Drama Year 7 - 11 Curriculum maps Department mission statement ...

Drama Year 7 - 11 Curriculum maps

Department mission statement: Our Drama Curriculum has been tailored to both challenge and engage every child and build a foundation of the skills and knowledge that are needed to be used at GCSE level. Each Scheme of Work has practical

exploration at its core, allowing students the freedom to be creative and improve through informed critical self and peer analysis. The content covered endeavours to promote the spiritual, moral, cultural, mental and physical development of students

at The Carlton Academy and of society, and prepares students at our school for the opportunities, responsibilities and experiences of later life.

Year 7 Drama

Prior learning Autumn HT 1 Autumn HT 2 Spring HT 1 Spring HT 2 Summer HT 1 Summer HT 2

Content Main topics and subject content to be taught

There is no specific teaching of Drama in the Ks2 Curriculum although aspects are studied as part of the delivery of English

Introduction to Drama and Building Group Dynamics

• Extracts from ‘whole year chosen text and ‘Horrid Henry’ extract

CONTENT: In weeks 1-4 students work collaboratively to produce one class scene for the ‘Year 7’ Parents evening performance. Following this the students participate in practically creative workshops that seek to develop the group ensemble and there is a small group scripted performance and assessment that concludes the term.

Physicality Theatre into Melodrama and Pantomime

• Abridged ‘Cinderella’

Pantomime script and simple

Melodrama text

CONTENT: In weeks 1-3 students continue the ensemble-based practice and are introduced to the basics of Physical Theatre and then in 4-7 the conventions of Melodrama and Pantomime are explored.

Introducing Key Drama Explorative Strategies

CONTENT: Students will participate in practical workshops that teach them the skills to create the Key Drama Explorative Strategies and the reasoning behind their use. Both rehearsal strategies that aid exploration and performance ones that offer alternative forms through which to communicate to an audience will be taught.

Introducing Characterisation based Techniques for Rehearsal and Performance

• Leslie Halewood’s ‘The Breadwinner’ script

CONTENT: Students will participate in practical improvisation and scripted workshops that seek to teach them about ‘how to create a character for a given context’. Students will learn the basics of ‘stage fighting’ and understand ‘how to organise actors and sets for a watching audience’.

Exploring the writing and performance features of a full Play Text

• Ernie’s Incredible Illucinations

CONTENT: Students will participate in practical workshops that seek to teach them about the written and performance features of a play text. An understanding of ‘dramatic form’, creative interpretation and structure will be taught and opportunities to bring previously taught skills are planned for.

Improvisational work using different stimuli

• Ernie’s Incredible

Illucinations

CONTENT: This term’s work offers the students the opportunity to reflect and apply the year’s knowledge in new and creative ways and discuss and evaluate contributions using terms and phrases acquired. The students will spend this HT developing their improvisational and other skills that were learnt earlier in the year. Previously used texts will serve as a as stimulus from which to create drama from and students will apply techniques learnt.

Skills Main skills (subject specific and generic) that will be developed and how

• Students will have looked at a range of plays and identified themes and conventions in and across a wide range of writing

• Students would have discussed their understanding of texts and drawn inferences such as inferring characters’ feelings, thoughts and motives from their actions, and justifying inferences with evidence

CONCEPTS: Students will be challenged to work collaboratively as a group and explore key characters and themes and develop their understanding of the performance text being studied. Furthermore, the students will begin to develop an early understanding of the role of the director and become familiar with ‘the art of staging a scene’. The unit concludes with students applying their character and staging knowledge in a practically assessed performance of ‘Horrid Henry’ KNOWLEDGE: Students will be able to understand more about the character relationships and themes that exist in the ‘class performance scene’ and ‘small group assessment’ one and demonstrate this through acting and discussion. Students will be encouraged to empathise with

CONCEPTS: Through reading and practically exploring the Melodrama and Pantomime texts, students will develop their understanding of features relating to ‘character’ and ‘structure’. Students will develop an understanding of performance features of the two theatrical styles and use the information gained to inform their own practical work. They will be challenged to develop their practical and evaluative skills by engaging with the style-specific vocabulary used.

KNOWLEDGE: Students will be able to explain the performance conventions of Melodrama and Pantomime and make connections to 21st century theatre. Additionally, students will be able to structure a devised performance and sustain a role that would reflect their understanding of the ‘style of

CONCEPTS: Through practical exploration students will develop their understanding of how the Drama strategies and characterisation techniques can be used and developed in rehearsal and successfully applied in performance. Students will be challenged to apply and develop their understanding of these strategies to a range of contexts and evaluate their use in the improvisational tasks set.

KNOWLEDGE: Students will be able to consider the impact that the implication of the taught strategies has on the conveying of meaning in performance. Additionally, students will know ‘how and why’ these strategies are used in both rehearsal and performance and recognise what the feature of a well-executed strategy looks and sounds like.

CONCEPTS: Through reading these texts, students will have a chronological and canonical understanding of the evolution of storytelling and develop an understanding of thematic and contextual links between texts. They will be challenged to reflect on their own experiences and consider what influences have shaped their ideas and values.

KNOWLEDGE: Students will be able to identify the vocal and physical elements that relate to the art of the actor creating a character’ and appropriately use associated words and phrases in the discussion and evaluation of performance. Characterisation strategies will be learnt and applied when tackling set improvisational tasks. Students will boost cultural capital by discussing

CONCEPTS: Through reading, discussion and practically exploring the staging of the text the students will be challenged to develop their understanding of character and of staging a scene. Both ‘naturalistic’ and ‘stylised’ scenes will be explored and the on and off text work will help develop their growing understanding of ‘what dramatic form is?’

KNOWLEDGE: Students will be able to explain ‘what dramatic form is’ and identify moments within the play when this changes. An understanding of ‘dramatic structure’ will be taught and students will be able to make connections between ‘its use’ and ‘how these aids the conveying of meaning to an audience’. Students will be able to justify their interpretations of characters and make informed criticisms of their

CONCEPTS: Through discussion and practically exploring the various stimuli given the text the students will be challenged to draw on the skills and knowledge gained throughout the year and stage scenes of an increasingly creative nature. Both ‘naturalistic’ and ‘stylised’ scenes will be created, and the improvisations will reflect how the students have a developing understanding of how to create meaning to an audience in ever more creative ways. KNOWLEDGE: Students will be able to explain ‘how to explore a given stimuli using the rehearsal strategies learnt this year’. An understanding of ‘prepared and instant improvisation’ will be taught and students will be able to identify elements that make for successful execution. Students will be able to justify their choice of strategy and make informed

perspectives beyond their own gender, class time period etc when playing characters and analyse their own and others contribution both towards and in the final performance. Homework from the TCA Knowledge Organiser booklets will reinforce the term’s learning and importantly introduce the students to key theatrical terms that will be QUIZED at appropriate times

characterisation’ used in these styles of theatre. Homework from the TCA Knowledge Organiser booklets will reinforce the term’s learning and importantly introduce the students to key theatrical terms that will be QUIZED at appropriate times

Students will be able to use the related words and phrases related to ‘strategies’ and apply them in interpretational and critical discussions. Homework from the TCA Knowledge Organiser booklets will reinforce the term’s learning and importantly introduce the students to key theatrical terms that will be QUIZED at appropriate times

and empathising with the wider societal issues that live within ‘The Breadwinner’ text and develop an understanding of ‘what and how dramatic tension is created. Homework from the TCA Knowledge Organiser booklets will reinforce the term’s learning and importantly introduce the students to key theatrical terms that will be QUIZED at appropriate times.

own and others work. Homework from the TCA Knowledge Organiser booklets will reinforce the term’s learning and importantly introduce the students to key theatrical terms that will be QUIZED at appropriate times

criticisms of their own and other options and execution of its use. Homework from the TCA Knowledge Organiser booklets will reinforce the term’s learning and importantly introduce the students to key theatrical terms that will be QUIZED at appropriate times

Extended writing Extended writing opportunities and skill development

Students will be taught the value of applying key theatrical terms in evaluative written responses. Furthermore, students will recognise the difference between a ‘descriptive’ response to a performance and an ‘analytical’ one.

Students are expected to build on skills acquired at HT1 by using them consistently and with sophistication. The value of ‘blocking a scene’ and ‘rigorous rehearsal’ will be taught and opportunities to review and improve will arise and celebrated as part of ‘normal’ practice.

Students are expected to build on skills acquired in HT1/2 by using them consistently and with sophistication. The value of practical exploration and focused rehearsal will be taught and opportunities to review and improve will arise and celebrated as part of ‘normal’ practice.

Students are expected to build on skills acquired previously by using them consistently and with sophistication. Students will be taught the value of going through a rigorous planning and drafting process. Opportunities to practice extended writing will arise through both writing creative responses to texts and analytical essay responses on language.

Students are expected to build on skills acquired in HT1//2 by using them when exploring and performing extracts from the studied play. consistently and with sophistication. Students will be taught about 'staging scene transitions' the value of going through a rigorous planning and drafting process. Opportunities to practice extended writing will arise through both writing creative responses to texts and analytical essay responses on language.

As part of the wider TCA ‘Extended Writing’ initiative, the students are expected to apply the previously learnt drama specific vocabulary and knowledge and so create a piece of writing that echoes elements that are to be used when studying for GCSE. The writing itself could be ‘evaluative based’ and ask students to reflect on their contributions to rehearsal or performance, or it may be ‘creative’ in content and be a springboard for practical exploration later on.

Oracy Opportunities to develop students’ verbal communication

• Students would have read and participated in discussions about plays read to them and those they can read for themselves. Additionally, plays would have been read aloud and performed and students would have had the opportunity to show an understanding through the use of intonation, tone and volume so that meaning is clear to an audience

Through the reading of the studied scene extracts, the students will begin to understand ‘the art of communicating meaning to an audience’ through the application of vocal and physical skills. Oracy will be promoted with rich questioning, class discussion, paired and group activities, assessment, and debate.

Oracy will be promoted through the use of rich questioning, class discussion, paired and group activities and assessment and debate. Through the reading and exploration of extracts, students will begin to understand ‘how to shape a performance for a watching audience’ and ‘successfully convey intentions’.

Oracy will be promoted through the use of rich questioning, class discussion, paired and group activities and assessment and debate. Through the art of creating, developing and rehearsing the prepared improvisations the students will begin to understand ‘how to shape a performance for a watching audience’ and ‘successfully convey intentions’.

Oracy will be promoted through the use of rich questioning, class discussion, paired and group activities and assessment and debate. Through the reading of extracts, students will begin to understand why to place emphasis on certain words/phrases.

Assessment How knowledge and skills will be assessed formally and informally. How feedback will be given

Practical Assessment of Horrid Henry group performance Written evaluation of self and others contribution to the assessed practical performance.

Teacher and peer feedback are a constant feature of any drama lesson and there should be an on-going pursuit of improving the quality of the students’ contribution to this.

Year 8 Drama



Students would have had one year/ one hour per week of Drama in Year 7 in which they would have been introduced to certain aspects of scripted and improvisation work

Introduction subtext/ structure/ climax and anti-climax

• Extracts from ‘The Bench’ and ‘The Boy in the Stripped Pyjamas

CONTENT: In weeks 1-4 students work collaboratively to produce scenes from the play ‘The Bench’. The three key areas of subtext/ structure/ climax and anti-climax are looked at as the students analyse the scenes from the studied play.

(Weeks 5-7) Following this the students participate in a paired practical assessment that uses the ‘Boy in the Stripped Pyjamas’ meeting scene duologue as its focus.

Physicality Theatre into Melodrama and Pantomime

• Abridged ‘Cinderella’

Pantomime script and simple

Melodrama text

CONTENT: In weeks 1-3 students continue the ensemble-based practice and are introduced to the basics of Physical Theatre and then in 5-7 the conventions of Melodrama and Pantomime are explored.

Introducing Key Drama Explorative Strategies

CONTENT: Students will participate in practical workshops that teach them the skills to create the Key Drama Explorative Strategies and the reasoning behind their use.

Introducing Characterisation based Techniques for Rehearsal and Performance

• Leslie Halewood’s ‘The Breadwinner’ script

CONTENT: Students will participate in practical improvisation and scripted workshops that seek to teach them about ‘how to create a character for a given context’. Students will learn the basics of ‘stage fighting’ and understand ‘how to organise actors and sets for a watching audience’.

Novel: Does absolute power corrupt absolutely?

