English Grange School Schemes of Learning Year 7 Term: Lent Unit: 1 Attainment target: Level 5 to 8 Duration: 2 weeks Lesson Grade WALT: What Are We Learning Today? WILF: What I am Looking For Suggested teaching / learning activities / examples Resources Assessment Opportunities Homework 1 Use vocabulary precisely and imaginatively to clarify and extend meaning and create specific effects. Selecting key words from sentences and questions in order to use word imagery in own writing tasks. Identifying figurative expressions from texts. Ask some pupils to explain their choices. Ask some pupils to select key words. Organise pupils into groups to discuss words selected. Describe the word pictures their choices evoke for them. English An International Approach, BK 1 Internet resources. English An International Approach, WORKBOOK 2 Write to inform, explain and describe. Learn to explain features of own and others’ language showing sensitivity to the impact of varying language for different purposes and situations. . Write a narrative. Use a story board to show what happened, when, how and why. Introducing suspense in own writing and other features of the narrative. Producing a radio report. Make sure report is clearly worded. Use direct and indirect speech to report what other experts and witnesses have to say. Write several of these pairs of facts to help you draft the report. Use the new vocabulary learnt. Read your report aloud. Practice the way you say it out loud to make it sound exciting. Write a radio report about witnessing an eruption of Mount Vesuvius.
Transcript
English Grange School Schemes of Learning
Year 7
Term:
Lent
Unit:
1 Attainment target: Level 5 to 8 Duration: 2 weeks
Lesson Grade WALT: What Are We Learning
Today?
WILF: What I am Looking For
Suggested teaching / learning
activities / examples
Resources Assessment
Opportunities Homework
1
Use vocabulary precisely and imaginatively to clarify and extend meaning and create specific effects.
Selecting key words from sentences and questions in order to use word imagery in own writing tasks. Identifying figurative expressions from texts. Ask some pupils to explain their choices.
. Ask some pupils to select key
words. Organise pupils into groups to discuss words selected. Describe the word pictures their choices evoke for them.
English An International Approach, BK 1 Internet resources. English An International Approach, WORKBOOK
2
Write to inform, explain and describe. Learn to explain features of own and others’ language showing sensitivity to the impact of varying language for different purposes and situations. .
Write a narrative.
Use a story board to show what
happened, when, how and why.
Introducing suspense in own writing
and other features of the narrative.
Producing a radio report.
Make sure report is clearly
worded.
Use direct and indirect speech to
report what other experts and
witnesses have to say.
Write several of these pairs of facts to help you draft the report. Use the new vocabulary learnt. Read your report aloud. Practice the way you say it out loud to make it sound exciting.
Write a radio report
about witnessing an
eruption of Mount
Vesuvius.
3
Use verb tenses correctly and effectively. Use correct phrasal verbs, adjectives and tense to re-construct a text.
Use descriptive writing to focus on use of phrasal verbs, synonyms and adjectives.
Tell students what adjectives do and where they normally go. Get them to look at a descriptive passage from a text and say what is missed out when you take the adjectives away and what you add when you replace them. Give the students any language, proper names, or vocabulary items from the text that will be new to them; pre-teach any new vocabulary and write proper names on the board. Explain that students will hear the text
twice, and then in their group will
attempt to reconstruct the text, using as
much of the original language as
possible.
List all adjectives found in the text. Group the adjectives into positive and negative words.
Students take notes; are encouraged to write down key expressions, phrases or words but not the whole sentences. Students work in groups of three.
Workbook, pages 29 – 33.
4
Learn to use the terms image, simile,
metaphor and onomatopoeia.
Write descriptive paragraphs.
Write a description of a painting.
Try to include simile or metaphor in the paragraphs. Suggest to the students that you want to
make a noun phrase for the beginning of
a sentence about the colours of the fruits
used in the painting.
For example, The fruits are painted in
beautiful colours.
Students suggest the noun or determiner
to go before the noun ‘fruits’.
English An International Approach, BK 1 Internet resources. English An International Approach, WORKBOOK
Writing your own
‘Portrait of the Week’
text, create examples of
noun phrases.
5
Learn a range of vocabulary appropriate to their needs, and
use vocabulary in speech and in writing to clarify meaning and to interest their audience.
Introduce features of a diary; as
autobiography, narrative point of
view, tense form in use etc.
Revise the term genre to discuss the features one would expect in an autobiography.
English An International Approach, BK 1
What sort of setting might an autobiography have?
Write a diary entry: see page 83 of text for details.
6
Recognise implicit meaning, select and interpret material from a reading passage. Learn to use the terms genre and setting.
Recognise implicit meaning, select and interpret material from a reading passage
Learn to use the set reading tasks to investigate and report on a variety of adventure stories to compare descriptions of settings.
English An International Approach, BK 1
Learn to use the Set reading tasks to investigate and report on a variety of adventure stories to compare descriptions of settings.
