In Drama most "Homework" takes the form of either reading or an assignment, including research for

presentations etc...

Students are expected to read all texts and notes given to them by the deadline issued by the teacher.

By Grade 11, students ought to be able to do this without undue difficulty or supervision.

However, as part of the ongoing assessment strategy laid out by the Ministry of Education, students will

be expected to perform a variety of assessment tasks using a full range of dramatic modalities.

As such, much dramatic assessment occurs live in situ performance.

Full details on Assessment are given in both the ADA3M Student Course Outline and through the Ministry of Education website.


17-9-2009: Current Assignment is to prepare 7-10 pages of Menander's "Bad-Tempered Man" for performance tomorrow.

The take-home assignment will be given out on Monday 21st September.

Students will consult the performance and peer evaluation rubrics given out last week for reference before the performance,

but this is not a heavily-weighted assessment.


21 -9-2009 Assignment

3 Question Assignment. Please make explicit references to the text to support all submitted answers.



2-10-2009 Assignment - Details up on the TACKLING THE TEXT Assignment due for presentation on Tuesday 6th AM.


TACKLING THE TEXT

Students must cover the essential points and explain and demonstrate the techniques being used

for purposes of clarification. ONE well-developed example of each main technique is sufficient ie avoid

repetition. Work must be evenly divided between the group, and each student will be assessed for

their contribution to the presentation. As this is covering a long chapter, the presentation should not run less than 20 mins

and no more than 30 mins. The presentation checklist is enclosed below.

The scale 0-4 refers to the standard Ministry of Education achievement levels.




7-10-09 UPDATE: HOMEWORK

Continue reading through Antigone, using the family tree handout as a character check. Consult the summaries for

individual sections to check for comprehension.

Summary and Analysis for Lines 1 - 525 The next sections will be posted tomorrow. Here's the remaining summary and analysis of Antigone.


15-10-09 UPDATE: CULMINATING ASSIGNMENT - WRITTEN. DUE DATE TUESDAY 20TH OCTOBER - WINDOW CLOSES 22ND OCTOBER


Here it is. Read carefully... I'll post the assessment rubric shortly.




ELIZABETHAN THEATRE UNIT: OTHELLO

OTHELLO Scene Summaries to be used as a reference guide.




VICTORIAN/EDWARDIAN DRAMA UNIT/ACTING MODEL
Read Shaw's PYGMALION for Monday 14th Dec. Try to finish it for Monday,
Tuesday is the deadline for completion. Acting methods and Period Presentation
assignment will be given on Monday for completion Thursday.

VICTORIAN/EDWARDIAN DRAMA AND ACTING MODELS ASSIGNMENT

ACTING STYLE AND EARLY 20TH CENTURY DRAMA

1. Written question: Are any of Stanislavsky’s acting techniques suitable for use in presenting Victorian era satirical drama? Discuss.

LENGTH = TWO DOUBLE-SPACED PAGES, FONT = 12, STYLE = REFLECTIVE SHORT ESSAY.

2. Presentation question: Demonstrate how you would rehearse scenes from “The Importance of Being Earnest” and Pygmalion.

What particular considerations would need to be addressed in terms of acting style, as demanded by each play?

LENGTH = 6-7 MINUTES PRESENTATION PLUS TWO SCENES OR EXCERPTS IN TOTAL FROM BOTH PLAYS. TOTAL LENGTH = 20 MINS.
DEADLINES:
WRITTEN QUESTION deadline is Thursday 17th December.
Window = Friday 18th December final submission.
GROUP PRESENTATION DEADLINE = Thursday 17th December

Here's the Assignment together with a short article which discusses the artistic and philosophical movement of Naturalism. It had a powerful effect

on British Drama, but was countered by Wilde and Shaw's satirical works. It will help you prepare to answer the question.


Here is another excellent short introduction that covers Edwardian drama in general and Shaw's works in particular. Using this and the resources in www.victoriaweb.org should give you more than enough to create both essay and presentation from, and do not forget to browse the introduction to PYGMALION. It has a lot of useful material.

READ PAGES 8 - 14 ONLY.




UPDATE JAN 5TH

MODERN THEATRE ASSIGNMENT

  1. Read 7 STORIES and present a key section (4-5 pages)
  2. Write 2-Page (single-spaced) REVIEW of the play using the accompanying guide as a reference, paying particular attention to the SURREAL and ABSURDIST elements.
  3. NOTE that some research into the THEATRE OF THE ABSURD is required to complete the written assignment. But this must be a simple investigation and interpretation of the Absurdist elements only. The accompanying guide is an excellent reference, but the other links posted below will also be of use.
  4. DEADLINES: FRIDAY 8th JANUARY for the PRESENTATION and REVIEW. MONDAY 11th JANUARY = WINDOW for REVIEW only.

