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Drama- Year 11 Course Outline
Terms in this set (24)
Voice and movement techniques in representational, realist drama
Using processes developed by Konstantin Stanislavsky and others (Stella Adler, Sanford Meisner or Jean Benedetti) in devising or interpreting drama
-Focus and spatial awareness
Voice and movements techniques in presentational, non-realist drama
Using processes developed by Bertolt Brecht and others (Rudolf Laban, Peter Brooke or Jerry Grotowski) in devising or interpreting drama.
-Focus and spatial awareness
Collaborative group work processes
-Delegation of roles
-Developing an agreed approach
The elements of drama
Refined through improvisation and rehearsal to create realistic characterisation and relationships in performance through processes developed by theorists.
-Character and relationships
-Space and time
-Language and texts
-Symbol and metaphor
-Mood and atmosphere
The elements of drama shaped...
To present identified themes, selected approaches and theories about dramaturgy.
The elements of drama used...
In performance preparation processes.
-Representational, realist (improvisation to explore imagination, character mapping, given circumstances)
-Presentational, non-realist (improvisation to explore audience alienation, gestus, historification)
The elements of drama shaped through...
viewpoints in improvisation and text interpretation, to create dramatic meaning that educates and presents forces (representational, realist)/challenges and questions forces (presentational, non-realist).
Drama forms and styles
-Interpretation of representational, realist drama forms and styles by shaping the elements of drama.
-Relationships between representational, realist drama and linear narrative structures.
-Relationships between presentational, non-realist drama and non-linear structures.
Drama conventions for representational, realist texts
-Techniques for engaging the audience through suspension of disbelief.
-Linear narrative structure
-performance and audience behaviours
Drama conventions for presentational, non-realist texts
-Techniques for connecting with an audience through imaginative, political or polemical engagement.
-Juxtaposition in role, character, space, time, form and/or styles.
-Leaps of time
-Fragmented and cyclical structures
-Audience behaviours and participation
Conventions of improvisation for representational, realist texts
Conventions of improvisation for presentational, non-realist texts
-Justified action and character.
Conventions of interpreting a script for representational, realist texts
-Circles of attention
-Psychological gestures refined through improvisation
Conventions of interpreting a script for presentational, non-realist texts
-Engaging with the audience
Conventions of documenting representational, realist drama
-Plan and elevation views
Conventions of documenting presentational, non-realist texts
Values, forces and drama practice
-Impact of audience expectations, attitudes, experiences and understandings on drama production and audience responses.
-Impact of changing historical, social and cultural values on drama production and audience reception.
-Forces that contributed towards the development of approaches acting, design and drama.
-Development of drama with a focus on the ways particular practitioners have interpreted.
-Dramaturgical processes related to devised and scripted drama.
Spaces of performance in representational, realist drama
-Strategies to present space and time (planned use of space).
-Ways that audiences are positioned to identify and engage.
-Proscenium arch and thrust stages.
Spaces of performance in presentational, non-realist drama
-Strategies to present shifts in space and time (adapted spaces).
-Ways that audiences are positioned to interact, respond and participate.
-In the round, traverse and promenade stages.
Design and technologies
-The collaboration of designers, scenographers, dramaturges, actors and directors.
-Drama design and technologies to represent real setting and characters
-Multiple uses of objects
Principles of designs
Management skills and processes
-Intellectual property rights and performance rights.
-Safe working practices in drama in purpose built performance spaces.
-Posters, programs and publicity.
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