Explore the setting and genre of an adventure story in pages 92-95 of text.
7 Write a dialogue. Write a short dialogue between the guide and Jacques.
Write an opening of an adventure story describing the setting.
Students will peer mark their stories using features of an adventure story.
Write a full version of your adventure story.
8 Use colons and semi-colons.
Discuss how a writer makes use of the colon and semi-colon
.Set practise exercises for use of these punctuation marks.
Review the use of colons and semi colons in the selected passage.
9
Demonstrate understanding of
features of narrative texts by
developing them in their own
discussion and writing.
Set reading tasks to investigate and report on a variety of non-fiction stories to compare descriptions of settings.
Set reading tasks to investigate and report on a variety of non-fiction stories to compare descriptions of settings.
Grange School Scheme of Learning – Year 7 – Literature.
Term: 1 Weeks 1-4 Duration: 11 weeks
Lesson KS
3
Topic Learning
Outcomes
Suggested teaching/
learning activities/
examples
Resources Assessment
Opportunities
Homework
1 & 2 Shakespeare- how to read
for understanding; features
of Shakespearean drama.
Students should consider
the dramatic structure of
the play.
Read background information
about William Shakespeare.
The Tempest.
Board works.
Internet
Peer and self
assessment.
Graphic
illustration of
the Globe Theatre.
3 & 4 Introduction to the Tempest
Students should consider coups and reasons for
them; look at ambiguity of
play title and summarise Act 1.
Analyse the characters of Prsopero and Miranda and
examine the relationship
between characters.
The Tempest Board works.
Plenary: A CD of the Tempest Act 1
is shown.
Give a summary of the
shipwreck.
5 & 6. The Tempest: Plot
progress by Readings;
Role Acting; Summaries
and hot-seating.
Students should discuss the
villainous motives of
Antonio and Sebastian and
look at the language/ how
comic it is.
Discuss the theme of
deception and summarise Act
2.
Keep a character log on every
character studied.
Starter: Students
tell each other
about deceptive
experiences and
how they coped.
Plenary: A
summary of Act 2. Discuss the
qualities of a
villain.
7 & 8. The Tempest: Plot progress by Readings;
Role Acting; Summaries
and hot-seating cont’d.
Students should analyse the character of Caliban.
Analyse Ferdinand and Miranda love scene. Do class
activity from worksheets in
power point.
The Tempest. Board works.
Plenary: A CD of the Tempest Act 2
is shown.
The ‘Drunk Sailors’ and its
effects on the
plot development.
Drama 1
Intro to GCSE Devising process:
Picture
Lent Term 1st Half Devising skills and Performance
Aims: Introduce students to course and explore devising techniques Name game: name with action. Intro to course, Importance of folders and notes, Group work essential, therefore commitment to course. Activity: 1) Devising introduced. Devised piece is presented to the public, in a fixed form: improvisation is confined to the creation process. Over the weeks, explore various devising techniques to develop your devising skills. Previous experience of devising? What is your aim? A. Miller claimed his plays were never about characters, they were about relationships. Stimulus given out (Picture), what is happening? Importance to know your objectives. What is it you want to explore? In groups discuss context.
Aims:
Be able to talk about, write about, use a variety of dramatic skills to approach the performance with confidence and enthusiasm Character and Context Structure, Shaping, Plot Audience Improvisation Genre, Style,
Keywords
Conventions Semiotics
Proxemics
Hand-outs given out with picture
1 2
Newspaper Physical theatre
2) Perform 2 mins before the pic, freeze frame in image of photo, then a selected passage of time after (1 min after, 1 day, 1 year, etc.) for 2 mins. 3) Rehearsal. 4) performance Peers to evaluate Aims: To explore various means of communication How are our ideas formed? (Media, peers etc..) Newspapers often show one side of the story. A drunk man found in a car was arrested-perhaps his wife threw him out because of his alcoholism brought one by his disadvantaged background. What is the story behind the story? Activity: Newspapers given out. Find a story that interests you and try to find the hidden story. Discussion, what interested you? Activity: In groups discuss the stories and improvise to show hidden story and the event in the article. Peer evaluation. Discussion: what would happen next? Aims: Exploration of physical theatre as a means of communication. Activity: Freezes & machines Students are to move around the room on the command of freeze, they need to stop and stay still and listen for the number to be called they then form a group as close to this number as possible and listen for the object given to them (church, castle, bridge, beans on toast etc) Quickly show a working image with group number called out. Images explored and commentated upon. Activity: Playing cards placed around the room face down. Students to pick one up and think about how they can use body language alone to show the status of the character as ordained by the card value. Walk around then freeze of that character. From that position act out whole class improvisation. Repeat exercise. What makes body language? Explore THOSE (Tension, Height, Openness, Space, Eye Contact) of your character. Activity: Still Images, one person clay, the other the sculptor, done in silence. Words (teacher, student, red, blue) Perform still image in a circle in front of everyone –discussion. What could be happening? Spontaneously improvise a scenario, with figure of authority winning. Return to the starting still image and ask students if they can change the still image so that the character with less status gains it in the new improvisation, what could be said/done differently? Discussion of use of the body. Easier/harder than expected? Physical theatre can be used as a devised performance. Importance to communicate an idea.