7 STORIES GUIDE

THEATRE OF THE ABSURD LINKS
http://www.theatredatabase.com/20th_century/theatre_of_the_absurd.html
http://en.wikipedia.org/wiki/Theatre_of_the_Absurd

See the following excerpt from wikipedia entry for ref:


Characters

The characters in Absurdist drama are lost and floating in an incomprehensible universe and they abandon rational devices and discursive thought because these approaches are inadequate.**[****104****]** Many characters appear as automatons stuck in routines speaking only in cliché (Ionesco called the Old Man and Old Woman in **The Chairs** "uber-marrionettes").**[****105****]****[****106****]** Characters are frequently stereotypical, **archetypal**, or flat character types as in **Commedia dell'arte**.**[****107****]****[****108****]****[****109****]**
The more complex characters are in crisis because the world around them is incomprehensible.[109] Many of Pinter's plays, for example, feature characters trapped in an enclosed space menaced by some force the character can't understand. Pinter's first play was The Room – in which the main character, Rose, is menaced by Riley who invades her safe space though the actual source of menace remains a mystery – and this theme of characters in a safe space menaced by an outside force is repeated in many of his later works (perhaps most famously in The Birthday Party). Characters in Absurdist drama may also face the chaos of a world that science and logic have abandoned. Ionesco's recurring character Berenger, for example, faces a killer without motivation in The Killer, and Berenger's logical arguments fail to convince the killer that killing is wrong. In Rhinocéros, Berenger remains the only human on Earth who hasn’t turned into a rhinoceros and must decide whether or not to conform. Characters may find themselves trapped in a routine or, in a metafictional conceit, trapped in a story; the titular characters in Tom Stoppard's Rosencrantz & Guildenstern Are Dead, for example, find themselves in a story (Hamlet) in which the outcome has already been written.[110]

REVIEW GUIDE AND RUBRIC




Here's another review resource that explains how to write a Drama essay in greater detail.
It isn't required reading, but is extremely useful as it covers how to find your thesis statement,
how to take and use notes, and about the importance of connecting with the play.



COURSE CULMINATING TASK (CCT): CHARACTERS

COMPLETION DATE: TUESDAY JANUARY 20th


CCT OUTLINE


MONOLOGUE RUBRIC

DRAMATIZATION OF A SCENE RUBRIC



WRITING-IN-ROLE

Part of the CCT involves a WRITING-IN-ROLE assignment which must be completed by Jan 14th.


WRITING IN ROLE LINK

http://www.bbc.co.uk/schools/gcsebitesize/drama/responding/inrolewritingrev_print.shtml
This is a simple BBC Guide to Writing-in-Role for those wanting more examples.
THE BASIC IDEA IS THAT YOU STEP INTO THE ROLE OF YOUR CHOSEN CHARACTER, WRITING AS THEY WOULD WRITE.
THE FORMAT CAN VARY, BUT A LETTER OR DIARY ARE TYPICAL FORMS THAT ARE EASY TO IMPROVISE WITH.
THE GOAL IS TO REVEAL CHARACTER THROUGH EMOTION, INTERNAL/EXTERNAL CONFLICT, ETC...

STEPS
1. CHOOSE A PROBLEM OR SITUATION THAT YOUR CHARACTER WOULD BE CONCERNED ABOUT, EITHER IMPROVISED OR FROM
YOUR SOURCE PLAY. THIS CAN BE WITH ANOTHER CHARACTER, MOST LIKELY, OR WITH A SITUATION, OR POSSIBLY JUST A MOOD.
2. VISUALIZE YOURSELF AS YOUR CHARACTER USING EITHER AN EXTERNAL TECHNIQUE - eg PROP, VOICE -
OR ELSE USE AN INTERNAL TECHNIQUE LIKE VISUALIZATION OR ANY STANISLAVSKY TECHNIQUE TO STEP INTO ROLE.
3. WRITE ABOUT THE PROBLEM OR CONCERN WITHOUT WORRYING ABOUT EDITING IT. THIS WILL LET YOUR CREATIVE JUICES FLOW
WITHOUT FEAR OF THE CRITICAL MIND INTRUDING. WRITE FOR ABOUT 15-25 MINS THEN STOP.
4. BREAK. THEN EDIT IT DOWN.