 2011/12 1


key period of the twentieth century to life, and can be used to aid insight into the hardships and challenges faced by people at the time, as well as to teach key facts about the reasons behind the war, Britain’s role in it, and the impact it had on day-to-day life.


a history study and across the curr ulum. Drama is a wonderful tool with which to bring this id i sig


parents and families, provides aiies, provides a vast amount of interesting stimuli for work that extends beyond derful tool w


provides a v th


hanges they w t


nge


pire their yo g it ed both in t


re their young imaginat witne


curriculum. Drama is a wonderful toollwl


amount of interesting stimu Drama is


This scheme of work offers themed games and exercises that can be used to explore key areas


within the topic, and encourages insight into how people may have felt as their worlds were turned upside down by the onset of war. It is written to build skills from lesson to lesson, however it is also easy to dip in and out of should you only wish to use parts of it. The scheme naturally requires students to develop their speaking, listening and responding skills, and to participate in group discussions and interaction. It has been devised to meet the KS2 drama objectives, and there are extension activities that link to KS2 literacy objectives.


Learning objectives


By the end of this scheme the students will:  Understand the key reasons behind Britain’s participation in World War II  Have a strong grasp of the impact that the war had on the Home Front  Have experience of using dramatic techniques such as tableaux, pair improvisations and role on the wall to explore characters’ thoughts and feelings, and the reasons behind them


 Have experience of writing in role, and of improvising a short script and committing it to paper


 Be able to evaluate the outcome of in-role exercises, and have experience of sharing their responses to their own work and that of others.


Lesson 1: War is declared Learning objectives


By the end of the lesson the students will:  Be familiar with the key reasons behind the outbreak of World War II  Have an understanding of the fears and expectations of British people at the start of the war


 Have experience of taking on a character and of speaking as that character.


ting stimuli for w t Britain with K


n with tions. T T t h this sc ei


d w n


g , a p r stu t il o r ls w a son w sp


hin be


hin of w n


re wh d


f


atr ab


tin th in


to p


f th ll


In terms of meeting the demands of the IB course, all three elemenm ts of the course (Theatre in the Making,, Theatre in Performance and Theatre in the W rlorld) are covered within thisiis scheme. Students will be able to speak analytically about Kabuki within theiir TPPP; they willl be able to


de ign. i


th eW th r


f the ; t


;t he th sc l be e t during World War II


Helen Day KS2


w things changed: life n Day


g orld W r IIarII h k e lan


s) just how skilled a Kabuki actor is. I at


m ft t


f t ; t , I k), a ar


Kabuki actors train from a very early age; they are accomplished singers and dancers as well as actors, and their cultural background is enormously different from that of our stu ents (whiic is why it is such an exciiting theatrical tradition to expllore and learn about). The key aiims of this to do that), but to b


te t


ab tu


a c tin ry early ; the ly d ffer ydiif l o s a a tu t d nts ( ch


f m t


k it bu n is t


e c lltu n


teaching it, and I am still not an expert now, although I feel much more confident with the material. I had some knowledge of the art form, and an enduriing fascination with Japanese culture which has at I aim to do in it is to enablle students t


your students is a fantastic way of introducing them to world theatre traditions, but th implication, which means that most of us cannot rely on visiting experts tost provide our IB students with the breadth of knowledge they require. We have to take it on. I have developed this schss heme of work over the past three years, beginn n a research task in year 1 to a full exploration in year 3. I was no Kabu t


d tud h ts iis n, f k


velope kink in


s s r 1 ft u f f


equ k


ratio n


ds of t f


he co f


t


th o


e p d ld y o


e to ta 3. I


siti


d the t


s n


g our ex itii


s t ars be


x ,


buki expert when I first began re


ex I fi t ater ic


ing from little more than rt w


Session 1


Introduce the scheme of work explaining to students that they will be exploring co plays and how they go from page to stage. Link this to the GCSE course.


o


Explain that in the first session of the scheme they will look at improvisation. Ask them to partner up with the person sitting next to them and discuss why they think im element of script work. Pairs then share their thoughts with the class. Hopefu y