Newspaper brought in from library
2
Physical theatre
Aim: Exploring physical communication and devising Re-cap last lesson. Communication through the body. Activity: The Concrete Family Ask the students to create a still image of what might be described as the typical family image. All group members to contribute to the image. What is the perfect image? Show transformation from real to ideal.. Discuss the differences. Activity: The Perspective Family Students create a family from the perspective of different family members. From a five-year-olds perspective. Activity: Develop the final still image into a performance, in which the audience are watching the events of an average family from the perspective of a 5 year old child. Perform and respond to these pieces. Use of sounds, images, stories. Performed and evaluated. How could this be done with the audience being used? That the audience take the perceptive of the 5 year old? Evaluation questions: Was a relationship created? Was there depth or did the story rely upon one storyline? How was space used?
Aims: To explore movement and sound to create a emotional and symbolic journey, exploring mood
3 3
Experience theatre through feeling Experience through feeling
Activity: 2 blindfolded students wait outside the room. Remaining members given various sounds to make
knife being scraped down a plate
sobbing
nursery rhyme sang slowly, softly, slightly out of tune
slow heavy breathing
tick-tock of a clock
scared breathing They are then guided in to the middle of the room, sitting down, touching back to back. Teacher directs the sounds. Eventually the students close in on the blindfolded ones so that the noises are all happening at once. Repeated with others. Discussed. Activity: Soundscaping. Start on a low hum. Find a natural level. Listen to the person next to you, just go slightly up or down from theirs. Continue to explore. Discussion: what atmosphere was created? Activity: In groups, act out a dream. It does not have to make sense, just give an idea an impression of the feeling. Explore the role of the audience. What do you want them to experience? Using sounds not dialogue, odd word allowed. Performances watched and evaluated. Aim: Explore movement and focus. Activity: Colombian Hypnosis-Boal one person follows their partner’s palm. Explore space. The leader can ‘collect’ other faces. Activity: Think of some we do, in a pair, copy them, mirror image then swap over. Then try swapping during the exercise. What do we learn about our routines? Discuss the lines:
Seeing your double copy you. They are your reason, your cop in your head, they bring you to your senses. You reach out to destroy them and, in doing so, you destroy yourself. In pairs act it out:
Hand-out
4 4 5
Introduction to Surrealism Script writing Devising skills
Say them together, ritual, any way you like and create movements exploring ritual. Performances watched and evaluated.
Aim: To introduce surrealism Activity: Show a freeze frame from a recent dream. The surrealist movement was about looking at the world in an original and imaginative way. Emphasis on emotion and symbolism rather than actually how things are. Look at Dali’s self-portrait, what does it suggest? DREAMS Establish that anything can happen in a dream – just like in Drama. In groups of four – stage a dream, either one that a group member has had or one that is entirely made up. Encourage the “unreal” aspect, use basic props if need be. Sheet, stick. Only use sounds, or repetition of words to create a mood. Performances evaluated. Aim: Develop writing and devising skills Activity: Students enter room in silence, see only a lit candle (fire risk-firmly attached to a non-flammable surface away from hazardous materials) and a bag on the stage. On hand-out, students write down, where has it come from? Who’s does it belong to? Then write a brief synopsis of a plot centred around the prop. Ideas pinned to the wall. In silence, students read everyone’s plots. Discuss the results. In two groups use the stories as a stimulus and develop them into a short improved script. Rehearsal and performance. Evaluation Aim: To perform a piece of devised theatre based upon Stimulus: Interview by E. Bond Activity:
In 2 groups, perform a devised performance based upon Interview by E. Bond.
Hand-out Hand-out Poem in Hand-out Assessment hand-out Assessment in relation to Unit 1 Section A
5 6 6
Devising skills Devising skills Devising skills
You will use a range of dramatic tools to explore character, tension and have a clear objective as to what you want to achieve. You will also submit a portfolio in 4 sections. Describe, Explain, Analyse, Evaluate you work. Activity: Read poem. Discuss, political and social picture. How Bond felt watching the interview (disappointed, sad, angry), difference of meaning. Censorship. Activity: create 3 freeze frame images that sum up the poem. Performed and evaluated Activity: 3 freeze frame images extended to form a scene/play Evaluated
Aim: To devise a performance Creation of tension and mood. Q: How can this be created (use of levels, pace, lights) Rehearsal process continued. 1st 2 mins evaluated by peers
Aim: To devise a performance
Creation of character What are the character’s objectives? How are they presented. By gestures ( a gesture is a movement with an objective as seen in Freeze Frames), reiterate THOSE. (Tension, height, openness, Space, Eye-contact) Last 2 mins evaluated by peers Aim: Presentation of devised performance: Performance and portfolio handed in. (Describe, Explain, Analyse, Evaluate)
1
Voice and speech V & S, Alexander technique
Lent Term 2nd Half Scripted skills and Performance
Key Objectives: Explore tools which you will use in your scripted work You will show an complete understanding of one dramatic skill from:
To explore: Voice and Speech Alexander Technique Scripted work Conventions Semiotics Proxemics
Preparation for scripted work. Have water at room temp near by.