• A novel

• Supplementary extracts

Writing to present a viewpoint

CONTENT: Students will read a novel such as Animal Farm, The Lord of the Flies or Private Peaceful. By doing so, they will develop a deep understanding of what makes fiction related to human power compelling and why this continues to fascinate readers and writers. Students will also reflect on the warnings about society that writers give through their fiction. In addition, students will learn to write persuasively. Students will also revisit and extend their understanding of spelling, punctuation and grammar.


• Students will have looked at a range of plays and identified themes and conventions in and across a wide range of writing

• Students would have discussed their understanding of texts and drawn inferences such as

inferring characters’ feelings,

thoughts and motives from

their actions, and justifying

inferences with evidence

CONCEPTS: Students will be challenged to work collaboratively as a group and explore key characters and themes and develop their understanding of the performance text being studied. Furthermore, the students will begin to develop an early understanding of the role of the director and become familiar with ‘the art of staging a scene’. The unit concludes with students applying their character and staging knowledge in a practically assessessed performance of ‘Horrid Henry’ KNOWLEDGE: Students will be able to understand more about the character relationships and themes that exist in the ‘class performance scene’ and ‘small group assessment’ one and demonstrate this through acting and discussion. Students will be encouraged to empathise with perspectives beyond their own gender, class time period etc when playing characters and analyse their own and others contribution both towards and in the final performance. Homework from the TCA Knowledge Organiser booklets will reinforce the term’s learning and importantly introduce the students to key

CONCEPTS: Through reading and practically exploring the Melodrama and Pantomime texts, students will develop their understanding of features relating to ‘character’ and ‘structure’. Students will develop an understanding of performance features of the two theatrical styles and use the information gained to inform their own practical work. They will be challenged to develop their practical and evaluative skills by engaging with the style-specific vocabulary used.

KNOWLEDGE: Students will be able to explain the performance conventions of Melodrama and Pantomime and make connections to 21st century theatre. Additionally, students will be able to structure a devised performance and sustain a role that would reflect their understanding of the ‘style of characterisation’ used in these styles of theatre. Homework from the TCA Knowledge Organiser booklets will reinforce the term’s learning and importantly introduce the students to key theatrical terms that will be QUIZED at appropriate times

CONCEPTS: Through practical exploration students will develop their understanding of how the Drama strategies and characterisation techniques can be used and developed in rehearsal and successfully applied in performance. Students will be challenged to apply and develop their understanding of these strategies to a range of contexts and evaluate their use in the improvisational tasks set.

KNOWLEDGE: Students will be able to consider the impact that the implication of the taught strategies has on the conveying of meaning in performance. Homework from the TCA Knowledge Organiser booklets will reinforce the term’s learning and importantly introduce the students to key theatrical terms that will be QUIZED at appropriate times

CONCEPTS: Through reading these texts, students will have a chronological and canonical understanding of the evolution of story-telling and develop an understanding of thematic and contextual links between texts. They will be challenged to reflect on their own experiences and consider what influences have shaped their ideas and values.

KNOWLEDGE: Students will be able to retell some Greek myths, biblical stories, modern stories through spoken word. They will also be able to explain some of the influences society, and describe the links between some texts from different eras. Students will boost cultural capital by discussing and empathising with wider societal issues. Students will deepen their understanding of literary devices and spelling, punctuation and grammar rules. Furthermore, they will develop their understanding of descriptive writing skills, presentation skills, creative writing skills and analytical writing skills. Weekly homework using chunked knowledge organisers, tested through a weekly QUIZ

CONCEPTS: Through reading the novel, students will be challenged to develop their understanding of corruption, power, hierarchy, rhetorical devices, narrative structure and language analysis. By reading other extracts they will understand the canonical links with modern texts, as well as exploring the genre of their text.

KNOWLEDGE: Students will be able to explain the historical significance of their text through allegorical links, and they will understand the author’s place in literary heritage. Students will also be able to employ rhetorical devices in their own writing. They will also be able to link modern fiction to canonical tropes. ‘Do now’ as a ‘hook’ in content lessons. Bespoke literacy starters in DIRT/QUIZ lessons relating to homework set that week. Weekly homework using chunked knowledge organisers, tested in weekly QUIZ. Consolidation of themes from earlier texts.

theatrical terms that will be QUIZED at appropriate times


Students will be taught the value of applying key theatrical terms in evaluative written responses. Furthermore, students will recognise the difference between a ‘descriptive’ response to a performance and an ‘analytical’ one.

Students are expected to build on skills acquired at HT1 by using them consistently and with sophistication. The value of ‘blocking a scene’ and ‘rigorous rehearsal’ will be taught and opportunities to review and improve will arise and celebrated as part of ‘normal’ practice.

Students are expected to build on skills acquired in HT1/2 by using them consistently and with sophistication. The value of practical exploration and focused rehearsal will be taught and opportunities to review and improve will arise and celebrated as part of ‘normal’ practice.

Students are expected to build on skills acquired at KS2 by using them consistently and with sophistication. Students will be taught the value of going through a rigorous planning and drafting process. Opportunities to practice extended writing will arise through both writing creative responses to texts and analytical essay responses on language.

Students are expected to build on skills acquired at KS2 by using them consistently and with sophistication. Students will be taught the value of going through a rigorous planning and drafting process. Opportunities to practice extended writing will arise through both writing creative responses to texts and analytical essay responses on language.


Students would have read and participated in discussions about plays read to them and those they can read for themselves. Additionally, plays would have been read aloud and performed and students would have had the opportunity to show an understanding through the use of intonation, tone and volume so that meaning is clear to an audience

Through the reading of the studied scene extracts, the students will begin to understand ‘the art of communicating meaning to an audience’ through the application of vocal and physical skills. Oracy will be promoted with rich questioning, class discussion, paired and group activities, assessment, and debate.

Oracy will be promoted through the use of rich questioning, class discussion, paired and group activities and assessment and debate. Through the reading and exploration of extracts, students will begin to understand ‘how to shape a performance for a watching audience’ and ‘successfully convey intentions’.

Oracy will be promoted through the use of rich questioning, class discussion, paired and group activities and assessment and debate. Through the art of creating, developing and rehearsing the prepared improvisations the students will begin to understand ‘how to shape a performance for a watching audience’ and ‘successfully convey intentions’.




Practical Assessment of Horrid Henry group performance Written evaluation of self and others contribution to the assessed practical performance.



AP4: 45 min exam which is in the style of AQA language paper 1 section B using an image as a stimulus (assessed for AO5, AO6) with content and technical accuracy tested.

AP5: 45 min extract exam in the style of AQA literature paper 1 section A (assessed for AO1, AO2, AO3, AO4). ● Choice of writing tasks: - Writing to describe task in the style of AQA language paper 1 Section B (45 minutes) (A05 and A06) - Writing to argue/persuade task in the style of AQA language paper 2 Section B (45 minutes) (A05 and A06) ● DIRT activities are essay-based in the style of the exam.

Year 9 Drama



In Years 7 and 8 students have had the experience of creating drama from various written texts and from being presented with a range of different creative stimuli. The final part of Yr8 is dedicated to the students developing their understanding of dramatic through participating in various improvisation exercises. Content: Previously all students have had the experience of studying a range of full-length plays. Discussions looking at ‘performance’ have been ongoing and a basic knowledge of the ‘technical/ back stage aspects of performance have been touched upon. All students would have seen the school’s yearly Christmas performance/ a touring company’s work that forms part of the wider school enrichment ECO programme.

Drama’ and Component 3: ‘Theatre Makers in Practice’ The Complete play ‘DNA’ by Dennis Kelly Students start looking at an overview of the set text DNA and practically exploring extracts from it. The specific focus in this HT is on developing an understanding of the themes and characters that live within the play and a knowledge of how these ideas might be realised in performance. This focus links directly to the questions set in Section A questions of the exam and it naturally build on the ‘actor based’ word done in Year 8.

CONTENT: In weeks 1-3 students work as a whole class and in small groups to create work that seeks to develop a clear understanding of ‘the role of the actor in performance’ and a recognition of ‘what dramatic form is?’ In weeks 4-9 the students will read and engage in practical workshops that seek to develop a textual and working understanding of the play DNA as a performance text. In mid HT2 the students will be gaining an understanding of the ‘actor-based’ written questions that begin and punctuate the Component Three ‘Theatre Makers in Practice’ written exam.

Introducing Component 1: Devising Students are introduced to the art of devising and gain an understanding of the marking criteria for the assessed ‘Performance’ and supporting ‘Portfolio’. These largely teacher-led practical workshop sessions will focus on teaching the students about the meaning of the different terms used within the 6 questions that collectively for the ‘Written Portfolio’ and they will understand the Drama Practitioner theories that could influence their own practice. Key vocabulary that forms part of the questions and required responses for the 2,000-word portfolio that is to be completed in the first HT of the final examining year will be taught. Content: In weeks 1-2 the different terms and ‘skills for devising’ are covered. In weeks 3 – 6 the students are introduced to the theatre practitioners Brecht and Stanislavski and their workings are explored in the practical workshops and reinforced through set homework.

Component 3: Theatre Makers in Practice- Understanding the text and Live Performance of it and the Linked Examination Question

Students start exploring the Live Theatre text ‘A Curious Incident’ and in practical workshops they will develop their understanding of it. (Based on the accessibility of the live performance, another text maybe studied and seen) Like with HT1 and 2 the specific focus here is on developing an actor-focused understanding of the text, as this will enable the students to answer the ‘Performer’ Section B questions in the exam. Students see a live theatre production of ‘Curious Incident’ and begin writing up their production notes that they will use when answering the ‘analysis’ or ‘evaluation’ question in the final assessment. CONTENT: In weeks 1-4 students participate in practical workshops that seek to teach them about the play, the challenges for the actors playing certain characters and the nature of dramatic form and working in an ensemble. In weeks 5-7 the students will be preparing for and reflecting upon the live theatre performance that has been seen.

Component 2: Performance from Text Over this HT the students will be introduced to a number of different Pre 2,000 play texts that could be performed for the external visiting examiner in the final year of the exam. Students will participate in practical workshops that teach them the skills to analyse a text and apply their understanding of it by using the Drama Explorative Strategies that were taught in year 7. The serious themes and issues within the play will be discussed in lessons and the drama exploration and performance work will be used as a method to promote understanding and empathy of these. CONTENT: In mid HT1 the students will be working in small pairs and smaller groups as they prepare a scripted performance of their pre- 2000 text. Homework in this period will see the students gaining an understanding of the DNA ‘actor-based’ written questions that begin and punctuate the Component Three ‘Theatre Makers in Practice’ written exam and build upon the work covered in Autumn HT1/2.

Exploring and Developing A Group Devised Performance Component 1: ‘Devising’ Over this HT the students will begin to work in groups as they develop devised drama from a given stimuli. Throughout this time the students will be applying the practitioner knowledge taught in Spring HT1 and looking at the developing their knowledge of the terms and possible approaches for answering the six portfolio questions that form ¾ of the marks for this component. CONTENT: In weeks 1-7 students will be developing their understanding of improvisation as they seek to create a performance that will be assessed and potentially form the basis of their final marked and submitted Comp’ Two coursework. The homework set over this time will ask students to connect their own exploration and performance work to the answering of the six set questions that form the 2,000-word portfolio.


All students would have the skills and knowledge to interpret a text and the practically explore, rehearse and present a performance of it. Skills to reflect and evaluate practical outcome would have been ongoing since the start of Year7.

CONCEPTS: (Acting and DNA) Key dramatic terms are taught, and the studying of a new scene generally mirrors the teaching of a new concept. Students will be developing their actor-focused drama specific vocabulary and through textual analyses and performance evaluation improve their understanding of the themes and characters in DNA. KNOWLEDGE: Students will be able to apply their knowledge of the key concepts taught to their understanding of the play DNA. Knowledge of the play’s characters and themes will inform the students’ creative choices and they will be encouraged to empathise with perspectives beyond their own and better understand the narrative of the play DNA. Homework will focus on having the students know the key ‘Vocal’ and ‘Physical’ acting terms required for all components of the course and the TCA Knowledge Organiser booklets will reinforce this.

