The Crypt Drama Department Programme of Study (2025-2026)
Autumn 1 Autumn 2 Spring 1 Spring 2
Summer 1 Summer 2 End points Year 7 Intro to Drama Skills
Overview:
-To gain understanding of fundamental skills used in drama.
-Expectations and use of space.
-Still-image and movement
-Characterisation and use of space
-Audience awareness
-Students to self and peer assess
Pantomime
Overview:
-Introduce students to theatrical history of pantomime
Overview:
-Learn key conventions, performance techniques and cultural significance
-Explore exaggerated style of acting, stock characters, audience interaction and physical comedy
Assessment 1 – Practical assessment where students develop a piece of drama utilising key skills developed over the term.
Assessment 2 – Written: One written exam on elements of drama.
Practical: Students create and perform their own pantomime pieces to the class Mime and Mask
-To develop knowledge of Greek Theatre history and explore the differences between Greek and contemporary theatre.
-To devise and present unscripted pieces using improvisation, physical skills and masks.
-Exploration of mask influences across different cultures (Noh theatre / Commedia Dell ‘Arte)
-To reflect on and evaluate their work and the work of others.
-Students to self and peer assess
Radio Drama
Overview:
- To gain an understanding of what is meant by the term radio drama, including the era radio drama became popular and the reasons for it.
-To write/ devise an original radio drama.
-To perform a live radio drama in front of an audience as part of a team.
-Students self and peer assess
A Midsummer Night’s Dream
Overview:
-To explore the play and gain an understanding of the context of theatre in Elizabethan times.
-To create scenes to show understanding of characters within the play (look at themes of control/parental control/cultures and expectations in Elizabethen times/ arranged marriages etc.)
-To work together collaboratively as a group
-Students to self and peer assess
Commedia Dell’Arte
Overview:
• Describe the key features and origins of Commedia dell’Arte.
• Identify and perform key stock characters (e.g. Arlecchino, Pantalone, Il Dottore, Colombina, etc.).
• Use exaggerated physicality and gestures to express character and emotion.
• Devise and perform short Commedia-style scenes.
1.For students to have a fundamental understanding of how drama is rehearsed, shaped, devised and performed. Students should be equipped with the skills to understand how a performance is developed in rehearsal to performance and have a range of skills in which to do so.
2.All pupils should have a basic knowledge of conventions and techniques and should be able to work collaboratively and be able to negotiate group work skills and challenges.
REASONS FOR SOW
• Introduction to Drama and performance skills
• Basic understanding of conventions/ techniques.
Placement of SOW – an introduction to Key Drama skills and students becoming familiar with working collaboratively.
• Accessibility and engagement for all students
• Build confidence and collaboration
• Provide a safe space for experimentation and risk taking
Placement of SOW: Positioned at a time of year when students are likely to see professional pantomime outside of school
Assessment 3 – Practical – ability to perform theatre with masks (projection/ movement etc.)
Assessment 4 –Practical/written – live radio Drama performance.
Assessment 5 – Practical based on delivery of language and acting style.
Assessment 6 – Written exam
Assessment 7 – Assessment of practical performance of Commedia work
• Theatre history
• Spatial awareness
• Focus on movement
• Ensemble work
Placement of SOW -To ensure mime and mask is explored before Physical Theatre to enhance progression of physical skill.
Movement focus of characters in A Midsummer Night’s Dream sow will further expand these movement skills.
• Radio culture/ media
• Understanding live production
• Sound effects
• Scriptwriting
Placement of SOW -To introduce a new medium of radio as a performance genre and develop character/sound effects.
• Reading Shakespeare and how to approach language
• Character work –mechanicals
• Creating a successful performance
Placement of SOW – development of theatrical styles and range of interpretations of a Shakespearean text.
• Cross-curricular links to History, English and PSHE
• Develop understanding of stock characters (which we still see in modern theatre)
Placement of SOW- An energetic and over-exaggerated scheme to finish the student’s first year of drama at Crypt.
3.They should have a good knowledge of performance style and contexts (physical theatre –Elizabethan theatre – radio drama – mask theatre)
*Live theatre is watched at all key stages, with increased opportunity at KS4/5 as exams involve live theatre reviews/ reflecting on different aspects of live theatre seen throughout the course.
