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Newlands
Girls’ School

Home Learning

Year 7 

LESSON ONE

1.   Remember the fairy stories you read when you were younger?

2.  Now…. imagine you are in a Drama lesson and get into an imaginary group of 3 to 6 (you’ll need this for                 your script writing later!). 

3.  Decide on a fairy tale. If you can’t remember them, either try to find a book or look online. DO NOT use a               DISNEY version.

4.  My suggestions are: 

  • Goldilocks and the 3 bears
  • 3 Little Pigs
  • Rumpelstiltskin
  • Cinderella
  • Little Red Riding Hood……but really anything goes.

Here is a link to a web page that gives some historical information about 8 fairy tales. https://www.rd.com/culture/most-popular-fairy-tale-stories/

LESSON TWO

Now you have picked your Fairy Story, create an additional character.

The character can be anything you wish, a person, animal or an inanimate object.  Think about the following as you create it.

  1. How old is your character?
  2. What does your character like?
  3. What is your character interested in?
  4. What is your character afraid of?
  5. Do the other characters get on with your character? Why?
  6. Does your character have a special talent? What is it?
  7. What does your character like?
  8. Draw your character. Using your picture, does your character have any distinctive features? Think about costume/accessories, choice of colours and reasons for these choices.
  9. How does your character fit into the story?

LESSON THREE

  1. Revolting Rhymes is a collection of Roald Dahl poems published in 1982. A parody of traditional folk tales in verse, Dahl gives a re-interpretation of six well-known fairy tales, featuring surprise endings in place of the traditional happily-ever-after finishes.
  2. Here is a link to one of these Rhymes https://www.youtube.com/watch?v=F5DS2DnsJ04.  See if you can find any of the other five rhymes.  
  3. Roald Dahl has his own website https://www.roalddahl.com/home/kids. Using the websites and links above, conduct research and list the rhymes you found with some information about each of them.

LESSON FOUR

Using the research you did into Revolting Rhymes from the last lesson and using the Fairy Story you originally chose, write your own version of a Revolting Rhyme.

Don’t forget to incorporate your own character, from lesson 2.

LESSON FIVE

1.         Now using either the original fairy story you chose or your Revolting Rhyme, write a short script for you                 and your imaginary group.

2..        Remember the way to write a script. For Example:

The story of Cinderella.

Cast:

Cinderella

Ugly Sister 1

Ugly Sister 2

The Wicked stepmother

The Prince

The Fairy Godmother and the Prince’s servant

Scene 1. The Kitchen. Cinderella is scrubbing the floor.

Stepmother: Cinders! Cinders! Not good enough - scrub harder I must be able to see my face.

Cinderella: Yes, Mother.

Stepmother: Don’t call me that I am ‘Madam’ now your useless father has gone. Now apologise.

Cinderella: Sorry, Madam.

ASSESSMENT

We would like you to write a whole script but for assessment purposes, you must submit Scene 1 ONLY to your teacher by Friday 22nd May 2020.  This will be marked and you will be given a drama grade. You must set out your script correctly (as shown above) and you will be marked for the creation of characters and the creativity of the fairy story. We understand this is only a snapshot of your whole script. Scene 1 should be no more than 2 sides of A4.

 

Year 8 

Term 5 Lessons - please click 

 

Year 9 

Term 5: Exploring Practitioners - Bertolt Brecht and Epic Theatre

LESSON ONE

Firstly, please watch this clip on YouTube https://www.youtube.com/watch?v=l-828KqtTkA produced by the National Theatre.

  1. Make notes on what the professionals say about the style of theatre created by Bertolt Brecht.
  2. Watch the video again and then make some notes on your thoughts on the clips on the production of Mother Courage that you see. What do you notice that is familiar to you? What do you think is unexpected or different?

LESSONS TWO AND THREE

Download the worksheet attached or go to this web page. Here is a list of websites and YouTube videos you can use to do some research into Bertolt Brecht and Epic Theatre. Access what you need (there is a lot there) so that you feel you have a sound understanding of the genre of theatre.

Use your research to prepare a ‘factfile’ about Brecht and Epic Theatre. You should include notes on the following:

  • What is Epic Theatre?
  • How is it different?
  • What techniques would you expect to see in an Epic Theatre production?
  • Why would a theatre company choose to make a piece of Epic Theatre?
  • What problems do you have to overcome when making a piece of Epic Theatre?
  • What were the key influences on Bertolt Brecht in creating Epic Theatre, based on his life experiences?