Aims: To develop voice and speech:
Q: Why is voice control important? (sustains voice, fluency, relaxation,
expression)
Activity:
1. lie on the ground with your hands at your sides, palms facing the ceiling, eyes closed, and
breathe naturally. Once you feel a lowering of the breath - which happens automatically when you lie down - place the palm of one hand on your stomach with your little finger over your navel and your thumb reaching towards your sternum. Feel the natural rise and fall of your upper abdomen.
2. Next, stand up and pretend you're a Shakespearean actor projecting your voice to the
back of the room. Put your hand over your navel as before and say the word "Hi". As you do this, pull your stomach sharply inwards, so the sound comes out quickly and loudly. When you exhale, release the muscles so the next breath occurs naturally. Your stomach should move outwards as you're breathing in. This exercise allows you to access the low breath that you will use when acting.
3. Now we're going to activate the intercostal muscles, demonstrating the importance of the
slow outward breath. Put your hands on the bottom of your ribcage, with your elbows out. Take a deep breath in through your nose and feel your ribs moving out and up. Once you've taken the breath in, let it out through your mouth in a long stream. Always keep the outward breath steady, don't let it splutter.
4. Try the exercise above using letters. Say the letter "f" as you breathe out, then the letter
"s", so that you hiss like a snake, then "sh", as if you're shushing someone. Breathe out until all the air is gone, making the outward breath last as long as possible, so that you can practice long phrases.
5. Now focus on gaining control of your lower abdominal muscles. Put your palm over your
navel, as before, then use your mouth to make three short puffs and one long puff out. Squeeze the abdominal muscles toward your spine as you're doing this last puff, keeping your shoulders still. After you've breathed out fully, release your muscles and your body will breathe in naturally. For a quick intake of breath, give an "ah" as if in surprise. You need to get a feeling of expansion as you're breathing in to create more space in the lower abdomen.
6. To introduce tone, select any pitch and hum that note to let all the air out of your body.
Again, make sure the sound is steady. Introduce more tone by adding a vowel between the humming. Start with a hum, then move into an "ah" on the same note, then go back into a hum again to stop yourself getting too tense. Try to make your breath last to a count of five on one note, then gradually increase this to a count of 10 or more. This will expand your lung capacity and the elasticity of the intercostal, helping you control your breath. Discussion: What were the results? Controlled voice, use of posture Re-cap results Notes made in Folder.
1
Shakespeare
(Draw attention to poster)
Things to try while speaking (refer to poster on wall)
Don’t speak with your head held forwards, this causes tension in the neck and puts a lot of pressure on the spine.
Ears and shoulders should be level, and the head should not be displaced.
Chest and waist should be equal each side. Pelvis should be level, not jutting to one side. Knees should slightly bent and balanced equally, not locked. Your head should not be pulled back. Shoulders should not be slumped, rounded or held back. Your lower back should not be curved and the pelvis should not be pushed forward
over the balls of the feet, which puts pressure on the lower back and hips. Weight should be over the front of the heel, not over the balls of the feet.
Alexander Technique
Alexander was an Australian Shakespearean actor who developed problems which resulted in losing his voice. In the late 1890s, doctors informed him they could find no physical cause, so he carefully observed himself in multiple mirrors. This revealed that he was needlessly stiffening his whole body in preparation to recite or speak. We often use our muscles inefficiently. Picking up a pencil from a desk engages groups of muscles that we use sub-consciously and put undue strain upon.
Due to nervousness, anger or other intense emotions we hold ourselves in tense positions - heads pulled back, lower back arched, pelvis pushed forward, shoulders drawn back, forward or raised, arms pulled inwards. We also experience a lot of internal tension in the chest muscles, throat, tongue and jaw.
Alexander technique aims to remove the tension we have in our bodies that we carry around needlessly and automatically. The aim is to help the diaphragm, and the ribs, to move more easily and improves the balance of your head and throat. As a result, your voice becomes fuller and freer, and you may find it more powerful, with less effort and easier breathing, as well as being less prone to injury.
Activity: In pairs, make an assessment of how your partner stands. Try to arrange their body so that it is in a straight line: • Is your hip joint (found at the bottom of your pelvis) in line with your shoulder joint, your
knee and your elbow? • Are you pulling your head back? Your neck should draw a line that extends up through the
centre of your head. • Can you soften the muscles in your neck and lower back? • Are your shoulders hunched, slumped or held back? • Are your knees locked? • Are you still breathing comfortably? Then try to lift an arm only using the shoulder muscles, not lower back nor abdominal. VERY DIFFICULT!! Find the points of stress and try to remove them.