Year 8
Drama skills - Intro to Naturalism
Overview:
-Develop understanding of Naturalistic Drama and its popularity in the C19th
-Characterisation
-Creating a reality
-Given Circumstance/ fact and opinion / finding action in the text
-Students to self and peer assess
Stage Combat and Script
Overview:
-Use of stage combat, using the body, the importance of safe practice, warm-up/cool down
-Skill level of focus, observation and strategy
-Techniques in theory to practise
-Use of timing and communication on stage.
-Exploration of use of stage combat in theatre/film
-Students to self and peer assess
Macbeth
Overview:
-Epic scenes and ensemble work
-Creating intensity in character and rapport on stage
-Exploration of Shakespeare’s tragedy and use of Shakespearean language. -Delivery of the textfocus on vocal skills.
-Application of script to stage techniques
-Students to self and peer assess
Missing Person
Overview:
-Extend and deepen collaborative and creative skills introduced in year 7.
-Develop ability to generate shape and refine ideas as part of a group, using a range of stimuli.
-Respond imaginatively and thoughtfully to varied prompts such as text, image, sound or realworld events
-Group work to explore different perspectives, negotiation and shared decision-making
Frankenstein
Overview:
-To explore and understand (read, discuss and perform) the classic text of Frankenstein.
-To understand the themes present in the text.
- To explore the character in detail using both acting and rehearsal techniques.
To work together collaboratively as a group.
-Students to self and peer assess
Careers in Drama
Overview:
-Inspire and inform students about the wide range of careers available in the performing arts industry.
-Develop understanding of professional roles
-Build on collaborative skills through practical exploration and reflective learning.
End Points:
1) To extend understanding of skills learnt in Year 7; acting technique and skill is progressed in order to show understanding of how to create a performance from the page to stage. Students will have increased repertoire of performance skills. EG. Vocal skills used in Radio Drama in Yr 7 is utilised and honed when working on Naturalism term 1 Yr 8. The skills of diction, pause, pace are skills in Radio Drama that are built upon to create Naturalistic characterisation in Term 1 of Year 8.
REASONS FOR SOW
Assessment 1 –
Using rehearsal techniques to build a dialogue and character. Practical performance using key techniques.
• Recap of last year
• Transferable skills –helpful for confidence, team building, decision making.
• Character building – voice, movement, interaction.
• Use of rehearsal techniques
Placement of SOW – To recap and revise knowledge from last year.
Assessment 2 –Application of stage combat applied to text and flow of stage combat /script to form assessment.
Assessment 3- Written exam
Assessment 4 –Performance of section of Macbeth text, showing range of characterisations and interpretation of the text.
Assessment 5 – Practical performance as a response to the story of the ‘missing person’.
• Explore how a script is written (stage directions etc.)
• Explore physical communication and non-verbal communication
• Build on acting and directing techniques
• To reflect on and evaluate performances.
Placement of SOW – to gain a better understanding of nonverbal communication and precision of movement. Use of stage combat in creative industries today (theatre/film/advertising)
• To understand, read and perform Shakespeare.
• To explore character (voice/movement /interaction)
• Rehearsal techniques –develop further.
• Develop understanding of character development through practical and creative exploration of one character’s journey throughout a term.
• Build core devising skills such as still-image, thought-tracking and responding to a variety of stimuli
• Promote group collaboration and creative thinking
Assessment 6 – Practical assessment of ability to maintain character in a performance and sustain audience attention.
Assessment 7 – Written exam Assessment 8- Practical performance utilising individual roles to create a piece of theatre.
2) Collaborative skills show confidence and logistics of group work skills. How to communicate well with others is evident.
3) Performance stimuli and creation of work shows knowledge of range of cultures and influences in theatre.
• To explore a classic text written in C19th by female writer
• To gain confidence with a challenging text.
• To explore themes of loss, isolation, betrayal and societal pressures.
• To look at adaptations of the story (National Theatre Danny Boyle’s version)
• Provide students with a deeper understanding of the diverse professional opportunities within the performing arts industry.
