We believe that Drama is an important and defining cultural art form. Throughout time, human beings have enacted events in order to help us make sense of the complex world we live in. Drama at Kingsbridge Community College is taught in a structured and detailed manner that strikes a balance between exploring process drama (learning by imagined experience) and product or skills based drama – the craft of theatre making. We develop schemes of work that provoke engagement through our careful choice of theme and topic and apply early in our teaching the principals and assessment criteria that the exam boards recognise. Our lessons typically start with a starter or warm up, an introduction to the stimulus, a focusing convention or strategy that frames the whole group or small group work and an opportunity to prepare, perform and evaluate in a safe and supportive studio environment.
Extra-curricular activities and opportunities are extremely important in the Drama Department and include one large scale play performance and the whole college musical that is currently performed annually. In addition, students who are taking exams in drama can access extra rehearsal time and teacher support as they work towards assessed performances.
Our Key Stage 3 curriculum is reviewed termly and varies to suit the needs of our students and the changing world we live in. A typical series of projects would be:
The Old Man and his Grandson – introducing analogy as a starting point for drama.
The Apothecary – a process drama project that is taught mainly though teacher in role, students are faced with a series of dilemmas and choices in the context of a medieval village facing a terrible illness.
Mr. Fox – A lesser known Grimm’s fairy tale forms the back drop to this exploration of trust and betrayal.
The Black Shoes – An exploration of immigration, propaganda and prejudice using the graphic novel The Black Shoes.
Private Peaceful – Michael Morpurgo’s novel forms the backdrop of this exploration allowing the students to reflect upon memories and the experience of soldiers in WW1.
Kindertransport – exploring the story of 10,000 Jewish children rescued from Germany in the months before the outbreak of WW2.
Year 9, 10 and 11 GCSE Eduqas Drama explorations that include:
Devising conventions and explorative strategies The Drama Toolkit – how we use drama to communicate meaning, construct plays and explore themes and topics.Binge – a thematic exploration beginning with the Gin Laws of the 18th Century.
The Elephant Man by Bernard Pomerance – a text exploration of the story of John Merrick.
Next Stop High School – Devising and performing a complete Theatre in Education style play as part of the Year 6 transition initiatives.
Monologues and Duologues – performance skills looking at voice, movement, character and communication on stage.
Theatre Practitioners – how Bertolt Brecht and Stanislavski’s theories help us create theatre.
Complete script performance – as a whole group, performing an edited full length play.
Devising from a stimulus creating a complete piece of work in small groups to performance standard.
There are 3 components to complete in the Eduqas Drama GCSE.
Component 1: Devising Theatre
40% of qualification.
Learners participate in the creation, development and performance of a piece of devised
theatre using either the techniques of an influential theatre practitioner or a genre, in
response to a stimulus set by EDUQAS. Learners must produce:
- A realisation of their piece of devised theatre.
- A portfolio of supporting evidence – the Creative Log.
- An evaluation of the final performance or design.
Component 2: Performing from a Text
20% of qualification.
Learners participate in a performance based on two 10 minute extracts from a performance text of their own choice.
Component 3: Interpreting Theatre Written examination
1 hour 30 minutes, 40% of qualification.
Section A: Set Text
A series of questions on the play DNA by Dennis Kelly explored as an actor, designer and director.
Section B: Live Theatre Review.
One question, from a choice of two, requiring analysis and evaluation of at least one live theatre production seen during the course.
The A level Drama and Theatre course at KCC offers students an amazing opportunity to explore drama and theatre in significant depth and detail. Focusing on the role of actors, directors, writers and designers. There are significant performance elements which makes this a very practical subject, underpinned by an essential and fascinating academic exploration of the theory and history of theatre within different social, political and cultural contexts.
Eduqas A Level Drama and Theatre
Component 1: Theatre Workshop
20% of qualification.
Learners participate in the creation, development and performance of a piece of theatre based on a reinterpretation of an extract from a text chosen from a list supplied by Eduqas.
The piece must be developed using the techniques and working methods of either an influential theatre practitioner or a recognised theatre company.
Learners must produce:
- A realisation of the performance or design.
- A creative log.
Component 2: Text in Action
40% of qualification.
Learners participate in the creation, development and performance of two pieces of theatre based on a stimulus supplied by Eduqas:
1. A devised piece using the techniques and working methods of either an influential theatre practitioner or a recognised theatre company (a different practitioner
or company to that chosen for Component 1)
2. An extract from a text in a different style chosen by the learner.
Learners must realise their performance live for the visiting examiner. Learners produce a process and evaluation report within one week of completion of the practical work.
Component 3: Text in Performance Written examination
2 hours 30 minutes 40% of qualification.
Sections A and B
Open book: Clean copies (no annotation) of the two complete texts chosen (Hedda Gabler and Saved) must be taken into the examination. Two questions, based on two different texts, one written pre- 1956 (Hedda Gabler, Ibsen) and one written post-1956. (Saved, Edward Bond)
A question based on a specified extract from: The Curious Incident of the Dog in the Night-Time, Mark Haddon, adapted by Si