CONCEPTS: (HT 1 Intro Devising) Students will be involved in teacher led workshops that will cement a working understanding of the theoretical practices of the practitioners Brecht and Stanislavski. In groups the students will be given time to display their understanding of such concepts as ‘alienation’ as they develop their own improvised and ‘intention-led’ dramatic improvisations KNOWLEDGE: (HT1 Intro Devising) Lessons will systematically promote the learning of new ‘devising and practitioner-related’ terms’ and students will be challenged to know and apply these in creative tasks and analytical discussions. The meaning of terms found within the six portfolio questions will be taught and their

CONCEPTS: (HT2 Live Performance) Students will be challenged to reflect on their own live theatre/ audience experiences and consider ‘how the actors and technical staff contributed to the conveying of the play’s narrative?’. This unit of work needs for the students to grasp the concept of the creative process that lays behind live theatre production and an understanding of the execution of this in performance. Finally, the students need to be confident in understanding the concept of ‘them as a critical audience’ member who has to analyse and evaluate what is seen. KNOWLEDGE: (HT 2 Live Performance) Students will boost cultural capital by discussing and empathising with the wider societal issues that live within the ‘Curious

CONCEPTS: (HT1 – Performance from Texts) Over the HT the students will develop an understanding of the concept of ‘the actor being assessed for performance’. Initially they will understand the social and cultural concepts behind the writing of the pre- 2,000 play being studied. Later on, the students will consider ‘how the play could connect to a modern audience?’ and then thought will be given to ‘how to realise such intentions for performance’. KNOWLEDGE: Students will develop a knowledge of the pre 2,0000 play texts studied and consider its potential for performance to an external examiner. The students will consider how the text could be realised in performance and give thought to the selecting of extracts

CONCEPTS: (HT2- Devising) Theoretical concepts that link to the studied theatre practitioners will be applied to the group work that is being undertaken. While seeking to create a devised performance for a watching audience the students will consider how to apply the concept of ‘manipulating one’s audience to feel and think certain things’. KNOWLEDGE: Students will know how to explain ‘how one might explore a given stimuli using instant and prepared improvisational techniques learnt in this Spring HT1’. Over time students will know how to identify the connections that exist between their own devised work to the

Additional ‘writing the clues’ and ‘answering the clues’ Crossword homework will be set and importantly introduce and then re-enforce the students’ knowledge of the to key theatrical acting terms. Teacher-led starter and plenary quizzing activities will be on-going, and these will be used to further cement the students’ knowledge of these key acting words/ terms.

relevance to the practical work that is being undertaken explored. Students will have some knowledge of terms like ‘form, genre and structure’ for these have been covered in Yr8, but now their application to the area of devising will be considered.

Incident’ text and were realised in the live performance. The students will develop a knowledge of the roles of the creative team that work on a live performance and become familiar with the key terms found within these different fields. Previously the students would have been introduced to understanding and being critical of all aspect of acting, although now they will develop a critical knowledge of such roles as ‘the director’ and those persons that form part of the back stage technical crew like the Costume, Stage and Lighting designers.

that would suit a solo, duologue or group performance. An understanding of the examination criteria used in this component will be gained and this will inform the creative choices that the students make when exploring and performing the extracts from the text.

theatre practitioners that have been previously studied. The terms used in the six portfolio questions will underpin the analytical whole class discussion and students should then apply this new linguistic knowledge to the written homework tasks that will be set.


The recently introduced ‘wider whole academy extended writing initiative’ has been embraced and longer pieces are now worked upon at the end of Yr7. Writing in Years 7 and 8 has been largely ‘evaluative’, although creative opportunities do exist.

HT1/2 (Acting and DNA) Students will be taught the value of applying the key ‘acting’ terms that connect the focus areas of study to their own practical exploration work and the ensuing verbal evaluations that follow this. The classroom-based lessons will offer students the opportunity to apply their understanding of the key acting terms to writing frames that will support the completing of the 4 and 6 mark written questions that begin the Component 3 Exam.

HT1 (Intro to Devising) Homework will be set that seeks to cement the students understanding of the key ‘devising/ practitioner-related’ vocabulary for this component of the course. Then students will be taught the skills to apply these terms to selected portfolio questions. Scaffolds will be used that support the students to write critical responses that highlight their ability to link the demands of the question to their own practice and then they are to underpin this with their knowledge of dramatic theory.

(HT 2 Live Performance) All students would have seen a live performance and then started on the process of ‘writing up critical notes that can be used to inform the writing of an exam question. The art of ‘structuring notes will be taught’ and the students will develop skills that will allow them to apply these notes to the answering of an examination questions that requires a critical response. Opportunities to practice extended writing will arise through the DIRT evaluation work that concludes the scheme of learning and creative responses to the texts will give rise to other chances to write in detail.

(HT1 – Performance from pre 2,000 Texts) In HT1 students were taught the value of applying key ‘acting’ terms that connect the studied text to an exam question’ and in this HT the written focus is similar. The focus will be on ‘responding to DNA questions’ but natural links will be made when exploring this ‘Pre-2,000 Text’. Thought will now be given to the ‘impact of the director’s interpretation’ on the actor, and again, links between the ‘DNA’ and the pre- 2,000 text will be considered. Homework will ask students to use the supportive writing frames to complete notes on the 4 and 6 mark written questions

(HT2 Devising) Extended writing tasks this HT will give students the opportunity to apply their theoretical knowledge to their own devising work and evaluate its success. Particular attention will focus on the ‘creative process’ questions and those ‘summative’ and ‘audience response’ one will be looked at later on in the course.


The developing of Oracy is central to the teaching of Drama in Years 7 and 8. Our own departmental work also compliments the ‘speak like a’ Academy initiative that forms just one strand of ‘improving student’s speech’.

HT1/2 (Acting and DNA) In the discussion of the studied scenes the students will share their thoughts around ‘interpretation’ and feedback on ‘the success of communicating meaning to an audience’. Oracy will be promoted with rich questioning, class discussion, paired and group activities, assessment, and debate. The concluding practical assessment that will inform the levels give to students for DC1 will consider their ability ‘to verbally communicate meaning and understanding of the studied play text to an audience’.

HT1 (Intro’ into Devising) Oracy will be promoted using rich questioning, class discussion, paired and group activities and assessment and debate. Through the art of creating, developing and rehearsing the devised performances the students will further develop their understanding of ‘how to shape a performance for a watching audience’ and ‘successfully convey intentions’.

HT2 Live Performance Through the art of creating, developing and rehearsing the performances from the seen live performance of the studied script the students will further develop their understanding of ‘the role of the actor in shaping a performance and conveying a director’s intentions’. Oracy will be promoted using rich questioning, class discussion, paired and group scripted tasks and assessment and debate.

(HT1 – Performance from pre 2,000 Texts) Informal teacher and peer feedback are a constant feature of any drama lesson and there should be an on-going pursuit of ‘improving the quality of the students’ contribution to this.’ This 100% performance assessed unit of work has an exam board marking criteria that specifically rewards ‘verbal communication’, so the development of oracy and communication skills is key.

(HT2 Devising) This component of the course offers the students the chance to develop their oracy skills and then be rewarded for their ability to communicate to an audience. Edexcel exam board marking criteria specifically rewards ‘communication’, so the development of the students’ oracy skills is essential.


Drama assessment dates in Years 7 and 8 are aligned to support the giving of the wider academy DC grades. Practical and written tasks are completed in class and peer and teacher marked.

HT1/2 (Acting and DNA) DC1- WB: 06/01/20 Practical Assessment of extracts from scenes from DNA will occur. Scaffolded written homework's will be set and given A-E grades. Written work will focus on the completion of the 4 and 6 mark exam questions.

HT1 (Intro’ into Devising) Written homework's that focus on ‘developing devising/ theatre practitioner specific knowledge and vocabulary’ will be assessed and will eventually inform the giving of the DC2 grade.

(HT2 Live Performance) Practical performance of scenes from the ‘seen show’ will be assessed using Comp 2 Marking criteria. Quality of ‘Live Performance’ notes will be considered and DNA scaffolded response will be marked. All three will eventually inform the giving of the DC2 grade.

(HT1 – Performance from pre 2,000 Texts) The Year 9 assessment week will see the students rehearse and perform different scenes from the studied pre’ 2,000 plays which will inform the giving of the predicted grade

(HT2 Devising) The different grades given from Spring HT1 onwards will inform the awarding of the predicted grade

Year 10 Drama

Prior learning Autumn HT 1 Autumn HT 2 Spring HT 1 Spring HT 2 Summer HT 1

Summer HT 2


Content: Students would have a had 2.5/3 hrs of Drama teaching per week in Yr 9 and had the experience of creating practical and written work from various written texts and from being presented with a range of different creative stimuli. Performance-based discussions have been ongoing and a knowledge of the ‘technical’ aspects of performance have been touched upon. The yearly Christmas performance /the wider school enrichment / ECO programme both offer an opportunity for all students to see live theatre.

Component 2: Performance from Pre- 2,000 Text CONTENT: Over these two HTs the students will be introduced to more Pre 2,000 play texts (Epsom Downs) that could be performed for the external visiting examiner in the final year of the exam. Other texts have been looked at in Year 9. Students will participate in practical workshops that teach them the skills to analyse a text and apply their understanding to performances of it. The serious themes and issues within the play will be discussed in lessons and the drama exploration and performance work will be used as a method to promote understanding and empathy of these. In weeks 1-7 students work in whole class and small groups to create work that seeks to develop a clear understanding of the text, Students will be reading and engaging in practical workshops that seek to develop a textual and working understanding of the play as a performance text. In mid HT2 the students will be working in pairs/ small groups to create two performances of extracts from the play and these will be practically assessed

Component 3: Theatre Makers in Practice- Understanding and applying the knowledge of non-acting roles in DNA and the Live Performance text

CONTENT: Students return to looking at the previously seen Live Theatre text ‘A Curious Incident’ and the play DNA (One of the possible choices of text offered by Edexcel). in practical workshops students will develop an understanding of the roles of the non-acting persons that contribute to the staging of a text and recognise how they ‘might’ enhance the staging of a given extract from DNA. The same links are made as the students ask ‘how did the non-acting persons contribute to the live performance that was seen in Y9. The specific focus here is on developing a non-acting understanding of the two texts, as this will enable the students to answer the ‘Design Elements’ questions in Section A’ and the 9 mark Section B questions in the exam.

Exploring the Stimulus for the Group Devised Performance -Component 1: CONTENT: Over this HT the students will participate in teacher led workshops that are based on ‘exploring the given stimuli’. Working in groups of 4-6 the students will be applying the practitioner knowledge taught in Year 9 to the creating of their own devised drama work. The practical exploration work will be underpinned with discussions and set homework that highlight the link between their own practice and the possible approaches for answering the six portfolio questions that form ¾ of the marks for this component. In weeks 1-4 the class will work in various groups to explore the stimuli and in 5-7 this work is done in the teacher-set exam groups that the students will remain in until the conclusion of this component.

Groups Independently Developing the stimuli for the Devised Performance -Component 1: CONTENT: Over this term the students will independently work in assigned groups to develop a devised drama performance springing from last HT’s given stimuli. Throughout this time the students will be applying the practitioner and devising knowledge that has been taught in Year 9 to the creating of their own devised drama work. Homework in this period will see the students completing writing frames and answering Section A DNA written questions that are found in the Component Three ‘Theatre Makers in Practice’ written exam.


CONCEPTS: (Performance from Pre- 2,000 Texts) Over the two HTs the students will develop an understanding of the concept of ‘the actor being assessed for performance’. Initially they will understand the social and cultural concepts behind the writing of the pre- 2,000 play being studied. Students will consider ‘how the play could connect to a modern audience?’ and then thought will be given to ‘how to realise such intentions for performance’. KNOWLEDGE: (HT1/2- Performance from Pre- 2,000) Students will develop a knowledge of the pre 2,0000 play texts studied and consider its potential for performance to an external examiner. The students will consider how the text could be realised in performance and give thought to the selecting of extracts that would suit a solo, duologue or group performance. An understanding of the examination criteria used in this component will be gained and this will inform the creative choices that the students make when exploring and performing the extracts from the text. Key dramatic terms are taught, and the studying of a new scene generally mirrors the teaching of a new concept. Students will be developing their actor-focused drama specific vocabulary and through textual analyses and performance evaluation improve their understanding of the themes and characters in these pre 2,000 texts

CONCEPTS: (HT1- Non - Acting Roles Applied to DNA and the Live Performance) This particular unit of work needs for the students to grasp the concept of the creative process that lays behind creating a live theatre production and an understanding of the execution of the non-acting roles in performance. Through practical exploration students will develop their understanding of the non-acting roles found in the theatre and make links with the characters, context and themes found in DNA and the seen live performance. Finally, the students need to be confident in understanding the concept of thinking and responding as both ‘a critical audience member’ and ‘someone who is actually contributing to the staging of an extract of the DNA text’. KNOWLEDGE: (Non-Acting Roles in DNA and the Live Performance) Students will be able to apply their knowledge of the key concepts taught to their understanding of the play DNA. Knowledge of the play’s characters and themes will inform the students’ creative choices as they assume the role of a ‘non-acting contributor’ to the staging of a given section of the text. Homework will focus on having the students know the key vocabulary associated with the different non-acting roles and the TCA Knowledge Organiser booklets will reinforce this. Additional ‘writing the clues’ and ‘answering the clues’ Crossword homework will be set and importantly introduce and then re-enforce the students’

CONCEPTS: (Spring HT2 – Exploring the Devising Stimuli) Students will be involved in teacher led workshops that will seek to cement a working understanding of the previously taught theoretical practices of the practitioners Brecht and Stanislavski. Initially working in different groups each week, the students will be given time to explore and present work that highlights their understanding of such concepts as ‘alienation’ and ‘intention-led’ drama. KNOWLEDGE: (Spring HT2 – Exploring the Devising Stimuli) These whole class teacher led workshop style lessons are explicitly planned so students are firstly reminded of the different explorative strategies that have been taught in Years 7 and 8 and touched upon through years 9. Students will gain an understanding of ‘how to use drama explorative strategies like tableaux and hot seating’ and then recognise ‘how their use could aid both the development process and potentially their final performance’. Work in progress will be routinely shared and peer and teacher feedback will result in reflection and new knowledge. While working in groups the students will be gaining knowledge relating to ‘the effectiveness of performance for the agreed intentions’ and through discussion and practical exploration and ‘trial and error’ new learning will arise.