• Broaden understanding to include a variety of creative, technical and managerial roles in theatre.
• Support early career education by linking curriculum learning with the world of work.
Placement of SOW – to build upon study of Shakespeare text from year 7. Enhancing cultural knowledge of Elizabethan context and Shakespeare’s influences.
Placement of SOW- Between schemed that focus on traditional texts (Shakespeare and Frankenstein), offering students the opportunity to create their own text within performances.
Placement of SOW - To complete year with study of a well-known classic text and utilising drama skills learnt throughout KS3.
Placement of SOW- Place in term 6 just ahead of year 9, at a time when students are beginning to consider routes to their desired future careers.
*Live theatre is watched at all key stages, with increased opportunity at KS4/5 as exams involve live theatre reviews/ reflecting on different aspects of live theatre seen throughout the course.
REASONS FOR SOW
Devising/Verbatim
Overview:
-Students to explore Verbatim theatre and use Newspapers articles and secondary source evidence to devise a performance
-Students to explore the role of the audience and create characters who are representative of views
-Students to explore the role of tone and mood in group work
-Students develop credible roles
-Students explore shape and structure the work in a meaningful way
-Students to self and peer assess
Assessment 1 – Assess response to events in performance.
• To spark debate
• Exploration of scandal and cover up – the role and responsibility of the media.
• To explore function of Verbatim theatre
Blood Brothers
Overview:
-Students to explore (read and perform the Blood Brothers story by Willy Russell.
-Students to explore the role of the audience and use directing skills.
-Students to explore the roles of Mickey and Eddie – their social differences.
-Students develop credible roles and perform to a high standard.
-Students explore shape and structure the work in a meaningful way
-Students to self and peer assess
DNA
Overview:
-Utilise themes such as bullying and gangs within performance
-Study and use a set text for performance scenes
-Develop ability to portray key emotions and communications of a variety of characters
-Understand context of the time at when it was written
Noughts and Crosses
Overview:
-Students will read and discuss the text of Noughts and Crosses by Malorie Blackman.
-Exploration of what reinterpretation is and creating meaning and message through performance.
-Stereotyping and subversion of stereotypes explored.
-creating a convincing and credible role
-Stage combat
-Exploration of the director, performer and audience member.
-Students to self and peer assess
Physical Theatre
Overview:
-The actor’s body is an endless resource that can be used in an imaginative way to create abstract feelings and concepts.
-The difference between naturalistic and non-naturalistic.
-That voice can be used to create a character.
-Frantic Assembly – exploration of a theatre company. Their meaning and purpose. Watching performance of Frantic assembly (recorded)
-How contrast in dynamics and emotions can be dramatically effective.
-To work together effectively as a group.
-Students to self and peer assess
Lip Sync Battle
Overview:
-Develop students’ performance skills, confidence and creativity
-Enhance students’ non-verbal communication, physical expression, timing and characterisation
-Encourage teamwork and time management skills
1)To create self-aware and capable performers who understand the importance of voice, movement and interaction. Students will show how to use these performance tools effectively as well as showing the importance of being a reflective and appreciative audience member.
2) Students will have a deeper understanding of various texts from a range of historical and social contexts
Placement of SOW – To engage students with a real event that happened and to get them excited about what happened.
Assessment 2 – Ability to perform from a text.
Assessment 3- Written exam
• To explore 1980’s Britain – politics.
• Characterisation of Mickey and Eddie.
• To explore and develop the Liverpudlian accent and use of dialogue.
• Apply the role of the director
• To explore differences in social class and how this can be shown on stage.
Placement of SOW – to explore language and use of voice prior to study of physical action and physical theatre next term.
Assessment 3 – Practical performance of DNA scene
• Gain knowledge and understanding of context of time for when pieces are written
• Study and apply a range of acting techniques to a script
• Rehearse and perform (off script) a chosen section of text.
Assessment 4– Performance exploring the questions around racism and physical violence.
• To discuss the issues of prejudice and racism.
• To explore use of empathy for characters and playwright’s intentions.
• Reading of the text
• Raising awareness of racism through reinterpretation of Romeo and Juliet.
