By Jonothan Neelands
This consultant explores the jobs, abilities and information had to turn into an efficient drama instructor. It combines functional recommendation on making plans, instructing and assessing with the simplest educating practices. It additionally bargains lesson plans for years 7-9 scholars to exploit intheir educating.
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Additional resources for Beginning Drama 11-14
Once again, it is important to stress that the progression is not hierarchical: it is historical. The forms of drama that younger pupils enjoy and the forms of theatre that they draw on will continue to play an important role in their drama work and leisure. From (KS2) rules 22 Progression (KS3) To (KS4) from frame/given simple structures based on the rules of game, or taking turns, circumstances or pursuing simple objectives: arguing, persuading, describing events towards language and behaviour determined by the frame; the given circumstances of the situation that is being dramatised.
Below I have selected and reorganised these performance indicators to match the three learning strands in the model curriculum and to suggest potential progression across the key stage. In order for the curriculum model to be effective, there needs to be consistency and coherence between: The key objective(s) for the lesson ▼ Selected teaching approaches ▼ Assessment opportunities and strategies ▼ Appropriate performance indicators The key objective(s) for the lesson For instance if in a Year 7, Term 1 sequence of lessons the Specialist Learning Strand key objectives are: A1: use and control the elements of drama, particularly voice and the body in space IA1: work as part of an ensemble – acting and reacting to others 26 section 1 The drama curriculum then, in addition to planning materials and tasks for the sequence of lessons I might use the following selected teaching approaches as being particularly appropriate to delivering the key objectives: ■ Teach pupils how to represent characters in context in ‘here and now’ situations, using visual, aural, linguistic, spatial and physical signs to convey a ‘living reality’ for an audience; ■ Model how to identify each role’s or character’s ‘given circumstances’ based on clues in the text or through discussion of the situation being dramatised; ■ Provide opportunities for pupils to interact with others in role both in improvisation and by adding thought-tracking, soundscaping, hot-seating to another pupil’s or group’s work.
Relevance: ensuring that teaching approaches establish relevance for learners in terms of their own lives or with real world problems and issues. 19 Beginning Drama 11–14 Social support: establishing a productive, well-managed and safe learning environment which is inclusive of the diversity of needs within the learning group. Recognition of difference: ensuring that teaching approaches and materials are inclusive of a diverse range of cultural and ethnic identities. Locate the lesson or sequence of lessons in the context of: ■ the scheme of work ■ pupils’ prior knowledge ■ pupils’ preferred learning styles Identify clearly the essential objective(s) for pupils in terms of: ■ their knowledge, understanding, attitude and skills ■ their attitudes and personal development Structure the lesson as a series of episodes by: separating the learning into distinct stages or steps ■ Decide how to teach each episode, then choose: the best pedagogic approach ■ the most appropriate teaching and learning strategies ■ the most effective organisation for each episode ■ Ensure coherence by providing: a stimulating start to the lesson ■ transition between episodes which recapitulate and launch new episodes ■ a final plenary that reviews learning ■ Structuring lessons which are progressively challenging One purpose of the curriculum model is to ensure that in terms of the three parts of the model – plan; pedagogy; assessment – there is a clear sense of progression from pupils’ prior knowledge of drama at KS2 towards the demands of the KS4 curriculum.