CONCEPTS: (HT1/2- Devising) Theoretical concepts that link to the studied theatre practitioners will be applied to the group work that is being undertaken. While seeking to create a devised performance for a watching audience the students will consider how to apply the concept of ‘manipulating one’s audience to feel and think certain things’. KNOWLEDGE: (HT1/2 Devising) The learning that occurs in these devising lessons will stem from teacher-based discussions and quality questioning that has ‘intentions and practical outcomes’ at their core. Work in progress will be routinely shared and peer and teacher feedback will result in reflection and new knowledge. While working in groups the students will be gaining knowledge relating to ‘the effectiveness of performance for the agreed intentions’ and through discussion and practical exploration and ‘trial and error’ new learning will arise.

knowledge of these key theatrical terms. Teacher-led starter and plenary quizzing activities will be on-going, and these will be used to further cement the students’ knowledge of these key acting words/ terms.

.


(HT1/2- Performance from Pre- 2,000) Students will be taught the value of applying the key acting terms that connect the focus areas of study to their own practical exploration work and the ensuing verbal evaluations that follow this. Links are made that connect ‘the student's practical exploration of this pre 2,000 text with the ‘you are playing/ directing’ acting questions that form the early part of the Component 3 written exam. The lessons and set homework will offer students the opportunity to apply their understanding of the key acting terms to the writing of the 4 and 6 mark written questions that begin the Exam.

HT 1 – (Non-Acting Roles in DNA and the Live Performance) All students would have seen a live performance and then started on the process of ‘writing up critical notes that can be used to inform the writing of an exam question. The art of ‘structuring notes has been taught’ and the students will now develop skills that will allow them to apply these notes to the answering of an examination questions. Opportunities to practice extended writing will arise through the DIRT evaluation work that concludes the scheme of learning and creative responses to the texts will give rise to other chances to write in detail.

(Spring HT2 – Exploring the Devising Stimuli) Homework will be set that seeks to cement the students understanding of the key vocabulary for this component of the course. Then students will be taught the skills to apply these terms to selected portfolio questions. Scaffolds will be used and systematically withdrawn that support the students to write critical responses that highlight their ability to link the demands of the question to their own practice and then they are to underpin this with their knowledge of dramatic theory.

HT1/2 Devising Extended writing tasks this HT will give students the opportunity to apply their theoretical knowledge to their own devising work and evaluate its success. Particular attention will focus on the ‘creative process’ questions and those ‘summative’ and ‘audience response’ one will be looked at later in the course.


(HT1- Performance from Pre- 2,000) In the discussions, explorations, rehearsals and performances of the studied pre 2,000 the students will share their thoughts around ‘interpretation’ and feedback on ‘the success of communicating meaning to an audience’. Oracy will be promoted with rich questioning, class discussion, paired and group activities, assessment, and debate. The concluding practical assessment that will inform the levels given to students for DC1 will take into account their ability ‘to verbally communicate meaning and understanding of the studied play text to an audience’.

HT 1 – (Non-Acting Roles in DNA and the Live Performance) Oracy will be promoted through the use of rich questioning, class discussion, paired and group activities and assessment and debate. Through the art of creating, developing and rehearsing the performances of short extracts from the studied script the students will further develop their understanding of ‘how to shape a performance for a watching audience’ and ‘successfully convey intentions’.

Oracy will be promoted through the use of rich questioning, class discussion, paired and group activities and assessment and debate. Through the art of creating, developing and rehearsing the performances of short extracts from the studied script the students will further develop their understanding of ‘how to shape a performance for a watching audience’ and ‘successfully convey intentions’.

Throughout this HT the students will be negotiating and creatively forwarding ideas that they will be exploring practically. The realisation of these ideas into a shared performance will mean that students will evaluate themselves and others and offer and respond to constructive criticism.


The level given for this DC assessment will be based upon outcomes in:

• Practical Assessment of scenes from pre 2,000 text.

• Written completion of set DNA ‘acting’ and now ‘technical -related’ exam question homework.


• Practical Assessment of scenes from the seen live performance

• Written completion of ‘technical -related’ exam questions from ‘Live’/ DNA texts

On-going teacher assessing of:

• Quality of live theatre notes/ Written responses.

• Responses to the DNA set homework questions.

• Practical exploration and performance responses to the given devising stimuli.


• Students levels achieved when sitting an abridged Comp’ 3 Examination paper that will only have those DNA/ Live Performance questions that have been covered in class in.

• Practical performance grades previously given

Year 11 Drama

Prior learning Autumn HT 1 Autumn HT 2 Spring HT 1 Spring HT 2 Summer HT 1


Content:

This year is the culmination of the skills and knowledge that has been developed since Yr7 and given a tighter exam board focus since Year10. Students will be concluding devised performance work that was started in yr10 and will be now preparing pre- 2,000 texts for a visiting examiner, the written work will be computer room based to begin the year and then the class work will address the questions that will occur in the June Comp’ 3 exam.

Groups Independently Developing the

stimuli for the Devised Performance -

Component 1:

CONTENT:

Over this term the students will independently work in assigned groups to develop a devised drama performance springing from last HT’s given stimuli. Throughout this time the students will be applying the practitioner and devising knowledge that has been taught in Year 9 to the creating of their own devised drama work. The HT concludes with the students sharing their work with parents and a wider public audience and a Q and A session will follow that will inform the writing of certain portfolio questions.

Homework in this period will see the students answering Section A DNA written questions that are found in the Component Three ‘Theatre Makers in Practice’ written exam.

Completing the first draft of the 2,000

word/ six question based Devised

Portfolio

CONTENT:

This HT the students will be largely

based in one of the school computer

rooms where the writing of the 2,000

word portfolio will take place. Generally,

one of the six questions will be

addressed per week and the lessons

follow a similar format: ‘teacher de-

codes the question and suggests a given

structure for a response’/ Group

evaluative discussions/ Students

individually type up their 333-word

response.’

Period Six support sessions will run in

this HT and these will focus on

‘completing the portfolio’ and selecting

extracts for the coming pre- 2,000 text

March practical performance

assessment.

Component 2: Performance from Pre- 2,000 Text

CONTENT:

Over this HT the students will be selecting, rehearsing and performing two sections of text (possibly from one previously studies) from one Pre 2,000 play. An external visiting examiner will mark performance skills only in Mid-March in this the final year of the exam. Students will consider how to interpret and realise the serious themes and issues within the plays and staff will direct and work intermittently with each group.

Homework in this period will focus on the students writing their permitted second draft of their previously done 2,000 word Devising Portfolio and answering Comp’ 3 exam questions.

Component 2: Performance from Pre- 2,000 Text Component 3: Theatre Makers in Practice- DNA and the Live Performance text

CONTENT:

This HT sees the students rehearsing and then performing two sections of text from a Pre 2,000 play. Students will consider how to interpret and realise the serious themes and issues within the plays and staff will direct and work intermittently with each group. An external visiting examiner will mark performance skills in Mid-March in this the final year of the exam.

Homework in this HT will focus on students writing Comp’3 examination responses on the live performance text and DNA.

Component 3: Theatre Makers in Practice-

CONTENT:

The lessons in this HT are predominantly

classroom based and they have a clear focus on preparing students for the concluding 1.30 min’ Comp’ 3 exam. Students return to looking at the previously seen Live Theatre text and the play DNA in class and they will be practicing the art of writing examination responses under timed conditions.


This year will see the students. being formally assessed on the written and performance skills that have been developed over the length of the course. Written analytical skills will be used when reflecting on the devising process in Comp’1 and applied to the responses for the Comp’3 questions also. Practical performance skills will be improved and shaped in preparation for the Comp’1 Devising and Comp’3 visiting examiner assessments.

CONCEPTS: (HT1- Devising) Theoretical concepts that link to the studied theatre practitioners will be applied to the group work that is being taken to public performance. While seeking to create a devised performance for the watching audience the students will consider how to apply the concept

CONCEPTS: (HT 2- Devising) Students will be producing a written evaluation of the creative process and connecting certain theatre practitioners’ theoretical concepts to their own devised performance. The students will consider ‘how to evaluate the success of their own work?’ against the concept of ‘creating drama that is intention-driven’.

CONCEPTS: (Performance from Pre- 2,000 Texts) Over this and the previous HT the students will develop an understanding of the concept of ‘the actor being assessed for performance’. Initially they will understand the social and cultural concepts behind the writing of the pre- 2,000 play being studied. Students will consider ‘how the play could connect to

CONCEPTS:

In the first part of this HT the students will be refining their understanding of the concept of ‘the actor being assessed for performance’ as they prepare for the visit of the external examiner. Students will endeavour to realise their understanding of the social and cultural concepts behind the writing of the pre- 2,000 play being rehearsed.

CONCEPTS:

Throughout the HT the students will be refining their exam writing skills as they explore the concept of taking the critical stance of an audience member and imagining a creative involvement in the staging of an extract from the play DNA.

of ‘manipulating one’s audience to feel and think certain things’. KNOWLEDGE: (HT1/2 Devising) The learning that occurs in these devising lessons will stem from students having creative discussions in their groups and negotiating with others the question of ‘does this performance serve the realising of our winder theatrical intentions?’ Work in progress will be routinely shared and peer and teacher feedback will result in reflection and new knowledge. Through discussion and practical exploration and ‘trial and error’ new learning will arise and this then should shape the way in which the group move forward with their own devising work.

KNOWLEDGE: (HT1/2 Devising) While working in the computer rooms the students will be taught about the meaning of the questions that need answering and know both the ex’ and implicit meaning of certain key words. Students will know how to structure their responses for the different six questions and through whole class and small group discussions, know how to align this understanding with writing about their own creative experience. Students will also have a knowledge of the written portfolio assessment criteria and be mindful of the meaning of the words ‘analyse’ and ‘evaluate’ and recognise how their own responses should be shaped because of this understanding.

a modern audience?’ and then thought will be given to ‘how to realise such intentions for performance?’ KNOWLEDGE: (HT1/2- Performance from Pre- 2,000) Students will develop a working knowledge of the pre 2,0000 play texts that is being rehearsed and consider how to realise its potential for performance to the visiting external examiner. The students will consider how to interpret, rehearse and perform the chosen extracts and dramatize the character relationships and different themes within the text. An understanding of the examination criteria used in this component will be further developed and this will inform the creative choices that the students make when exploring and performing the extracts from the text.

Later in the HT the students will be refining their exam writing skills as they explore the concept of taking the critical stance of an audience member and imagining a creative involvement in the staging of an extract from the play DNA.

KNOWLEDGE: Students will refine their working knowledge of the pre 2,0000 play texts that is to be performed and consider ‘how to realise its potential for the visiting external examiner. The students will know how to dramatize the character relationships and different themes within the text while understanding the examination criteria used in this component.

In the second half of this HT the Students will be able to apply their knowledge of the key concepts taught to their understanding of the live performance text and the play DNA. Knowledge of ‘the characters and themes’ and the ‘exam assessment criteria’ for the two plays will inform the students written responses.

KNOWLEDGE: In this HT the Students will be able to ‘apply their knowledge of the key concepts taught’ to ‘their understanding of the live performance text and the play DNA’. Knowledge of ‘the characters and themes’ and the ‘exam assessment criteria’ for the two plays will inform the students written responses.