Placement of SOW- This SOW provides students the opportunity to deepen their performance skills, prior to studying GCSE Drama, or carrying on the skills learnt to other aspects of life.
Placement of SOW – To explore attitudes to race and be able to understand the playwright’s intentions when re-interpreting a script and concept. A SOW to maintain Y9 interest in the middle part of the year.
Assessment 5 – use of the body to create a narrative (using Frantic assembly techniques).
• To gain knowledge and understanding of Brecht –ready for GCSE Drama
• To understand Brecht’s techniques to create epic theatre.
• To create a piece of epic theatre in groups.
• To engage in Brecht’s style of acting.
Assessment 6 – Written exam
Assessment 7- Group performance
3) Students will be able to create, devise and rehearse for a performance, showing clear understanding of collaborative skills. Students will also be able to reflect on live theatre examples and evaluate effectively.
• This is to end on a fun, energetic, ensemble SOW for Y9 – especially for those not taking it on to GCSE.
• Students to develop stage presence, expressiveness and ensemble collaboration.
• To utilise group work skills, improvisation and character skills developed over KS3 study of Drama.
Placement of SOW – For those who are taking Drama to begin to explore Brecht’s epic theatre, prior to study at GCSE Drama level.
Placement of SOW – A fun energetic end to KS3 drama which is placed at the end of the year to employ skills developed fully.
Year 10 Eduqas GCSE Drama and Theatre
Specificationhttps://www.eduqas.co.uk/ qualifications/drama-andtheatre/gcse/WJEC-EduqasGCSE-Dramaspecification.pdf.pdf?langua ge_id=1
C1 - Devising Theatre
C1 Devising Theatre
● Exploring practitioners and their techniques and how to apply in performance.
● Written work – looking at reflecting on work (Mock POE)
C1 Devising Theatre and C3 Interpreting
Theatre
C1 Devising Theatre
● Research and stimulus for final C1.
● Development of Portfolio of Evidence (POE)
C3 Interpreting Theatre:
● Read Noughts and Crosses by Malorie Blackman
C3 Interpreting Theatre
C1 Devising Theatre
● Rehearsal and realisation of final C1.
● Development of Portfolio of Evidence (POE)
C1 performances of Devising Theatre and C3 Interpreting Theatre
C1 Devising Theatre
● Final Performance and assessment of Devised Theatre piece (Dates TBC by centre)
● Submission of POE
C3 Interpreting Theatre:
C1 Theatre Workshop (Prep Devising – How to devise a piece of theatre effectively)
● Stimuli –newspapers, articles, songs, objects etc.
● Questioning stimuli & exploring how to create theatre from an image for example.
● Working together in groups Transferable skills –decision making, communication, reflective learning, directing, leading others etc.
● Acting and directing skills
Assessment: x 2 (one practical based on practitioner in performance, one written based on POE).
AO1
Create and develop ideas to communicate meaning for theatrical performance
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO4
Analyse and evaluate their own work
Assessment: x 2 (one practical assessment serving as a mockup of final C1 also one written assessment based on aspect of POE).
AO1
Create and develop ideas to communicate meaning for theatrical performance
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO4
Analyse and evaluate their own work
● To explore the text practically
● To look at how to approach exam-style questions
Opportunities for Live Theatre (ongoing)
Assessment: x 2 (one practical based on performing Noughts and Crosses extracts, one written on exam-style questions).
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed
AO4
Analyse and evaluate their own work and the work of others.
•Study Noughts and Crosses by Malorie Blackman
•To explore the text practically
•To look at how to approach examstyle questions
Opportunities for Live Theatre (ongoing)
Assessment: x 2 (one practical based on performing Noughts and Crosses extracts, one written on exam-style questions).
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed AO4
Analyse and evaluate their own work and the work of others.
C3 Interpreting Theatre:
•Revision of Noughts and Crosses in prep for mock exam
•To explore the text practically
•To look at how to approach examstyle questions
Opportunities for Live Theatre (ongoing)
Assessment: x 2 (one practical based on given extracts) one written based on evaluating work from practical assessment.