LESSON FOUR

Read this pitch for a production.

You have been asked to direct a production of a new devised piece of theatre based on the song: ‘Who You Are’ By Jessie J. Click here to listen to the song Jessie J: 'Who You Are'. We want the performance to focus on the big issues that the song brings into focus. We want you to communicate to the audience messages about media influences, being true to yourself, not giving in to peer pressure and standing up for who you are .”

Take some time to think about how you would use Epic Theatre to create a piece of drama that meets this pitch and brainstorm some ideas.

LESSON 5:

You are now ready to write your pitch! It should be no longer than two sides of A4 and can be presented in any manner you choose. You may also include images. The pitch should cover the following points:

  1. Overview of your content: What topic or issue do you want to cover? Why do you want to cover it?
  2. Details of initial ideas: How do you think that this will be performed? What ideas do you initially have to turn this into a performance?
  3. Style: How will you use specific Brechtian techniques in your performance? Use the table below to help you.
  4. Audience: Why would an audience be interested in coming to see this performance? What will they learn from it?​​​​​​

ASSESSMENT

I would like you to write your own pitch and submit it to me by Friday 22nd May 2020. You can present it in whatever format you like, but you must ensure you answer the questions laid out in Lesson 5. It does not need to be longer than 2 sides of A4 and could include images. This will be marked and you will be given a drama grade. I will be looking for your understanding of Brechtian theory, your application of his ideas, and the creativity of the pitch.

Brecht and Epic Theatre Links

Eugen Bertolt Friedrich Brecht (10 February 1898 – 14 August 1956) was a German poet, playwright, and theatre director of the 20th century. He made contributions to dramaturgy and theatrical production, the latter through the tours undertaken by the Berliner Ensemble – the post-war theatre company operated by Brecht and his wife, long-time collaborator and actress Helene Weigel. (Wikipedia

Overview of Brecht

  • The BBC Bitesize website has 11 pages covering his background, his theories and his works. 

Biographies of Brecht

  • Britannica entry for Brecht detailing his life. 
  • Gradesaver essay on Brechts life including an outline of his works.

Epic Theatre

Epic theatre was primarily proposed by Bertolt Brecht who suggested that a play should not cause the spectator to identify emotionally with the characters or action before them, but should instead provoke rational self-reflection and a critical view of the action on the stage. Brecht thought that the experience of a climactic catharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognise social injustice and exploitation and to be moved to go  from the theatre and effect change in the world outside. For this purpose, Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed and, as such, was changeable. (Wikipedia)

  • Universal teacher's website covering all of Brecht's concept of Epic Theatre.
  • Blog post explaining Alienation Theory (verfremdungseffekt).

Mother Courage and Her Children

  • A blog post about the use of guests and verfremdungseffekt in Mother Courage and Her Children.
  • Comprensive guide to Mother Courage and Her Children from Sparknotes.

Other major works

Videos

Year 10 

  • Re read Noughts and Crosses.
  • Watch BBC adaptation of Noughts and Crosses.
  • Write up in your text books a character analysis for each of the following characters with examples from the text.  Callum McGregor, Sephy Hadley, Jude McGregor, Lynnette McGregor, Meggie McGregor, Jasmine Hadley, Minerva Hadley and Kamal Hadley.

Year 11  

  • Re read Noughts and Crosses.
  • Watch BBC adaptation of Noughts and Crosses.
  • Choose a scene from Noughts and Crosses.  Make notes on how characters are positioned on stage in relation to each other (proxemics) and how this could show an audience how they feel about each other.
  • Choose a speech from Noughts and Crosses. Consider where you might place pauses in order to give the speech more dramatic impact or help an audience understand what the character is thinking.
  • Go on BBC Bitesize website for revision.

Year 12  

  • C1 Devising - Complete Portfolio Q1, Q2, Q3 & Q4 - guidelines in work pack - Three drafts of each question.
  • C3 Woyzeck - Introductory work set, using the format within the work packs delivered to Newlands.  Independent work will be based on: plot / characters / themes / stylistic devices. 

Year 13 

  • C3 Woyzeck - 8 practice essays to complete - these past papers were given out 2 weeks ago and students have all the necessary resources to support this learning
  • C3 Woyzeck - Comparative Chart to complete - Production Concept / Artaud / OPC - work is in work packs.