The writing and re-drafting of the 2,000-word written portfolio will dominate the start of the year. The preparing for the concluding 1.5 hrs written exam

HT 1 – ( DNA and the Live Performance) Students would now have covered all of the ‘acting’ and ‘design element’ questions that will be asked within the Comp’ 3 ``exam, so now the HomeWorks’ will focus on students perfecting their writing of the extending 14,12- and 9-mark questions. Those extended writing questions that require ‘additional information’ to be included, like ‘the play’s OPC’/ ‘making reference to the wider play’ will have a particular focus this HT. The live performance questions that need the students to refer to their own ‘structured notes’ will also be focused upon this HT too.

(HT2 Devising Portfolio) The completing of this the first draft of the 2,000-word written portfolio is the sole student focus for this HT. This extended writing task will give students the opportunity to reflect on their own creative contribution to the devising process and shape their responses around the six set questions. Particular attention will focus on shaping this lengthy written response around the students’ knowledge of the explicit and implicit meanings of the key terms used in the portfolio questions.

(HT1- Performance from Pre- 2,000) All Comp’ 3 acting questions have been previously taught, and students will have a good understanding of ‘how to produce an exemplar answer’. Extended writing homework’s will focus on students perfecting their answering of consecutive exam questions. Both the DNA and the live performance questions that need the students to make reference to their own ‘structured notes’ will also be focused upon this HT and a growing understanding of ‘how long it takes for students to answer numerous examination questions?’ will be bought about through an experience of writing under timed conditions.

(Response to the DNA and the Live Performance Questions) Students would now have covered all ‘acting’ and ‘design element’ questions that will be found in the final Comp’ 3 exam. While students are preparing for the Comp’ 2 visit of the external examiner the students will have extended writing homework tasks that focus on them ‘writing multiple responses under timed conditions’. After the examiner visit all lessons will focus on extended writing tasks around the answering of simultaneous questions on the two texts.

(Response to the DNA and the Live Performance Questions) Students will be writing for increasingly longer periods of time as they have covered all of the questions that could be found in the coming Comp’ 3 exam. Extended writing homework tasks will focus on them ‘writing multiple responses under timed conditions’.


Throughout this year the students effective oracy skills will be key to their final success. In the two practical assessments oracy skills will be marked and the pre-writing Comp’3 work will rely on the same skill set being utilised. .

(HT1/2 Devising) Throughout this HT the students will be negotiating and creatively forwarding ideas in their groups and they will be practically exploring these. The students will continually evaluate themselves and others and respond to constructive criticism. In the concluding public performance, the students will be vocally conveying their performance intentions to the watching audience and

(HT2 Devising Portfolio) Throughout this HT the students will be discussing in their groups and reflecting on the devising work that they created in the previous HT. The students discussions will focus around making connections with ‘their own creative experience and the ‘demands of answering the six portfolio questions’. All discussions will form part of the pre-writing tasks and in these times the students will give thought to ‘what

(HT1- Performance from Pre- 2,000) In the discussions, explorations, rehearsals and performances of the studied pre 2,000 the students will share their thoughts around ‘interpretation’ and feedback on ‘the success of communicating meaning to an audience’. Oracy will be promoted with rich questioning, class discussion, paired and group activities, assessment, and debate. The concluding practical assessment that will inform the levels given to students for DC1 will consider

HT 1 – (Comp 2 Performance/ DNA and the Live Performance) The concluding practical assessment to the Edexcel visiting examiner will consider the students ability ‘to verbally communicate meaning and understanding of the studied play text to an audience’. In the later part of the HT Oracy will be promoted using rich questioning and class discussion that centre around the

(Response to the DNA and the Live Performance Questions) Oracy will be promoted using rich questioning and class discussion that centre around the Comp’ 3 exam questions. Pre-writing discussions will inform the students responses to the DNA and Live Theatre questions.

they will be assessed on their effectiveness of doing this.

specific moments from the creative process/ performance should be analysed and referenced?’

their ability ‘to verbally communicate meaning and understanding of the studied play text to an audience’.

Comp’ 3 exam questions. Pre-writing discussions will inform the students responses to the DNA and Live Theatre questions.


Ongoing Drama assessments will align with the wider academy whole school dates and the externally set exam times through the year will allow for more informed judgements to be made.

The level given for this DC 1 assessment will be based upon outcomes in: Practical performance grades previously given for HT1 Devising work completed Outcomes arising from the completing of the Comp’ 3 examination questions

The level given for this DC 2 assessment will be based upon outcomes in: Levels achieved when sitting Comp’ 3 Mock. Practical performance grades previously given for HT1 Devising work completed Levels awarded for the writing of the first draft of the Comp’1 2,000 word portfolio.

Ongoing internal assessments looking at: Completion of Comp’ 3 homework questions for the written exam Practical performance work for the preparation of the Edexcel examiner visits in March 2020

The level given for this DC assessment will be based upon outcomes in: Levels achieved when sitting Comp’ 3 Mock II. Practical performance grades previously given for HT1 Devising work completed and (if times match) for pre 2,000 text exam. Level awarded for the completing of the second and final draft of the Comp’1 2,000-word portfolio.

Year 9 GCSE Drama - Two Year Option Short Course

Department mission/curriculum statement: Our Year 9 / 10 short course Curriculum has been tailored to both challenge and engage every child and build a foundation of the skills and knowledge that are needed to be used at GCSE level. This

Scheme of Work has practical exploration at its core, allowing students the freedom to be creative and improve through informed critical self and peer analysis. The content covered over the two years seeks to both give time to developing creativity

through experience while still being mindful that students need to be well prepared to write both a substantial amount of coursework and sit a 105 minute concluding exam. Participation in the curriculum will lay the foundation for the more in-depth

study that is required for GCSE Drama and it aims to also promote the spiritual, moral, cultural, mental and physical development of students at The Carlton Academy

Prior learning Autumn HT 1

Autumn HT 2

Spring HT 1 Spring HT 2 Summer

HT 1

Summer HT 2

Content

Main topics and

subject content

to be taught

All students would have a had one

hour of Drama teaching per week

in Years 7 and 8. Students would

have had the experience of

creating drama from various

written texts and from being

presented with a range of

different creative stimuli. The

final part of Year 8 is dedicated to

the students developing their

understanding of dramatic

through participating in various

improvisation exercises.

Content:

Previously all students would

have had the experience of

studying a range of full-length

plays. Discussions looking at

‘performance’ have been ongoing

and a basic knowledge of the

‘technical/ backstage aspects of

performance have been touched

upon. All students would have

seen the school’s yearly Christmas

performance/ a touring

company’s work that forms part

of the wider school enrichment

ECO programme.

Introduction to ‘GCSE Drama’ and Component 3: ‘Theatre Makers in

Practice’

1. The Complete play ‘DNA’ by Dennis Kelly

Students start looking at an overview of the Edexcel set text

DNA and practically exploring extracts from it. The specific

focus in this HT is on developing an understanding of the

themes and characters that live within the play and a

knowledge of how these ideas might be realised in

performance. This focus links directly to the questions set in

Section A questions of the exam and it naturally build on the

‘actor based’ word done in Year 8.

CONTENT: In weeks 1-3 students work in whole class and

small groups to create work that seeks to develop a clear

understanding of the GCSE course itself, ‘the role of the actor

in performance’ and a recognition of ‘what dramatic form

is?’ In weeks 4-9 the students will be reading and engaging in

practical workshops that seek to develop a textual and

working understanding of the play DNA as a performance

text. In mid HT2 the students will be gaining an

understanding of the ‘actor-based’ written questions that

begin and punctuate the Component Three ‘Theatre Makers

in Practice’ written exam.

Introducing Component 1: Devising

Students are introduced to the art of

devising and gain an understanding of

the marking criteria for the assessed

‘Performance’ and supporting

‘Portfolio’. These largely teacher-led

practical workshop sessions will focus

on teaching the students about the

meaning of the different terms used

within the 6 questions that collectively

for the ‘Written Portfolio’ and they will

understand the Drama Practitioner

theories that could influence their own

practice.

Key vocabulary that forms part of the

questions and required responses for

the 2,000-word portfolio that is to be

completed in the first HT of the final

examining year will be taught.

Content:

In weeks 1-2 the different terms and

‘skills for devising’ are covered.

In weeks 3 – 6 the students are

introduced to the theatre practitioners

Brecht and Stanislavski and their

workings are explored in the practical

workshops and reinforced through set

homework.

Component 3: Theatre Makers in

Practice- Understanding the text and

Live Performance of it and the Linked

Examination Question

Students start exploring the Live Theatre

text ‘A Curious Incident’ and in practical

workshops they will develop their

understanding of it. (Based on the

accessibility of the live performance,

another text maybe studied and seen)

Like with HT1 and 2 the specific focus

here is on developing an actor-focused

understanding of the text, as this will

enable the students to answer the

‘Performer’ Section B questions in the

exam. Students see a live theatre

production of ‘Curious Incident’ and

begin writing up their production notes

that they will use when answering the

‘analysis’ or ‘evaluation’ question in the

final exam

CONTENT:

In weeks 1-4 students participate in

practical workshops that seek to teach

them about the play, the challenges for

the actors playing certain characters and

the nature of dramatic form and

working in an ensemble. In weeks 5-7

the students will be preparing for and

reflecting upon the live theatre

performance that has been seen.

Component 2: Performance from Text

Over this HT the students will be

introduced to several different Pre-

2,000 play texts that could be

performed for the external visiting

examiner in the final year of the exam.

Students will participate in practical

workshops that teach them the skills to

analyse a text and apply their

understanding of it by using the Drama

Explorative Strategies that were taught

in year 7. The serious themes and

issues within the play will be discussed

in lessons and the drama exploration

and performance work will be used as a

method to promote understanding and

empathy of these.

CONTENT:

In mid HT1 the students will be working

in small pairs and smaller groups as

they prepare a scripted performance of

their pre- 2000 text. Homework in this

period will see the students gaining an

understanding of the DNA ‘actor-based’

written questions that begin and

punctuate the Component Three

‘Theatre Makers in Practice’ written

exam and build upon the work covered

in Autumn HT1/2.

Exploring and Developing A Group

Devised Performance Component 1:

‘Devising’

Over this HT the students will begin to

work in groups as they develop devised

drama from a given stimuli. Throughout

this time the students will be applying the

practitioner knowledge taught in Spring

HT1 and looking at the developing their

knowledge of the terms and possible

approaches for answering the six

portfolio questions that form ¾ of the

marks for this component.

CONTENT:

In weeks 1-7 students will be developing

their understanding of improvisation as

they seek to create a performance that

will be assessed and potentially form the

basis of their final marked and submitted

Comp’ Two coursework. The homework

set over this time will ask students to

connect their own exploration and

performance work to the answering of

the six set questions that form the 2,000-

word portfolio.

Skills

Main skills

(subject specific

and generic)

that will be

developed and

how

All students would have the skills

and knowledge to interpret a text

and the practically explore,

rehearse and present a

performance of it. Skills to reflect

and evaluate practical outcome

would have been ongoing since

the start of Year7.

CONCEPTS:

(Acting and DNA)

Key dramatic terms are taught and the studying of a new scene

generally mirrors the teaching of a new concept. Students will be

developing their actor-focused drama specific vocabulary and through

textual analyses and performance evaluation improve their

understanding of the themes and characters in DNA.

KNOWLEDGE: Students will be able to apply their knowledge of the

key concepts taught to their understanding of the play DNA.

CONCEPTS:

(HT 1 Intro Devising)

Students will be involved in teacher

led workshops that will cement a

working understanding of the

theoretical practices of the

practitioners Brecht and Stanislavski.

In groups the students will be given

time to display their understanding of

such concepts as ‘alienation’ as they

develop their own improvised and

‘intention-led’ dramatic improvisations

CONCEPTS:

(HT2 Live Performance)

Students will be challenged to reflect on

their own live theatre/ audience

experiences and consider ‘how the

actors and technical staff contributed to

the conveying of the play’s narrative?’.

This unit of work needs for the students

to grasp the concept of the creative

process that lays behind live theatre

production and an understanding of the

execution of this in performance.

Finally, the students need to be

confident in understanding the concept

of ‘them as a critical audience’ member

CONCEPTS:

(HT1 – Performance from Texts)

Over the HT the students will develop

an understanding of the concept of ‘the

actor being assessed for performance’.

Initially they will understand the social

and cultural concepts behind the

writing of the pre- 2,000 play being

studied. Later on, the students will

consider ‘how the play could connect

to a modern audience?’ and then

thought will be given to ‘how to realise

such intentions for performance’.

CONCEPTS:

(HT2- Devising)

Theoretical concepts that link to the

studied theatre practitioners will be

applied to the group work that is being

undertaken. While seeking to create a

devised performance for a watching

audience the students will consider how

to apply the concept of ‘manipulating

one’s audience to feel and think certain

things’.