AO1
Create and develop ideas to communicate meaning for theatrical performance
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO4
Analyse and evaluate their own work and the work of others
Mock Exam Paper
C1 performance, POE & Evaluation
Recording
C1 Performance (recorded and paper work all ready to send)
C1 POE – process report (750-900 words) completed.
C1 Evaluation – 1hour 30 mins invigilated assessment (2 sides of A4 notes allowed in exam).
*computer room.
Assessment
X 3 = 40% of GCSE Coursework
AO1
Create and develop ideas to communicate meaning for theatrical performance
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO4
Analyse and evaluate their own work and the work of others
Final recording of performance, evaluation & POE = 40% of GCSE.
*Live theatre is watched at all key stages, with increased opportunity at KS4/5 as exams involve live theatre reviews/ reflecting on different aspects of live theatre seen throughout the course.
REASONS FOR SOW
● To explore influential theatre practitioners and companies
● To explore acting techniques and methods
● Collaboration and working as a group
● To explore practitioners and companies in more detail and build upon last term
● To start to write and evaluate strengths and outline improvements which need to be made.
● To read the text and explore in conjunction with the text to ensure depth and breadth of study.
● Allow for live theatre opportunities and experience theatre through recorded performances.
● To start to explore examstyle questions and answering exam questions effectively - preparation for mocks.
● Allow for live theatre opportunities and experience theatre through recorded performances.
● To ensure thorough completion of work and submission of POE written responses.
● Allow for live theatre opportunities and experience theatre through recorded performances.
● To revise C3 text and ensure confidence in written exam style questions - prep for mocks.
● Complete C1 before end of Y10 to ensure focus on written paper can continue next year.
1.To complete C1 performance, portfolio of evidence and evaluation.
2.To have explored and studied set text for C3 Noughts and Crosses by Malorie Blackman
3.To have a good understanding of C3 exam and of next year’s arrangements.
4. To experience professional live theatre (and recorded allowed) in preparation for C3.
*Live theatre is watched at all key stages, with increased opportunity at KS4/5 as exams involve live theatre reviews/ reflecting on different aspects of live theatre seen throughout the course.
Year 11
C2 Performing from a text
C2 Performing from a text:
•Look at possible texts (pre2000) to rehearse
•Rehearse given text in groups (acting skills and techniques)
•Perform given extract of text in groups.
Assessment x 2
1 – mock of performance
2
– mock of cover character sheet (non-assessed but read by examiner)
AO2
Apply theatrical skills to realise artistic intentions in live performance
C2 Performing from a text/ C3 exam prep
C2 Performing from a text:
•Look at possible texts (pre2000) to rehearse
•Rehearse given text in groups (acting skills and techniques)
Perform given extract of text in groups.
C3 Exam prep:
● Explore examples/ exemplars of exam style questions
● N&C text recap
● Live theatre opportunities - how to write a review
Assessment x 2
1 – mock of performance
2 – mock paper questions.
AO1
Create and develop ideas to communicate meaning for theatrical performance
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed
AO4
Analyse and evaluate their own work and the work of others
C2 live performance for examiner/ C3 exam prep
C2 Live performance to examiner:
● Date given by exam board (TBC)
● All performances to be recorded for moderating purposes.
C3 exam prep:
● Explore examples/exemplars of exam-style questions
● N&C text recap
● Live theatre review
Assessment x 2
1 – Live examiner C2 exam
2 – Live theatre review question.
AO1
Create and develop ideas to communicate meaning for theatrical performance
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed
AO4
Analyse and evaluate their own work and the work of others
Final recording of C2 (live examiner) = 20%
C3 Exam prep
C3 exam prep:
● Exam-style questions and structure of paper etc.
● N&C construction of text and how performances create meaning.
● Live theatre review
C3 Exam prep
C3 exam prep:
● Exam-style questions and structure of paper etc.
● N&C construction of text and how performances create meaning.
● Live theatre review
GCSE exams continue.
● To complete C2 exam to a visiting examiner (Date TBC by exam board).
● To complete C3 paper on N&C and live theatre review.
● To perform in GCSE examinations C2 and C3 and achieve target grades.
Assessment x 2 exam paper mocks.