2
Units and objectives using Hamlet speech Pace
Discuss results: Why do we have this tension-learnt behaviour, design of our lives? Aim: To explore ‘challenging scripts’ Q: how do you tackle a script? Activity: Read Hamlet handout: Read through the speech saying out loud only the first and last words of each line. This
will give you a sense of the structure of the speech and the importance of those last words in communicating the meaning. Now read everything out loud, emphasising the last words. Pick out the words that interest you, such as "incestuous", "Hyperion", "self-slaughter", saying them in as many ways as you can think of. Research the meaning of the words you don't understand, and look up the myths of Hercules, Niobe and Hyperion.
Think about the images words such as "weary", "stale" and "unprofitable". For example, the word "stale" may make you think of hard, mouldy bread. Hamlet's internal system of imagery must become yours, and you must make sense of every thought he has. Divide the speech into thoughts, or complete sentences. Write above each new thought what it means in your own words. So thought two - "Or that the Everlasting had not fix'd His canon 'gainst self-slaughter!" - means "if only God had not made it part of his holy law that killing yourself is forbidden". Then read through these lines again, realising exactly what you are saying at each point.
Now think about the emotions present - rage, fury, jealousy - and experiment with them physically. Use the text to work on each one individually. Emotion is expressed through the vowels, so take the consonants away from a line and elongate the vowels while thinking about grief or fury. If, at the same time, you've done some background research on Hamlet's character, you will now be ready to communicate his thoughts to an audience.
People speak for a reason. Hamlet speaks to the audience because he wants to affect them in some way. Imagine that you are there, in his situation, having experienced what he has throughout the play so far, in the preceding scene in particular and most importantly, in the moment right before he speaks. He has not planned what he is about to say - it hits him as he watches his mother and his uncle leave and then looks towards us, who are waiting to see what happens next.
Now, trust yourself. Take a breath and let Hamlet's first thought drop into his head and come out of his mouth as if it were the first time he had thought it. Try to complete the thought in one breath if you can, as we do naturally when we are speaking - completely fresh, energised and full of purpose. Try not to split up the words, as we will lose track of the sense both of what you are saying and of the verse. Having finished that thought, take a breath and let the next thought drop into your head and come out of your mouth.
Discuss results.
Exploring Shakespeare, handouts
2
Gestures, subtext, image theatre,
Make notes in folder
Aims: To break down a script into manageable and coherent pieces. These are the parts of the play that are broken down. Large parts are separated, then divided. Imagine you are walking home from work. Walking is an objective, what you do to get home are the units. Getting ready for bed is an objective, washing, undressing and units. But they are all TEMPORARY! The play cannot remain in fragments. The less divisions you put into your play, the easier it is to fuse them together. It’s a common bond, so strong, that any insignificant detail will be immediately noticeable to the audience. What is the super-objective? What is it your character wants to achieve? This is a verb. ‘I want to achieve…’ Examples: Describe your day until this lesson. What were your objectives, (to get to school) Units (washing, dressing, eating, journey, lessons) Super-objective, links all objectives together –(I want to learn) Activity: Examine Hamlet’s speech. Break the speech into units and objectives Discuss and perform Objective To come to an understanding of what gestures and to be able to use them. Activity: Pairs face each other at opp. ends of classroom. Describe a Nursery Rhyme. Did partner understand it? Now do it as if your life depends on it. Discuss Gestures differ from movement. Gestures are movements with objectives. Activity: Silent communication: 2 people having dinner in silence. Communicate, boredom, loneliness, love, disgust.
3 3
Status and use of space, Creation of space, mood and character: Radio play
Gestures don’t have to be over the top, subtlety is the key. What is the fundamental essence of the gesture? Can you say all you want with a sigh and a shrug? Subtext: Often characters have hidden motives. How can we explore them? How can we show them (facial, tones of voice) Activity: In pairs perform 2 sentence playlet: ‘I’m off to see Mary now’ ‘yeah, have a good time’ As if, you are having an affair with Mary, hate Mary, Love Mary, don’t believe him, think he’s killed Mary, know that Mary will kill him. Watch and evaluate. Communication through gestures and voice. Image theatre: Activity: In pairs one person moulds the other into the shape of (desperation, anxiety). This is done in silence. Images explored and discussed. What do they communicate? The audience’s interpretation is just as valid as the sculptors. Activity: Group image of family, Discuss, now perfect image. What are the differences? The images speak louder than words. Gives a concrete image to aim for rather than abstract words. Discussion of gestures. Vital form of communication, but must have objectives Aim: To explore Status: In groups of five come up with a scene in which a high status character (real or imaginary) is being dressed by his/her servants. The actor must manipulate a change in each part of his body as a new piece of clothing is put on him. The group must decide which item gives the character his power/ essence. For example if they choose Michael Jackson it would be his glove. Ideas: Pope, teacher, knight. Try with different roles and clothes. What do the clothes do for the character? Discussion: Activity: An interview room with 2 chairs and a table. Interviewer dominates the interviewee. How did they do this (use of space, eye contact, height, levels, etc.), Now interviewee dominates the interviewer (how do they use the door?) Repeat and discuss. Space: The use/dominance of space. It defines the environment and mood. Reduced space: In pairs use the space of a rug to act out 2 people in an office space. Don’t draw attention to the limitations of the space, but the effect upon your characters. Explore routine, tension, frustration. Perform and evaluate. Reduce the space further.