Knowledge of the play’s characters and themes will inform the

students’ creative choices and they will be encouraged to empathise

with perspectives beyond their own and better understand the

narrative of the play DNA. Homework will focus on having the students

know the key ‘Vocal’ and ‘Physical’ acting terms required for all

components of the course and the TCA Knowledge Organiser booklets

will reinforce this. Additional ‘writing the clues’ and ‘answering the

clues’ Crossword homework will be set and importantly introduce and

then re-enforce the students’ knowledge of the to key theatrical acting

terms. Teacher-led starter and plenary quizzing activities will be on-

going, and these will be used to further cement the students’

knowledge of these key acting words/ terms.

KNOWLEDGE:

(HT1 Intro Devising)

Lessons will systematically promote

the learning of new ‘devising and

practitioner-related’ terms’ and

students will be challenged to know

and apply these in creative tasks and

analytical discussions.

The meaning of terms found within

the six portfolio questions will be

taught and their relevance to the

practical work that is being

undertaken explored. Students will

have some knowledge of terms like

‘form, genre and structure’ for these

have been covered in Yr8, but now

their application to the area of

devising will be considered.

who has to analyse and evaluate what is

seen.

KNOWLEDGE:

(HT 2 Live Performance)

Students will boost cultural capital by

discussing and empathising with the

wider societal issues that live within the

‘Curious Incident’ text and were realised

in the live performance. The students

will develop a knowledge of the roles of

the creative team that work on a live

performance and become familiar with

the key terms found within these

different fields. Previously the students

would have been introduced to

understanding and being critical of all

aspect of acting, although now they will

develop a critical knowledge of such

roles as ‘the director’ and those persons

that form part of the backstage

technical crew like the Costume, Stage

and Lighting designers.

KNOWLEDGE:

Students will develop a knowledge of

the pre-2,0000 play texts studied and

consider its potential for performance

to an external examiner. The students

will consider how the text could be

realised in performance and give

thought to the selecting of extracts that

would suit a solo, duologue or group

performance. An understanding of the

examination criteria used in this

component will be gained and this will

inform the creative choices that the

students make when exploring and

performing the extracts from the text.

KNOWLEDGE:

Students will know how to explain ‘how

one might explore a given stimuli using

instant and prepared improvisational

techniques learnt in this Spring HT1’.

Over time students will know how to

identify the connections that exist

between their own devised work to the

theatre practitioners that have been

previously studied. The terms used in the

six portfolio questions will underpin the

analytical whole class discussion and

students should then apply this new

linguistic knowledge to the written

homework tasks that will be set.

Extended

writing

Extended

writing

opportunities

and skill

development

The recently introduced ‘wider

whole academy extended writing

initiative’ has been embraced and

longer pieces are now worked

upon at the end of Yr7. Writing in

Years 7 and 8 has been largely

‘evaluative’, although creative

opportunities do exist.

HT1/2 (Acting and DNA)

Students will be taught the value of applying the key ‘acting’ terms

that connect the focus areas of study to their own practical exploration

work and the ensuing verbal evaluations that follow this. The

classroom-based lessons will offer students the opportunity to apply

their understanding of the key acting terms to writing frames that will

support the completing of the 4 and 6 mark written questions that

begin the Component 3 Exam.

HT1 (Intro to Devising)

Homework will be set that seeks to

cement the students understanding of

the key ‘devising/ practitioner-related’

vocabulary for this component of the

course. Then students will be taught

the skills to apply these terms to

selected portfolio questions. Scaffolds

will be used that support the students

to write critical responses that

highlight their ability to link the

demands of the question to their own

practice and then they are to underpin

this with their knowledge of dramatic

theory.

(HT 2 Live Performance)

All students would have seen a live

performance and then started on the

process of ‘writing up critical notes that

can be used to inform the writing of an

exam question. The art of ‘structuring

notes will be taught’ and the students

will develop skills that will allow them to

apply these notes to the answering of

an examination questions that requires

a critical response. Opportunities to

practice extended writing will arise

through the DIRT evaluation work that

concludes the scheme of learning and

creative responses to the texts will give

rise to other chances to write in detail.

(HT1 – Performance from pre-2,000

Texts)

In Aut’ HT1 students were taught the

value of ‘applying key ‘acting’ terms

that connect the studied text to an

exam question’ and in this HT the

written focus is similar. The focus will

be on ‘responding to DNA questions’

but natural links will be made when

exploring this ‘Pre-2,000 Text’. Thought

will now be given to the ‘impact of the

director’s interpretation’ on the actor,

and again, links between the ‘DNA’ and

the pre- 2,000 text will be considered.

Homework will ask students to use the

supportive writing frames to complete

notes on the 4 and 6 mark written

questions

(HT2 Devising) Extended writing tasks

this HT will give students the opportunity

to apply their theoretical knowledge to

their own devising work and evaluate its

success. Particular attention will focus on

the ‘creative process’ questions and

those ‘summative’ and ‘audience

response’ one will be looked at later in

the course.

Oracy

Opportunities

to develop

students’ verbal

communication

The developing of Oracy is central

to the teaching of Drama in Years

7 and 8. Our own departmental

work also compliments the ‘speak

like a’ Academy initiative that

forms just one strand of

‘improving student’s speech’.


In the discussion of the studied scenes the students will share their

thoughts around ‘interpretation’ and feedback on ‘the success of

communicating meaning to an audience’. Oracy will be promoted with

rich questioning, class discussion, paired and group activities,

assessment, and debate. The concluding practical assessment that will

inform the levels give to students for DC1 will take into account their

HT1 (Intro’ into Devising)

Oracy will be promoted through the

use of rich questioning, class

discussion, paired and group activities

and assessment and debate. Through

the art of creating, developing and

rehearsing the devised performances

the students will further develop their

HT2 Live Performance

Through the art of creating, developing

and rehearsing the performances from

the seen live performance of the studied

script the students will further develop

their understanding of ‘the role of the

actor in shaping a performance and

conveying a director’s intentions’. Oracy

(HT1 – Performance from pre-2,000

Texts)

Informal teacher and peer feedback are

a constant feature of any drama lesson

and there should be an on-going

pursuit of ‘improving the quality of the

students’ contribution to this.’ This

100% performance assessed unit of

(HT2 Devising)

This component of the course offers the

students the chance to develop their

oracy skills and then be rewarded for

their ability to communicate to an

audience. Edexcel exam board marking

criteria specifically rewards

ability ‘to verbally communicate meaning and understanding of the

studied play text to an audience’.

understanding of ‘how to shape a

performance for a watching audience’

and ‘successfully convey intentions’.

will be promoted using rich questioning,

class discussion, paired and group

scripted tasks and assessment and

debate.

work has an exam board marking

criteria that specifically rewards ‘verbal

communication’, so the development

of oracy and communication skills is

key.

‘communication’, so the development of

the students’ oracy skills is essential.

Assessment

How knowledge

and skills will be

assessed

formally and

informally. How

feedback will be

given

Drama assessment dates in Years

7 and 8 are aligned to support the

giving of the wider academy DC

grades. Practical and written tasks

are completed in class and peer

and teacher marked.


Practical Assessment of extracts from scenes from DNA will occur

Scaffolded written homework’s will be set and given A-E grades.

Written work will focus on the completion of the 4 and 6 mark exam

questions.

HT1 (Intro’ into Devising)

Written homework’s that focus on

‘developing devising/ theatre

practitioner specific knowledge and

vocabulary’ will be assessed and will

eventually inform the giving of the

DC2 grade.

(HT2 Live Performance)

Practical performance of scenes from

the ‘seen show’ will be assessed using

Comp 2 Marking criteria. Quality of ‘Live

Performance’ notes will be considered

and DNA scaffolded response will be

marked. All three will eventually inform

the giving of the DC2 grade.

(HT1 – Performance from pre 2,000

Texts)

The Yr9 Exam Week (WB: 15.06 will see

the students rehearse and perform

different scenes from the studied pre’

2,000 plays which will inform the giving

of the DC2 grade.

(HT2 Devising)

The different grades given from Spring

HT1 onwards will inform the awarding of

the DC2 grade.

Year 10 GCSE Drama - Two Year Option Short Course

Prior learning Autumn HT 1 Autumn HT 2 Spring HT 1 Spring HT 2 Summer

HT 1

Content

Main topics and

subject content to

be taught

Content:

This year is the culmination of the skills

and knowledge that has been

developed since Year r7 and given a

tighter exam board focus in Year 10.

Students will be concluding devised

performance work that was started in

Year r9 and will be now preparing pre-

2,000 texts for a visiting examiner. The

written work will be computer room

based to begin the year and then the

class work will address the questions

that will occur in the June Comp’ 3

exam.

Groups Independently Developing

the stimuli for the Devised

Performance -Component 1:

CONTENT:

Over this term the students will

independently work in assigned

groups to develop a devised drama

performance springing from last

HT’s given stimuli. Throughout this

time the students will be applying

the practitioner and devising

knowledge that has been taught in

Year 9 to the creating of their own

devised drama work. The HT

concludes with the students sharing

their work with parents and a wider

public audience and a Q and A

session will follow that will inform

the writing of certain portfolio

questions.

Homework in this period will see the

students answering Section A DNA

written questions that are found in

Completing the first draft of the 2,000

word/ six question based Devised

Portfolio

CONTENT:

This HT the students will be largely based

in one of the school computer rooms

where the writing of the 2,000-word

portfolio will take place. Generally, one of

the six questions will be addressed per

week and the lessons follow a similar

format: ‘teacher de-codes the question and

suggests a given structure for a response’/

Group evaluative discussions/ Students

individually type up their 333-word

response.’

Period Six support sessions will run in this

HT and these will focus on ‘completing the

portfolio’ and selecting extracts for the

coming pre- 2,000 text March practical

performance assessment.

Component 2: Performance from Pre-

2,000 Text

CONTENT:

Over this HT the students will be selecting,

rehearsing and performing two sections of

text (possibly from one previously studies)

from one Pre-2,000 play. An external

visiting examiner will mark performance

skills only in Mid-March in this the final

year of the exam. Students will consider

how to interpret and realise the serious

themes and issues within the plays and

staff will direct and work intermittently

with each group.

Homework in this period will focus on the

students writing their permitted second

draft of their previously done 2,000 word

Devising Portfolio and answering Comp’ 3

exam questions.

Component 2: Performance from Pre- 2,000

Text


DNA and the Live Performance text

CONTENT:

This HT sees the students rehearsing and then

performing two sections of text from a Pre-

2,000 play. Students will consider how to

interpret and realise the serious themes and

issues within the plays and staff will direct

and work intermittently with each group. An

external visiting examiner will mark

performance skills in Mid-March in this the

final year of the exam.

Homework in this HT will focus on students

writing Comp’3 examination responses on the

live performance text and DNA.


CONTENT:

The lessons in this HT are predominantly

classroom based and they have a clear focus

on preparing students for the concluding 1.30

min’ Comp’ 3 exam. Students return to

looking at the previously seen Live Theatre

text and the play DNA in class and they will be

practicing the art of writing examination

responses under timed conditions.

the Component Three ‘Theatre

Makers in Practice’ written exam.

Skills

Main skills

(subject specific

and generic) that

will be developed

and how

This year will see the students. being

formally assessed on the written and

performance skills that have been

developed over the length of the

course. Written analytical skills will be

used when reflecting on the devising

process in Comp’1 and applied to the

responses for the Comp’3 questions

also. Practical performance skills will be

improved and shaped in preparation

for the Comp’1 Devising and Comp’3

visiting examiner assessments.

CONCEPTS:

(HT1- Devising)

Theoretical concepts that link to the

studied theatre practitioners will be

applied to the group work that is

being taken to public performance.

While seeking to create a devised

performance for the watching

audience the students will consider

how to apply the concept of

‘manipulating one’s audience to feel

and think certain things’.

KNOWLEDGE:

(HT1/2 Devising)

The learning that occurs in these

devising lessons will stem from

students having creative discussions

in their groups and negotiating with

others the question of ‘does this

performance serve the realising of

our winder theatrical intentions?’

Work in progress will be routinely

shared and peer and teacher

feedback will result in reflection and

new knowledge. Through discussion

and practical exploration and ‘trial

and error’ new learning will arise

and this then should shape the way

in which the group move forward

with their own devising work.

CONCEPTS:

(HT 2- Devising)

Students will be producing a written

evaluation of the creative process and

connecting certain theatre practitioners’

theoretical concepts to their own devised

performance. The students will consider

‘how to evaluate the success of their own

work?’ against the concept of ‘creating

drama that is intention-driven’.