AO1
Create and develop ideas to communicate meaning for theatrical performance
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed AO4
Analyse and evaluate their own work and the work of others
Assessment x 2 exam paper mocks.
AO1
Create and develop ideas to communicate meaning for theatrical performance AO2
Apply theatrical skills to realise artistic intentions in live performance AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed AO4
Analyse and evaluate their own work and the work of others
Y11 Study leave – exam usually is May = 40% of GCSE.
Year 12 Eduqas A Level Drama and Theatre
Specification –https://www.eduqas.co.uk/ qualifications/drama-andtheatre-as-alevel/#tab_overview
C1 Exploring acting/directing techniques and devising:
● Elements of Characterisation
● Acting techniques/ rehearsal techniques (motivation, voice, movement)
● Improvisation as a creative tool
● Recap on key practitioners
*Some of these will be based on student devised work and others may be looked at through text
Assessment x 2
Both practical assessment based on performance (e.g. group performance and monologue).
C1 Theatre Workshop and C3 Text in Performance
C1 Theatre Workshop
● Practitioner/companie s explored depend on group.
● Practical exploration
● Research of practitioner/company
● Mood boards/ fact files etc.
C3 Hedda Gabler and Curious Incident
● Read and analyse Hedda Gabler and Chimerica
● Explore the text practically using acting/directing and design techniques
● Look at exam-style questions around the text.
● Opportunities for live theatre
Assessment x 2
1 – practical (based on Hedda extract and ability to think about context etc.)
2 – Research on given practitioner and embedding that in performance (practical and written).
AO1
Create and develop ideas to communicate meaning as part of the theatre making process, making connections between dramatic theory and practice
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed
AO4
Analyse and evaluate their own work and the work of others.
C1 Theatre Workshop and C3 Text in Performance
C1 Theatre Workshop
● Practitioner/companies explored depend on group.
● Practical exploration
● Research of practitioner/company (creative log)
● Mood boards/ fact files etc.
C3 Hedda Gabler and Curious Incident:
● Read and analyse Hedda Gabler and Chimerica
● Explore the text practically using acting/directing and design techniques
● Look at exam-style questions around the text.
● Opportunities for live theatre
Assessment x 2
1 – practical (based on Hedda extract and ability to think about context etc.)
2 – Research on given practitioner and embedding that in performance (practical and written).
AO1
Create and develop ideas to communicate meaning as part of the theatre making process, making connections between dramatic theory and practice
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed
AO4
Analyse and evaluate their own work and the work of others.
C1: Theatre Workshop 20 % of A Level
Rehearsal of C1 performance and creative log prep:
● Reinterpretation of chosen play in groups
● Using a practitioner/company to reinterpret
● Creative log exploring the process of devising process.
● Record all performances.
● Work together in groups.
Assessment x 2
1 – mock performance
2 – Creative log drafts
AO1
Create and develop ideas to communicate meaning as part of the theatre making process, making connections between dramatic theory and practice
AO2
Apply theatrical skills to realise artistic intentions in live performance
C1: Theatre Workshop 20 % of A Level
Rehearsal of C1 performance and creative log prep:
● Reinterpretation of chosen play in groups
● Using a practitioner/company to reinterpret
● Creative log exploring the process of devising process.
● Record all performances.
● Work together in groups.
Assessment x 2
1 – mock performance
2 – Creative log drafts
AO1
Create and develop ideas to communicate meaning as part of the theatre making process, making connections between dramatic theory and practice
AO2
Apply theatrical skills to realise artistic intentions in live performance
Final recording of C1 (creative log and performance) = 20 % of A Level.
C3: text in performance (exam) prep
C3 exam prep:
● Revision of Hedda Gabler
● Revision of Curious Incident of the Dog in the Night-Time.
● Explore context, characters, design concepts, costumes etc.
● Opportunities for live theatre
Assessment x 2
1 – mock paper on Hedda and Curious
2- mock questions/ performance of texts.
AO1
Create and develop ideas to communicate meaning as part of the theatre making process, making connections between dramatic theory and practice
AO2
Apply theatrical skills to realise artistic intentions in live performance AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed AO4
Analyse and evaluate their own work and the work of others.
