During the second lesson pupil 1 reflected on her previous learning in context with the unit, “...we were using different stimulus to create a devised piece of theatre”.
As pupil 1 got into her group she showed confidence in the group and defined a character in relation to the context of the stimulus. To meet the requirements of level 4, Arts Council England (2003, p36) state, ‘…work confidently in groups using a range of drama techniques to explore a situation and devise dramas for a range of different purposes.’ Pupil 1 used the space effectively in the rehearsal process and ‘…established a character, with control over movement and voice.’ (Arts Council England, 2003, p36) Pupil 1 also demonstrated this through implementing her character and using silence to create tension between other characters.
This also reflected her performance relating to the Arts Council England, (2003, p36) performance section, ‘Experiment with voice and movement, to create or present different characters in performance. During her performance pupil 1 was able to reflect some areas of level 5, for example. ‘Pupils talk and listen confidently in a wide range of contexts, including some that are formal. Their talk engages the interest of the listener as they begin to vary their expression and vocabulary.’ (QCA, 2007, p76) This was also demonstrated in the plenary of the lesson when pupil 1 commented on how she used silence to create “shock” and to create an effective “Cliff hanger” relating to Arts Council England (2003;p37) which state, ‘ Discuss the themes or issues in the drama and the way they are presented… Comment on how intended effects had been achieved…’
For her homework pupil 1 was asked to reflect on the devising in which she could use this information to guide her during her rehearsal and performance in the next lesson. Pupil 1 did not complete this homework, however at the start of the lesson she was able to ‘…suggest improvements and use correct basis theatre terminology.’ (Arts Council England, 2003, p36). Pupil 1 used a good range of gestures and showed good characterisation during the performance in lesson 3 however she came out of role and used the script during her performance. Pupil 1 was therefore able to meet areas of level 4, for example, ‘ Act out improvised dramas and existing scripts, creating characters that are clearly different from themselves, and experiment with voice, gesture movement and sound.’ (Arts Council England, 2003, p36)
Pupil 2 has also clearly demonstrated an attainment level of 4A with areas of attainment level 5 in both the National Curriculum and the Arts Council. In lesson one pupil 2 showed her knowledge and understanding of soundscapes. Pupil 2 made the suggestion of who would create what particular sound meeting the criteria of level 4. This demonstrated, ‘…pupils talk and listen in confidence in an increasing range of contexts. Their talk is adapted to the purpose, developing ideas thoughtfully….’ (QCA, 2007, p76) and relating this to the Arts Council England (2003, p36), ‘…Working confidently in groups using a drama techniques to explore situations and devise drama for different purposes.’
Pupil 2 was also able to ‘…establish a character with control over movement and voice.’ Other ways in which pupil 2 met the criteria of level 4 included, ‘…Experiment with their voice, to create or present different characters in performance. (Arts Council England, 2003, p36) To secure this, during the reflection process, through discussion pupil 2 ‘…commented on how intended effects have been achieved....’ (QCA, 2007, p76) by suggesting she had “chose the sounds of waves and seagulls to create the theme of peace and harmony”.
During the second lesson pupil 2 made connection with the use of a ‘cliff-hanger’ relating to the intended learning of the lesson (see appendix 3) She also made connection with ‘…themes or issues in the drama and the way they were presented…’ (QCA, 2007, p76) by commenting on how they interpreted the script by changing the plot to the “son finding out the baby wasn’t his”. Evidence of this can be found in the evaluation homework pupil 2 had completed before carrying on with their rehearsal in lesson three.
During lesson three, pupil 2 also connected with the attainment level 5 by ‘...sustaining a character for a reasonable amount of time.’ (Arts Council England, 2003, p37) Rehearsing without a script and showing a clear sense of characterisation. Pupil 2 also began to ‘…use technical terms when talking or writing about dramas they have seen or participated in.’ (Arts Council England, 2003,p37) when stating why they had chosen to perform the way they did, for example using “suspense” and using levels to show “status of the characters” i.e. Parent/Child.
Pupil 3 showed elements of grade 4 however he is strongly working at a level 3B/ 3A throughout the duration of the three lessons. This however is still not reflecting his most likely grade of level 5. (See Appendix 1) He is showing lack of confidence to the subject and it appears he finds it difficult to work with peers he does not normally work with. During the lesson one, pupil 3 met areas of level 3 for example he has shown in discussions he is aware of the task and can demonstrate his understanding during the creating process in his group, ‘…through relevant comments and ask questions, they show they have listened carefully.’ (QCA, 2007, p76)
Throughout the second lesson pupil 3 showed a level of confidence and understanding being able to, ‘…plan and structure plays that make use of a range of techniques and forms to express their ideas.’ (Arts Council England, 2003, p36) suggesting how they could use the space and react with characters to build tension. Linking this to using a cliff hanger at the end.