KNOWLEDGE:

(HT1/2 Devising)

While working in the computer rooms the

students will be taught about the meaning

of the questions that need answering and

know both the ex’ and implicit meaning of

certain key words. Students will know how

to structure their responses for the

different six questions and through whole

class and small group discussions, know

how to align this understanding with

writing about their own creative

experience. Students will also have a

knowledge of the written portfolio

assessment criteria and be mindful of the

meaning of the words ‘analyse’ and

‘evaluate’ and recognise how their own

responses should be shaped because of

this understanding.

CONCEPTS:

(Performance from Pre- 2,000 Texts)

Over this and the previous HT the

students will develop an understanding of

the concept of ‘the actor being assessed

for performance’. Initially they will

understand the social and cultural

concepts behind the writing of the pre-

2,000 play being studied. Students will

consider ‘how the play could connect to a

modern audience?’ and then thought will

be given to ‘how to realise such intentions

for performance?’

KNOWLEDGE:

(HT1/2- Performance from Pre- 2,000)

Students will develop a working

knowledge of the pre-2,0000 play texts

that is being rehearsed and consider how

to realise its potential for performance to

the visiting external examiner. The

students will consider how to interpret,

rehearse and perform the chosen extracts

and dramatize the character relationships

and different themes within the text. An

understanding of the examination criteria

used in this component will be further

developed and this will inform the

creative choices that the students make

when exploring and performing the

extracts from the text.

CONCEPTS:

In the first part of this HT the students will be

refining their understanding of the concept of

‘the actor being assessed for performance’ as

they prepare for the visit of the external

examiner. Students will endeavour to realise

their understanding of the social and cultural

concepts behind the writing of the pre- 2,000

play being rehearsed.

Later in the HT the students will be refining

their exam writing skills as they explore the

concept of taking the critical stance of an

audience member and imagining a creative

involvement in the staging of an extract from

the play DNA.

KNOWLEDGE:

Students will refine their working knowledge

of the pre-2,0000 play texts that is to be

performed and consider ‘how to realise its

potential for the visiting external examiner.

The students will know how to dramatize the

character relationships and different themes

within the text while understanding the

examination criteria used in this component.

In the second half of this HT the Students will

be able to apply their knowledge of the key

concepts taught to their understanding of the

live performance text and the play DNA.

Knowledge of ‘the characters and themes’

and the ‘exam assessment criteria’ for the

two plays will inform the students written

responses.

CONCEPTS:

Throughout the HT the students will be

refining their exam writing skills as they

explore the concept of taking the critical

stance of an audience member and imagining

a creative involvement in the staging of an

extract from the play DNA.

KNOWLEDGE:

n this HT the Students will be able to ‘apply

their knowledge of the key concepts taught’

to ‘their understanding of the live

performance text and the play DNA’.

Knowledge of ‘the characters and themes’

and the ‘exam assessment criteria’ for the

two plays will inform the students written

responses.

Extended writing The writing and re-drafting of the

2,000-word written portfolio will

dominate the start of the year. The

HT 1 – ( DNA and the Live

Performance)

(HT2 Devising Portfolio) (HT1- Performance from Pre- 2,000) (Response to the DNA and the Live

Performance Questions)

(Response to the DNA and the Live


Extended writing

opportunities and

skill development

preparing for the concluding 105 Mins

written exam

Students would now have covered

all of the ‘acting’ and ‘design

element’ questions that will be

asked within the Comp’ 3 ``exam, so

now the HomeWorks’ will focus on

students perfecting their writing of

the extending 14,12- and 9-mark

questions. Those extended writing

questions that require ‘additional

information’ to be included, like ‘the

play’s OPC’/ ‘making reference to

the wider play’ will have a particular

focus this HT. The live performance

questions that need the students to

refer to their own ‘structured notes’

will also be focused upon this HT

too.

The completing of this the first draft of the

2,000-word written portfolio is the sole

student focus for this HT. This extended

writing task will give students the

opportunity to reflect on their own

creative contribution to the devising

process and shape their responses around

the six set questions. Particular attention

will focus on shaping this lengthy written

response around the students’ knowledge

of the explicit and implicit meanings of the

key terms used in the portfolio questions.

All Comp’ 3 acting questions have been

previously taught and students will have a

good understanding of ‘how to produce

an exemplar answer’. Extended writing

homework’s will focus on students

perfecting their answering of consecutive

exam questions. Both the DNA and the

live performance questions that need the

students to refer to their own ‘structured

notes’ will also be focused upon this HT

and a growing understanding of ‘how long

it takes for students to answer numerous

examination questions?’ will be bought

about through an experience of writing

under timed conditions.

Students would now have covered all ‘acting’

and ‘design element’ questions that will be

found in the final Comp’ 3 exam. While

students are preparing for the Comp’ 2 visit of

the external examiner the students will have

extended writing homework tasks that focus

on them ‘writing multiple responses under

timed conditions’. After the examiner visit all

lessons will focus on extended writing tasks

around the answering of simultaneous

questions on the two texts.

Students will be writing for increasingly

longer periods of time as they have covered

all of the questions that could be found in the

coming Comp’ 3 exam. Extended writing

homework tasks will focus on them ‘writing

multiple responses under timed conditions’.

Oracy

Opportunities to

develop students’

verbal

communication

Throughout this year the students

effective oracy skills will be key to their

final success. In the two practical

assessments oracy skills will be marked

and the pre-writing Comp’3 work will

rely on the same skill set being utilised.

.

(HT1/2 Devising)

Throughout this HT the students will

be negotiating and creatively

forwarding ideas in their groups and

they will be practically exploring

these. The students will continually

evaluate themselves and others and

respond to constructive criticism. In

the concluding public performance,

the students will be vocally

conveying their performance

intentions to the watching audience

and they will be assessed on their

effectiveness of doing this.

(HT2 Devising Portfolio)

Throughout this HT the students will be

discussing in their groups and reflecting on

the devising work that they created in the

previous HT. The student’s discussions will

focus around making connections with

‘their own creative experience and the

‘demands of answering the six portfolio

questions’. All discussions will form part of

the pre-writing tasks and in these times

the students will give thought to ‘what

specific moments from the creative

process/ performance should be analysed

and referenced?’

(HT1- Performance from Pre- 2,000)

In the discussions, explorations,

rehearsals and performances of the

studied pre-2,000 the students will share

their thoughts around ‘interpretation’ and

feedback on ‘the success of

communicating meaning to an audience’.

Oracy will be promoted with rich

questioning, class discussion, paired and

group activities, assessment, and debate.

The concluding practical assessment that

will inform the levels given to students for

DC1 will consider their ability ‘to verbally

communicate meaning and understanding

of the studied play text to an audience’.

HT 1 – (Comp 2 Performance/ DNA and the

Live Performance)

The concluding practical assessment to the

Edexcel visiting examiner will consider the

student’s ability ‘to verbally communicate

meaning and understanding of the studied

play text to an audience’.

In the later part of the HT Oracy will be

promoted through the use of rich questioning

and class discussion that centre around the

Comp’ 3 exam questions. Pre-writing

discussions will inform the students responses

to the DNA and Live Theatre questions.

(Response to the DNA and the Live


Oracy will be promoted through the use of

rich questioning and class discussion that

centre around the Comp’ 3 exam questions.

Pre-writing discussions will inform the

students responses to the DNA and Live

Theatre questions.

Assessment

How knowledge

and skills will be

assessed formally

and informally.

How feedback will

be given

Ongoing Drama assessments will align

with the wider academy whole school

dates and the externally set exam

times through the year will allow for

more informed judgements to be

made.

Yr10 DC Point

The level given for this DC 1

assessment will be based upon

outcomes in:

Practical performance grades

previously given for HT1 Devising

work completed

Mocks-

The level given for this DC 2 assessment

will be based upon outcomes in:

Levels achieved when sitting Comp’ 3

Mock.

Practical performance grades previously

given for HT1 Devising work completed

Ongoing internal assessments looking at:

Completion of Comp’ 3 homework

questions for the written exam

Practical performance work for the

preparation of the Edexcel examiner visit

in March 2020

Mock II-

External Examiner from Edexcel to Visit:

March 2020

The level given for this DC assessment will be

based upon outcomes in:

Levels achieved when sitting Comp’ 3 Mock II.

Outcomes arising from the

completing of the Comp’ 3

examination questions

Levels awarded for the writing of the first

draft of the Comp’1 2,000-word portfolio.

Practical performance grades previously given

for HT1 Devising work completed and (if

times match) for pre-2,000 text exam.

Level awarded for the completing of the

second and final draft of the Comp’1 2,000-

word portfolio.

Music Year 7 - 11 Curriculum maps

Department mission statement: Our Music Curriculum has been tailored to both challenge and engage every child using a relevant and broad combination of 'themes' for each half term. Each Scheme of Work has opportunities for students to

explore performance, composition and listening skills and is designed to build on each of these skills as students' progress through each year. The content covered endeavours to promote the spiritual, moral, cultural, mental and physical development

of students at The Carlton Academy and of society, and prepares students at our school for the opportunities, responsibilities and experiences of later life.

Year 7



Experience in primaries is varied with some schools offering whole class instrumental teaching, singing, performance opportunities and individual instrumental tuition.

Rhythm

• Graphic scores

• Ensemble performance

• Composing simple rhythms

• Polyrhythms

• Listening skills

• Keywords

• Rhythm notation

4 Chords


• Keyboard (and guitar) skills


• Keywords

• Notation and chord symbols

• Layering

• Harmony

Music & Stories

• The Orchestra

• Instruments and Timbre

• Listening Skills

• Keywords


• Composition tasks

• Mood setting

TV & Animation

• Mickey Mousing



• Keywords


• Ensemble Performance

• Jingles

• Harmony

Blues

• Chords and structure

• Listening tasks

• Keywords


• Ensemble and solo performance

• Music in context

• Musical History

• Harmony

• Layering

World Music

• Rhythm

• Structure


• Layering

• Harmony

• Keywords

• Listening Skills

• Ensemble and solo Performance


• Score reading

• Understanding note values

• Simple composition including structure and balance

• Layering of rhythms

• Ensemble skills including listening, communication, blending, pulse

• Keyword recognition and understanding through low stakes quizzing

• Chord symbols and reading guitar tab

• Layering of sounds



• Pitch recognition

• Using structures in composition

• Instrument recognition and an understanding of how they work



• Pitch recognition

• Using structures in composition

• Composition to create a mood

• The use of the elements of Music

• Synchronising sound and image

• Using music as a marketing tool

• Using appropriate instruments and timbre

• Music devices such as repetition, imitation and sequences



• Lyric writing

• Composing in a given structure (12 bar blues)

• Chords and harmony including 7ths

• Score reading and notation


• Devices such as repetition, imitation and sequences.

• Geographical music recognition

• Understanding the use of instruments and timbre

• Composing polyrhythms

• Ensemble skills including listening, communication, blending and pulse

• Solo performance skills and the discipline of practice


Students to write a list of techniques for performing as part of an ensemble including the use of keywords and musical terminology.

DIRT task for students to reflect on their experience in performing as part of an ensemble including difficulties they may have faced and how they overcame them.

A description of how music conveys a part of a story. A featured piece of music is ‘Peter and the Wolf’ where students will recognise instruments used to convey each character and describe how the instrument supports the characters personality.

An extended descriptive piece of writing which summarises the music they can hear in full sentences. This piece of work will focus on instrument and device recognition and the purpose of each musical entry.

Lyric writing. Following a given structure / pattern, students write blues lyrics to convey an annoying issue. This could be getting up in the morning, having to do chores at home, homework etc.

DIRT task for students to reflect on their experience in performing as part of an ensemble including difficulties they may have faced and how they overcame them.


Recognition of the elements of music. Quickfire questions relating to tempo, structure, tempo and dynamics.

Recognition of the elements of music. Quickfire questions relating to tempo, structure, tempo, pitch, harmony, melody and dynamics.

A focus on quality talk with students describing how a mood is conveyed through the use of music. This may focus on scary, funny, romantic music taken from film scores.

An oral description of why music is used in Television and advertising including grabbing attention, making the product more memorable and setting an image.

Recognition of the elements of music. Quickfire questions relating to tempo, structure, tempo, pitch, harmony, melody and dynamics.

Recognition of the elements of music. Quickfire questions relating to tempo, structure, tempo, instruments, timbre, pitch, harmony, melody and dynamics.