4 4 5 5 6
Research of script Research of script-character and movement Research of script-directorial objectives Research of script-Design Research of script-gestures
Perform and evaluate What is the smallest space you can use?
Aim: To explore characters and voice Discussion: How do radio plays differ from conventional plays? (Radio play develop strong characters and rely upon clear images) How can we learn from them? Activity: Devise a 3 minute radio play using any sounds you like with the title ‘Midnight Graveyard ’ Group A: perform Genre: Horror, Style, Non-naturalistic Group B: perform Genre: Tragedy , Style, Naturalistic Audience listen with back to the actors. Performed and evaluated.
Aim to explore the process of production of a script Scripts from ’40 short plays’ given out. In groups of 3s and 4s, chose a script. All to act in it and to be responsible for lights, directing, costume, etc. To produce a portfolio outlining your process of production in 4 headings (Describe, Explain, Analysis, Evaluate) Perform first 2 mins for peer assessment
Aim to explore the process of production of a script Character development- Creating a past. Notes to be made in folder for portfolio Group work: Hot-seating Movement: In character, walk around the room, find inner animal and slowly morph into it. What part of the body do you lead with? Rehearsal
Scripts for groups of 3 and 4 photocopied.
6 7 7
Research of script Dress Performance
Aim to explore the process of production of a script Group work: Directorial objectives, what is it you want to achieve as a group? Feedback Individual work: Character objectives. Notes made in folder Rehearsal
Aim to explore the process of production of a script Space. Design: Set and lighting design. What does the set need to reflect? Position of the audience (Thrust, proc arch, traverse, round). Sketch set ideas as a group, use of space, levels, what is ,min required? Clearly defined space, (repetition of rug exercise) Feedback Lights, naturalistic, abstract, to reflect the mood, emotional temperature. Rehearsal
Aim to explore the process of production of a script Gestures. Activity: Condense the script to a single freeze frame. Show and discuss. Show another frozen image of your character, separate from group image, discuss differences and similarities. Gestures must be clear. Focused around this single frozen image. (Gesture is a movement with a purpose)
Aim to explore the process of production of a script Rehearsal Dress rehearsal, performance with peer assessment Performance
Art & Design SCHEME OF LEARNING ART AND DESIGN
Year 7, Term 2, 2014/15
‘Colour theory / Self portrait’
Objectives.
To identify and understand the primary, secondart, tertiary colours and other colour
groups whilst looking at work of other artist.
To investigate colour mixing using paint.
To know the meaning and emotions of colours across cultures.
To know what is self portrait(Personal identity)
To understand facial proportions and how to render them.
To be able to produce self portrait from memory, imagination and observation:
mirror/photograph
Outcomes.
Pupils will be able to understand colour classification and groups
Pupils will choose a range of colours to work with.
They will understands feelings/emotions colours evoke
Pupils will be able to draw in proportion the different features of the
face.
They will be able to draw and paint self portraits from memory,
Vincent Vangogh, Paul klee, Georges Seurat, monet, Lichtenstein,
Acrimboldo, Matisse, Pablo Picasso
Week 1 - 2
Colour classification/
painting the
colourwheel
Week 3
Looking at Abstract
painting ‘Blossoming’
by Paul klee
Week 4-5
Warm and cool colour
Week 6-7
What is Self Portrait
Week 8-9
Facial propotion
Week 10-12
Making a self portrait
Activity
Discussion and Q&A
about the
classification of
colours, Demonstrate
how to createa colour
wheel starting with
the primary colour.
Pupils are to make
their own colour
Pupils are intorduced to
the abstract
painting’Blossoming’
by Paul Klee and are
asked what they think
the image is of. The
teacher will further
explaing to them about
abstract painting.
They will experiement
Pupils are further
exposed to the work of
Vincent
Vangogh(Sunflower),
Pablo Picasso(The
tragedy) and the words
do them think of when
looking at the
paintings.
With this information
Introducing them to the
topic by showing them
selfportraits of other
artists. Let them come
up a definitions of self
portrait.
Discuss further about
these worksand list
things /images found in
them.
Pupils will be asked to
draw themself from
memory as a starting
point. The teacher will
demonstrate the
positioning of the facial
features through
gridlines.nose, ear,
eye,etc.