Warm-up: Yes/No


In pairs students take it in turns to ask their partner questions. They are not allowed to answer using yes or no. The aim of this exercise is to help their minds begin to work by making them provide more detailed answers.


rk b t a


llo b


owed to answer y making them


wer


How things changed: life in Great Britain ng


KS2


A study of the impact of the SecondWoecond World War on Great Britain with KS2 students will always with which to inspire their young imaginations. The experience of children g


Helen Day is a performer and teacher of performance, and has delivered workshops for numerous theatre companies and arts education organisations. She has previously worked for the Little Angel Puppet Theatre education department, and is currently working as a puppeteer for Bristol- based puppet company Pickled Image. She is co-founder of H2oh! Education, who run a range of curriculum-linked performing arts workshops in primary and secondary schools across the South East of England, and she runs weekly workshops for the Beacon Arts Youth Theatre in Brighton.


 Resources needed


 An item of costume or a prop that can be used to show the class when you are in role as Neville Chamberlain. The strongest idea would be a suitable jacket, however it does not really matter as long as the students are able to associate it with the character.


 Have to hand either the audio clip of Neville Chamberlain’s radio announcement, or the first few lines written on a piece of paper or card, to read out to the class (see resources).


wwwteaching drama.co.uk Teaching Drama autumn term 2 2011/12 1


ring contemporary on. Ask them to ly they


mprovisation is a keyprovisation is a key lly they will hi hl h


is a key


that if a mistake is made or a line forgotten it is essential that the piece of theatre does not stop and the actors do not corpse. Improvisational skills will prevent this from happening.ing.


lly they will highlight atre does not stop and


n to le itio s


e


. I kn it


ro a


i se h


in terms of sophistication of understanding within the IB is so high that your KS3 expertise is not going to help you much when teaching the IB. I know that when we first sat down to thrash out a or B Theatre, my colleague Richard Coe and I felt nervous about Theatre in l q


Depending on your personal areas of interest and the context in w have included some non-western theatre within your KS3 sc rm


so u i d r g wih tha Co ter


is a t


h s


schemes of work, but the expectation rti


u t y fi t nd I f lt n t ab h e n ex lle ).


knowledge of world theatre traditions, with the exception of Greek Theatre (which is considered a for exploration, but it willll not e d


is a convoluted and often opaque chunk of prose).. G o


o s w h h


frighten Briitish drama teachers (apart from the specification document itself, of course, which GCSE and A level courses do not require f G


o


fIB Theatre is the aspect of the course most likely to ific ti


as e


llc h


t i c


lf


e (


f co


Exploration of improvisation and interpretation Learning objectives


By the end of the sessions students will have:  Used improvisation to explore the meaning of interpretation  Explored key elements which affect interpretation.


o evell Helen en Stan tre


Helen Stanley is the head drama at Rochester Grammar School. School. She has been teaching drama at all levels for 9 years, and IB Theatre for 3 years.


is the head of for yea


ma Rh ool ma


Rochester Gramma ha b


IB


Page to stage Vickie KS3


atcher Introduction


This scheme of work is targeted at Year 9 students, aiming to give students a taster of, and help prepare them for, GCSE Drama. Over a series of sessions students are introduced to three different leading to working


ents a tast et


independently. If you think that the featured scripts are not appropriate for your st may choose to swap them but still use the crux of the scheme. We have found at Chichester School for Girls that the three plays complement each other well as they contrast with each other. If nts to explore


plays and explore how to move from page to stage through initial exploration leadi g to workingoration leadi gtoworki for your stud t h fod Ch he


you are teaching in a mixed school you may want to swap the play or allow the students to explore what happens if the gender of the characters is changed.


low the stude y contrast with e


y contrast with ach other. If lh


ound at Chic ester High hh


for your students, then you et High


yo


er of, and help d to three differe di


age to stage Vickie Hatcher KS3


KS3 KS k g s h o


Vickie Hatcher i is an advanced skills teacher and the head of drama at Chiichester Hiigh School for Girls. She has been teaching drama for 9 years and is also an Edexcel GCE drama examiner.


te S3


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