• Performance and composition assessment

• Low Stakes quizzing

• Keyword questioning

• Listening tasks

Year 8



1. Rhythm 2. 4 Chords 3. Music & Stories 4. TV and Animation 5. The Blues 6. World Music

(See Y7 Music Curriculum Map)

Reggae


• Keyboard (and guitar)

skills


• Keywords

• Notation and chord

symbols

• Layering

• Harmony

Club Dance Music



skills


• Keywords


symbols

• Layering

• Harmony

• Music tech

Song writing

• Ensemble and solo

performance

• Melody writing including

music devices


skills


• Keywords


symbols

• Layering

• Harmony

Structure

• Music terms

• Structure recognition

• Composition

• Solo performance


• Keywords

• Notation and theory

• Harmony

• Layering

• Introduction to Sibelius (Music tech)

Film Music

• Mood setting

• Instruments and timbre

• Key and tonality

• Harmony

• Layering

• Sound effects


• Keywords

• Melody writing

Popular Music

• Ensemble and solo

performance

• Melody writing including

music devices


skills


• Keywords


symbols

• Layering

• Harmony


• Score reading and the use of notation

• Rhythm and syncopation

• Key features of Reggae including off beat rhythms and chords

• Blending of layers to create an ensemble performance

• Introduction to music technology (Ejay and Cubase)

• Composing in a clear structure


• Musical devices such as repetition, imitation and sequences

• Harmony and tonality





• Syllabic and melismatic writing (writing for every syllable and using one syllable for many notes)






• Further understanding of key, tonality and harmony

• Instrument recognition

• Descriptive writing based on listening skills

• Further exploration of keywords and musical devices

• Writing character themes (leitmotifs)






• Music technology


DIRT task for students to reflect on

their experience in performing as

part of an ensemble including

difficulties they may have faced

and how they overcame them.






Lyric writing. With a focus on a favourite style / genre of music. Students will write verses and a chorus in the style of their chosen genre / artist.

An extended descriptive piece of

writing which summarises the

music they can hear in full

sentences. This piece of work will

focus on instrument and device

recognition and the purpose of

each musical entry.

An extended descriptive piece of

writing which summarises the

music they can hear in full

sentences. This piece of work will

focus on instrument and device

recognition and the purpose of

each musical entry.







Recognition of the elements of

music. Quickfire questions

relating to tempo, structure,

tempo, instruments, timbre, pitch,

harmony, melody and dynamics.






A focus on quality talk with

students describing how a mood is

conveyed through the use of

music. This may focus on a range

of musical styles and genres.






A focus on quality talk with

students describing how a mood is

conveyed through the use of

music. This may focus on scary,

funny, romantic music taken from

film scores.

A focus on quality talk with students describing the style of popular music with an explanation of the devices and traits heard.


• Performance and composition assessment

• Low Stakes quizzing

• Keyword questioning

• Listening tasks

Year 9



1. Rhythm  2. 4 Chords  3. Music & Stories  4. TV and

Animation  5. The Blues  6. World Music 7. Reggae 8. Club Dance

Music 9. Song Writing 10. Structure 11. Film Music 12. Popular Music

(See Y7 + 8 Curriculum maps)  

Reading Stave / Solo Performance

• Note names and values

• Time signatures

• Major/Minor keys

• Chords

• Developing practice and performance technique on chosen instrument

• Being able to listen to and provide varied and detailed feedback on peer performances

Basic Music Theory / Ensemble Performance

• Key signatures

• Major/Minor keys

• Chords

• Simple/Compound time

• Deepening understanding of musical elements

• Intervals

• Dictation

• Developing practice and performance technique as part of an ensemble

• Being able to listen to and provide varied and detailed feedback on performances of other groups

Appraising Music / Solo Performance

• How to analyse music

• Using keywords and musical elements to describe a piece of music


• Introducing music from topics: The Concerto Through Time / Rhythms of the World / Film Music / Conventions of Pop

• Developing practice and performance technique on solo instrument


Appraising Music / Ensemble Performance

• Analysing a wide range of music

• Using keywords and elements to describe a piece of music


• Continuing appraising music from topics: The Concerto Through Time / Rhythms of the World / Film Music / Conventions of Pop



Composing Music / Solo Performance

• How to compose music to a brief

• How to develop musical ideas

• How to record compositions



Composing Music / Ensemble Performance

• How to compose music without a brief


• How to record compositions




• Student’s understanding of basic music theory will be developed through a combination of theory and practical exploration.

• Student’s technique and understanding of control on their chosen instrument will be developed and nurtured through practical experiences.

• Student’s practice technique and confidence in solo performance will be developed through practical experiences.



• Student’s practice technique in an ensemble context and confidence in performing as part of a group will be developed through practical experiences.

• Students will learn how to use the musical elements to appraise music through a variety of listening experiences.

• Students will develop a breadth of knowledge regarding instruments from around the world and be able to identify them by sound by exploring their features through listening.



• Students will continue to develop their understanding of how to appraise music through listening. This will be achieved through a range of exam style and quiz style questions both in small groups and alone.



• Students will develop understanding of compositional devices and how to use them to create compositions to a given brief. This will be achieved through a combination of listening tasks and practical exploration.

• Students will develop knowledge of how to use Sibelius or Cubase to record composition ideas.



• Students will continue to develop an understanding of compositional devices and how to use them to create free compositions.

• Students will continue to develop their skills using Sibelius or Cubase to record the composition ideas.




• Detailed and varied written feedback on peer performances

• Written tasks detailing understanding of content covered

• Detailed and varied written feedback on group performances


• Exam style appraisal questions











• Providing clear and detailed verbal feedback on the performances of peers as well as themselves

• Responses to listening questions

• Quality of discussion in general class feedback


• 1 solo performance will be informally assessed with peer and teacher feedback during lesson time.

• 1 solo performance will be formally assessed by teacher against grading criteria shared with the students.

• Written work will be peer assessed as a group for right or wrong answer questions. Teacher will take work away for marking where interpretation is required.

Year 10



1. Rhythm  2. 4 Chords  3. Music & Stories  4. TV and

Animation  5. The Blues  6. World Music 7. Reggae 8. Club Dance

Music 9. Song Writing 10. Structure 11. Film Music 12. Popular Music

(See Y7 + 8 Curriculum maps)   Basic Music theory including reading and writing notation, major and minor and time signatures. Practice techniques and rehearsal strategies. Listening tasks focused on keywords. Introductions to The Concerto Through Time, Pop Conventions, Film Music and Rhythms of the World.

Solo & Ensemble performance / Pop conventions compositions / The Concerto Listening

• Assessment and review of summer performance work

• Composition tasks based on Pop Conventions AoS

• Popular music structures, textures and core content.

• Focus on The Concerto in listening tasks and theory dictations.

The Concerto Listening continued / Ensemble Performance / Pop conventions compositions

• Deepening understanding of musical elements

• Dictation



• Continued work on composition through the Pop Conventions AoS.

• Focus on The Concerto in listening tasks and theory dictations.

Rhythms of the World Composition task / Solo Performance / Rhythms of the World Listening content

• How to analyse music

• Using keywords and musical elements to describe a piece of music


• Introducing music from Rhythms of the World



• Composition task based on Rhythms of the World using given stimulus.

Rhythms of the World Composition task / Ensemble Performance / Rhythms of the World Listening content

• Analysing a wide range of music

• Using keywords and elements to describe a piece of music


• Continuing appraising music from Rhythms of the World AoS.



• Focus on dictation using Rhythms of the World AoS.

Composing Music / Solo Performance

• How to compose music to a brief and using given stimuli


• How to record compositions – Focus on Sibelius and technology.



• Review of AoS – Rhythms of the World and The Concerto Through Time.

Composing Music / Ensemble & Solo Performance

• Revisiting previous compositions to ‘tweak’

• Short composition tasks / games to strengthen understanding and confidence.

• Continued exploration of music technology to aid score production.




Solo and ensemble work with a clear focus on chosen instrument is explored during Y9. Weekly instrumental lessons to build on performance element of the course. Composition work with a focus on Sibelius and/or other music technology programmes available for score production. Dictation and listening skills built upon during Y9 with a focus on basic theory and notation.



• Student’s practice technique and confidence in solo performance will be developed through practical experiences and linked to ensemble performance.




• Students will learn how to use the musical elements to appraise music through a variety of listening experiences.

• Students will continue to develop a breadth of knowledge regarding instruments and styles of music from around the world and be able to identify them by sound by exploring their features through listening.



• Students will continue to develop their understanding of how to appraise music through listening. This will be achieved through a range of exam style and quiz style questions both in small groups and alone.



• Students will develop understanding of compositional devices and how to use them to create compositions to a given brief. This will be achieved through a combination of listening tasks and practical exploration.

• Students will develop knowledge of how to use Sibelius or Cubase to record composition ideas.



• Students will continue to develop an understanding of compositional devices and how to use them to create free compositions.

• Students will continue to develop their skills using Sibelius or Cubase to record the composition ideas.





• Written tasks detailing understanding of content covered with a focus on The Concerto Through Time AoS.


• Written tasks detailing understanding of content covered with a focus on The Concerto Through Time AoS.



• Written tasks detailing understanding of content covered with a focus







on the Rhythms of the World AoS.



• Providing clear and detailed verbal feedback on the performances of peers as well as themselves

• Responses to listening questions

• Quality of discussion in general class feedback





• 1 ensemble performance will be informally assessed with peer and teacher feedback during lesson time.

• 1 ensemble performance will be formally assessed by teacher against grading criteria shared with the students.

• Pop Conventions Composition to be formally assessed by teacher against grading criteria shared with the students and home.








• Composition work to be peer assessed and then formally assessed by teacher using grading criteria shared with students.







Year 11



1. Rhythm   2. 4 Chords   3. Music & Stories   4. TV and Animation   5. The Blues   6. World Music  7. Reggae  8. Club Dance Music  9. Song Writing  10. Structure  11. Film Music  12. Popular Music   

(See Y7 + 8 Curriculum maps)      Basic Music theory including reading and writing notation, major and minor and time signatures.  Practice techniques and rehearsal strategies.  Listening tasks focused on keywords.  Introductions to The Concerto Through Time, Pop Conventions, Film Music and Rhythms of the World.  Composition 1 (free composition) was written during Y10 in 1st draft form.

Ensemble performance / OCR set compositions / Film Music and general listening and aural skills Listening    

• Assessment and review of summer performance work

• Composition tasks using set criteria from OCR.

• General listening and aural skills focus including tonality, scales and intervals.

Focus on Film music in listening tasks and theory dictations. 

Ensemble & Solo performance / OCR set compositions / Film Music and general listening and aural skills Listening    

• Ensemble performances and solo practice work

• Composition tasks using set criteria from OCR.


Focus on Film music and gaming music in listening tasks and theory dictations. 

Ensemble & Solo performance / OCR set compositions / ROTW, the Concerto and general listening and aural skills Listening    

• Solo & Ensemble performance work and preparation for final exam

• Composition tasks using set criteria from OCR and completion of free composition 1.


Focus on ROTW and the Concerto music in listening tasks and theory dictations. 

Ensemble & Solo final performance / OCR set compositions / ROTW, the Concerto and general listening and aural skills Listening    

• Solo & Ensemble final performance exam

• Composition tasks using set criteria from OCR and completion of free composition 1.


Focus all areas of study in listening tasks and theory dictations.  Specific look at extended answers and dictation.

ROTW, the Concerto and general listening and aural skills Listening  


Focus all areas of study in listening tasks and theory dictations.  Specific look at extended answers and dictation.


Solo and ensemble work with a clear focus on chosen instrument is explored during Y9 and Y10. Weekly instrumental lessons to build on performance element of the course.  Composition work with a focus on Sibelius and/or other music technology programmes available for score production.   Dictation and listening skills built upon during Y9 and Y10 with a focus on basic theory and notation. 

Students will learn how to use the musical elements to appraise music through a variety of listening experiences.  Students will continue to develop a breadth of knowledge regarding instruments and styles of music from around the world and be able to identify them by sound by exploring their features through listening.  Student’s technique and understanding of control on their chosen instrument will be developed and nurtured through practical experiences in both a solo and ensemble setting. Student’s practice technique and confidence in solo performance will be developed through practical experiences. 


. • Detailed and varied written feedback on peer performances

• Written tasks detailing understanding of content covered with a focus on all areas of study.


Providing clear and detailed verbal feedback on the performances of peers as well as themselves. Responses to listening questions Quality of discussion in general class feedback


All composition work will be marked by class teacher and sent to OCR for moderation. All performance work marked by class teacher and peer marked by students. Written work will be peer assessed as a group for right or wrong answer questions. Teacher will take work away for marking each week where interpretation is required.

Drama Year 7 - 11 Curriculum maps Department mission statement ...

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