Pupils will draw
Students with be given
opportunities to
produce :
1. a self portrait in
pencil (from memory)
2. a self portrait from
mirror in poster colour
3. a self portrait from
photograph in paint.
wheel with poster
colour. Pupils to
copy keywords and
defintion.
with colouin
dependently thruogh
mixing paint to match
each coloured section of
the painting.
pupils will compose
either a geometrical
composition or a
pictorial composition
of a scene that will
capture the meaning :
Warm or Cool colours.
How do you think these
artists have painted
themselves? How
would you paint
yourself- mirror/picture
- Memory
- Imagination?
How will you describe
or identitfy yourself?
- Culturally
- Physical
attributes
individaul facial
featureas real as
possible.
The teacher produce a
painting of himself for
them to see.
Week 1-2
Week 3
Week 4-5
Week 6-7
Week 8-9
Week 10-12
Homework Print out any of Paul
klee’s work and
write about him and
the work in six lines.
.print out ‘Sunflower’
by Vincent vangogh
and ‘ The tragedy’ by
pablo Picasso. List
three words for each,
to exppress feelings
about them.
Produce a half term
paper titled’ colours
around me’ not more
than 5pages
List 10 physical and
cultural attributes
about you
Produce a collage of yourself using all sorts
of material available to you.
Resources
Poster colour, internet, paint brushes, pencils, mirrro, photograph, worksheet, IWB, Paper and sketchbooks, Art dept. books.
Assessment and
Evaluation
Assessment opportunities to take place through constant teacher / student dialogue (Levels to be given to students in the form of assessment sheets with
comments and copies kept in sketchbooks. Formal assessment at end of term.
Differentiation
Differentiation partly takes place through the complexity of the source material students are asked to use
individually and the ‘depth’ of the ideas individual students are asked to explore.
Music
Subject Music Key Stage 3 Year Group 7 Term: Lent
General Topic or Theme The Elements of Music Cross-curricular links Physics, Maths, English,
Unit: Rhythm and Pitch. Activities: Performing, Listening & Appraising
Prior Learning: It would be helpful if pupils had experience of group work, involving performance, knowledge of vocabulary and notation reading skills.
Aims of the Music Curriculum at GRANGE School:
Successful learners, who enjoy learning, make progress and achieve their best in music. Confident individuals, who are able to perform, listen and compose safely and find healthy fulfillment from discussing creative ideas.
1.2a Understanding musical traditions and the part music plays in national and global
culture and in personal identity.
1.3a Engaging with and analysing music, developing views and justifying opinions.
1.4a Using existing musical knowledge, skills and understanding for new purposes and in new
contexts.
1.5a Exploring how thoughts, feelings, ideas and emotions can be expressed through
music.
1.1b Participating, collaborating and working with others as
musicians
1.2b Exploring how ideas, experiences and emotions are conveyed in a range of music
from different times and cultures.
1.3 b Drawing on experience of a wide range of musical
contexts and styles to inform judgements.
1.4b Exploring ways music can be combined with other art forms and other subject
disciplines.
Key Processes: Pupils should be able to:
Performing, Composing & Listening Reviewing & Evaluating 2.1a sing in solo or group contexts, developing vocal techniques and musical
expression.
2.2a analyse, review, evaluate and compare pieces of music
2.1b perform with control of instrument-specific techniques and musical
expression 2.2b identify conventions and contextual influences in music of different styles,
genres and traditions
2.1c practise, rehearse and perform with awareness of different parts, the roles
and contributions of different members of the group, the audience and venue.
2.2c communicate ideas and feelings about music, using expressive language
and musical vocabulary to justify their opinions
2.1d create, develop and extend musical ideas by selecting and combining
resources within musical structures, styles, genres and traditions 2.2d adapt their own musical ideas and refine and improve their own and
others’ work. 2.1e improvise, explore and develop musical ideas when performing
2.1f listen with discrimination and internalise and recall sounds
2.1g identify the expressive use of musical elements, devices, tonalities and structures.