● To complete C1 examination and Creative Log.
● To have read and understood two out of the 3 texts studied for the complete course.
● To have understood and have practised C3 paper.
● To perform well in Year 12 Mock exams in line with expectations for progress.
*Live theatre is watched at all key stages, with increased opportunity at KS4/5 as exams involve live theatre reviews/ reflecting on different aspects of live theatre seen throughout the course.
Year 13
C2: Text in Action and C3 Text in Performance
C2- text in Action:
● Study practitioner/compa nies (opposite to C1)
● Devising using a stimulus rehearsals
● Choosing a text and performing it with a chosen practitioner/compa ny in mind.
● Rehearsals – full group.
● Log exploration.
C3 – Chimerica
● Read and explore the text (context, characters, design etc.)
● Look at exam-style questions based on text.
Assessment x 2
1 – Mock of scripted and devised
2 – mock-style questions on Chimerica
AO1
Create and develop ideas to communicate meaning as part of the theatre making process, making connections between dramatic theory and practice
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed
AO4
Analyse and evaluate their own work and the work of others.
C2: Text in Action and C3 Text in Performance
C2- text in Action:
● Study practitioner/companie s (opposite to C1)
● Devising using a stimulus rehearsals
● Choosing a text and performing it with a chosen practitioner/company in mind.
● Rehearsals – full group.
● Log exploration.
C3 – Chimerica
● Read and explore the text (context, characters, design etc.)
● Revision of Hedda (studied in Yr 12)
● Look at exam-style questions based on text.
Assessment x 2
1 – Mock of scripted and devised
2 – mock-style questions on Chimerica
AO1
Create and develop ideas to communicate meaning as part of the theatre making process, making connections between dramatic theory and practice
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed
AO4
Analyse and evaluate their own work and the work of others.
C2: Text in Action (Performance) and C3 Text in Performance
C2- text in Action:
● Study practitioner/companies (opposite to C1)
● Devising using a stimulus rehearsals
● Choosing a text and performing it with a chosen practitioner/company in mind.
● Rehearsals – full group.
● Log exploration.
C3 – Chimerica
● Read and explore the text (context, characters, design etc.)
● Recap and revision on Hedda.
● Look at exam-style questions based on text.
Assessment x 2
1 – Mock of scripted and devised
2 – mock-style questions on Chimerica and Hedda
Examiner to visit centre to assess C2 = 40% of A Level.Date TBC in Jan can be in T3 or T4
AO1
Create and develop ideas to communicate meaning as part of the theatre making process, making connections between dramatic theory and practice
AO2
Apply theatrical skills to realise artistic intentions in live performance
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed
AO4
Analyse and evaluate their own work and the work of others.
C3: Text in Performance (exam) prep
C3 exam prep:
● Completion of Chimera text
● Recap Hedda and revise text in performance application
● Completion of study of Curious Incident of the Dog in the Night-Time.
● Explore context, characters, design concepts, costumes etc.
Assessment x 2
1 – Full mock on all 3 texts
2- mock questions/ performance of texts.
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed AO4
Analyse and evaluate their own work and the work of others.
C3: Text in performance (exam) prep
C3 exam prep:
● Completion of Chimera text
● Recap Hedda and revise text in performance application
● Completion of study of Curious Incident of the Dog in the Night-Time.
● Characters, design concepts, costumes, lighting etc.
Study leave/exams.
● To have completed C2 performances and log for a visiting examiner.
● To have studied all 3 texts for examination and completed the examination in line with target grades.
Assessment x 2
1 – Full mock on all 3 texts
2- mock questions/ performance of texts.
AO3
Demonstrate knowledge and understanding of how drama and theatre is developed and performed
AO4
Analyse and evaluate their own work and the work of others.
C3 exam = 40 %
*Live theatre is watched at all key stages, with increased opportunity at KS4/5 as exams involve live theatre reviews/ reflecting on different aspects of live theatre seen throughout the course.
*Live theatre is watched at all key stages, with increased opportunity at KS4/5 as exams involve live theatre reviews/ reflecting on different aspects of live theatre seen throughout the course.