For his evaluation as homework he was clearly able to show understanding of a ‘cliff- hanger’ and started to make suggestions of where he could improve. Therefore pupil 3 is making connections with Arts Council England (2003, p36), ‘Reflect on and evaluate their own work and other pupils, suggest improvements and use correct basic theatre terminology. (See appendix 4) This allowed pupil 3 to develop his performance in the lesson 3 which he began to take control of character and movement.
Reviewing the first lesson, most pupils were able to meet the learning objectives by creating soundscapes and performing these in their groups. The lesson was based on sharing the assessment criteria with them and pupils were engaged in this through discussion. ‘The ability to analyse the students’ learning is vital if you are to make appropriate teaching points which help the students develop their knowledge and /or competence.’ (Ellis, 2007, p66) To do this the pupils also used a template of the level descriptors for peer assessment to allow each group to receive feedback which contained of what they did well and one thing which they could improve. The task however took longer than anticipated and there is lack of energy from the group as a whole. To plan for lesson two I will use a starter to build energy and put them into mixed ability groups to raise confidence within the group. I believe this will encourage pupil 3 specifically.
Reviewing lesson two, the pace of the lesson was slow and not all pupils managed to perform meaning assessment for learning within performance could not be addressed for all pupils. However the pupils used for the purpose of this assignment did perform and all pupils were able to peer assess the students performance. I used scaffolding with each group to ensure they understood the task and how they might use a ‘cliff-hanger’ within their performance. I found that the pupils spent a lot of time writing out the continuation of the script rather than using this as an aid to their devising.
I therefore used questioning and gave feedback to the groups. Fautley & Savage, 2008, p42 writes, ‘Giving feedback involves individualising and personalising learning so that the students know specifically what they need to do in order to improve.’ Doing this boosted pupil 3’s confidence and the group used the feedback to guide their rehearsal. At the end of the lesson pupils were asked to complete an evaluation form which guided them through each step of ‘creating, performing and responding’. (See appendix 4) Kempe & Ashwell (2000,p48) write, ‘ In this way students are better able to recall and comment on the creative process than if hey later try to recapture the way they did things and why.’
For the planning of the third lesson I planned to ensure pupils could meet all learning objectives. (See appendix 3). And those who did not perform could do so in this lesson. The outcome for the lesson was to use the same stimulus and to use their homework to reflect on the previous lesson. This allowed the pupils to ensure that they improved their work using examples given by themselves. At the end of each performance other pupils gave feedback on how well they achieved the criteria and what they could do to improve. To do this the pupils used a ‘tick box’ list to allow them to easily follow the criteria of where they believed pupils were meeting the criteria. (See appendix 5) In the reflection of their work the three pupils used for this assignment continued to develop and meet the attainment levels set by the National Curriculum and those set by Arts Council England.
This report provided opportunities for pupils to focus on what they are actually learning. However three lessons provide only a snapshot of performance in Drama.
It is also apparent specifically with pupil 3 that their learning does not progress each week, ‘…learning does not proceed in a simple, straight, liner fashion. Pupils will often make progress in one aspect of a subject while seeming to regress in another.’ (Fleming, 2003, p125) It is therefore important to use peer and self assessment to ensure the pupils are making progress.
I have found that the Arts Council and National Curriculum to be quiet prescriptive, for example an area of assessment might be to ‘…demonstrate an awareness of some theatre traditions from different times and places, e.g. Kathakali dance drama, Greek or Tudor theatre.’ (Arts Council England, 2003:p36). This could not be achieved as the unit does not provide the opportunity for the students to address this. However Fleming (2003, p124) writes, ‘Such schemes are useful for departments to adapt for their own use but mechanistically. An understanding of some of the reasons why describing progression in drama is particularly challenging will be helpful in making sensible flexible use of the available frameworks.’
Reference List
Books
Arts Council England. (2003) Drama in Schools, London: Chatland Sayer.
Ellis, V. (2007) Learning and Teaching in Secondary Schools, 3rd Edition, Exeter: Learning Matter
Fautley, M. & Savage, J. (2008) Assessment for Learning and Teaching in Secondary Schools, Exeter: Learning Matters
Fleming, M. (2003) Starting Drama Teaching 2nd Edition, London: David Fulton Publishers Ltd
Kempe, A. & Ashwell, M. (2000) Progression in Secondary Drama, Oxford: Heinemann
Websites
QCA. (2007). English Programme of study for key stage 3 and attainment targets. Available: http://curriculum.qcda.gov.uk/key-stages-3-and-4/subjects/key-stage-3/english/Level-descriptions/index.aspx. Last accessed 01 April 2011.
Bibliography
Books
Brooks, V. Abbott, I. & Bills, L. (2007) Preparing to Teach in Secondary Schools 2nd Edition, Maidenhead: Open University Press
Capel, S, Leask, M & Turner, T. (2009) Learning to Teach in the Secondary School, 5th edition, London: Routledge
Kempe, A. & Holroyd, J. (2004) Speaking, Listening and Drama, London: David Fulton Publishers
by
damowarren (student)