Range & Content 3a performance activities in a range of contexts within and beyond the classroom 3b a range of live and recorded music from different times and cultures 3c a range of classical and popular traditions and current trends in music that
reflect cultural diversity and a global dimension 3d staff notation and other relevant notations in a range of musical styles, genres
and traditions
3e consideration of contextual influences that affect the way music is created,
performed and heard 3f the use of music technologies to create, manipulate and refine sounds 3g the role of music and musicians in society, of the music industry and of
artistic and intellectual property rights
Lesson
Learning Intentions
(We Are Learning To)
Main lesson (include differentiation where possible) STARTER MAIN PLENARY
Learning
Outcomes Resources
Success Criteria/ AfL
(What I’m Looking For)
1
55 min
Lesson
Learning Intentions
(We Are Learning To)
Main lesson (include differentiation where possible)
STARTER MAIN PLENARY
Learning
Outcomes Resources
Success Criteria/ AfL
(What I’m Looking For)
2
55 min
Lesson
Learning Intentions
(We Are Learning To)
Main lesson (include differentiation where possible)
STARTER MAIN PLENARY
Learning
Outcomes Resources
Success Criteria/ AfL
(What I’m Looking For)
3
60 min
Lesson
Learning Intentions
(We Are Learning To)
Main lesson (include differentiation where possible)
STARTER MAIN PLENARY
Learning
Outcomes Resources
Success Criteria/ AfL
(What I’m Looking For)
4
60 min
Curriculum Opportunities
4a develop individual performance skills, both vocal and instrumental, including
the use of music technology 4b develop listening and aural perception skills in practical activities, including
composing and performing 4c develop creative and compositional skills, including songwriting, arranging
and improvising 4d work with a range of musicians and watch and listen to live musical
performances where possible, to extend their musical learning.
4e work individually, in musical groups of different sizes and as a class 4f build on their own interests and skills, taking on different roles and
responsibilities and developing music leadership skills 4g make links between music and other subjects and areas of the curriculum.
Lesson
Learning Intentions
(We Are Learning To)
Main lesson (include differentiation where possible)
STARTER MAIN PLENARY
Learning
Outcomes Resources
Success Criteria/ AfL
(What I’m Looking For)
5
60 min
Lesson
Learning Intentions
(We Are Learning To)
Main lesson (include differentiation where possible)
STARTER MAIN PLENARY
Learning
Outcomes Resources
Success Criteria/ AfL
(What I’m Looking For)
6
60 min
PE
GRANGESCHOOL
A Culture of Continuous Improvement SCHEME OF LEARNING 2014/2015
Year 7 Term: Lent Unit: Net Games (Volleyball Game) Attainment target: Level 1-2
Vincent Vangogh, Paul klee, Georges Seurat, monet, Lichtenstein,
Acrimboldo, Matisse, Pablo Picasso
Week 1 - 2
Colour classification/
painting the
colourwheel
Week 3
Looking at Abstract
painting ‘Blossoming’
by Paul klee
Week 4-5
Warm and cool colour
Week 6-7
What is Self Portrait
Week 8-9
Facial propotion
Week 10-12
Making a self portrait
Activity
Discussion and Q&A
about the
classification of
colours, Demonstrate
how to createa colour
wheel starting with
the primary colour.
Pupils are to make
Pupils are intorduced to
the abstract
painting’Blossoming’
by Paul Klee and are
asked what they think
the image is of. The
teacher will further
explaing to them about
abstract painting.
Pupils are further
exposed to the work of
Vincent
Vangogh(Sunflower),
Pablo Picasso(The
tragedy) and the words
do them think of when
looking at the
paintings.
Introducing them to the
topic by showing them
selfportraits of other
artists. Let them come
up a definitions of self
portrait.
Discuss further about
these worksand list
things /images found in
Pupils will be asked to
draw themself from
memory as a starting
point. The teacher will
demonstrate the
positioning of the facial
features through
gridlines.nose, ear,
eye,etc.
Students with be given
opportunities to
produce :
1. a self portrait in
pencil (from memory)
2. a self portrait from
mirror in poster colour
3. a self portrait from
photograph in paint.
their own colour
wheel with poster
colour. Pupils to
copy keywords and
defintion.
They will experiement
with colouin
dependently thruogh
mixing paint to match
each coloured section of
the painting.
With this information
pupils will compose
either a geometrical
composition or a
pictorial composition
of a scene that will
capture the meaning :
Warm or Cool colours.
them.
How do you think these
artists have painted
themselves? How
would you paint
yourself- mirror/picture
- Memory
- Imagination?
How will you describe
or identitfy yourself?
- Culturally
- Physical
attributes
Pupils will draw
individaul facial
featureas real as
possible.
The teacher produce a
painting of himself for
them to see.
Week 1-2
Week 3
Week 4-5
Week 6-7
Week 8-9
Week 10-12
Homework Print out any of Paul
klee’s work and
write about him and
the work in six lines.
.print out ‘Sunflower’
by Vincent vangogh
and ‘ The tragedy’ by
pablo Picasso. List
three words for each,
to exppress feelings
about them.
Produce a half term
paper titled’ colours
around me’ not more
than 5pages
List 10 physical and
cultural attributes
about you
Produce a collage of yourself using all sorts
of material available to you.
Resources
Poster colour, internet, paint brushes, pencils, mirrro, photograph, worksheet, IWB, Paper and sketchbooks, Art dept. books.
Assessment and
Evaluation
Assessment opportunities to take place through constant teacher / student dialogue (Levels to be given to students in the form of assessment sheets with
comments and copies kept in sketchbooks. Formal assessment at end of term.
Differentiation
Differentiation partly takes place through the complexity of the source material students are asked to use
individually and the ‘depth’ of the ideas individual students are asked to explore.
