Rich context example 1: Theatre for change
Each context elaboration is coded, using the summary notation recorded with each art’s strand. A bold strand code indicates a dominant strand in the given context. If both or all codes are bolded, they are considered to have equal weighting in the given context.
Relationships and connection
The contexts for learning outlined below make links to the
drama key concept of relationships and connection.
Possible context – using drama to explore a social or political theme
(DI, CI, UC, PK)
- Using the theme of power – Who has it? Who does not? – discuss and identify important social and political issues in your school and the community.
- Create short dramas presenting an issue from different perspectives.
Possible context – making ten-minute dramas with a message
(UC, PK, CI, DI)
- Create ten-minute dramas with a strong political or social message or that challenge reflecting the cultures and societies of your community.
- Use the conventions and technologies of Brecht’s epic theatre, for example, placards, film clips, exposed lighting, soundscapes, to enhance and counterpoint the message/challenge.
- Perform these dramas for an audience.
Possible context – involving the community
(UC, CI)
- Explore the work of Augusto Boal and forum theatre.
- Perform your drama in the local community hall or marae.
- Invite the audience to contribute to the performance or to create their own scenes.
Possible context – research theatre for at-risk communities
(UC)
- Research the work of
Wan Smol Bag in Vanuatu, or Jim Moriarty’s work with
Te Rakau Hua O Te Wao Tapu Trust, a performing arts organisation that works with at-risk communities, creating and performing theatre in schools, marae, and prisons, as well as in professional theatres.
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Reflection, challenge, and transformation
The contexts for learning outlined below make links to the
drama key concept of reflection, challenge, and transformation.
Possible context – epic theatre
(UC)
- Examine the work of Brecht and epic theatre in the context of the social and political conditions of his time.
- Identify the features of epic theatre and the purpose of each.
- Read a selection of Brecht plays and discuss how they exemplify epic theatre.
Possible context – Children of the Poor
(UC)
- Read and discuss Mervyn Thompson’s Children of the Poor as an example of a New Zealand play in the epic form.
- Discuss the social and political conditions in New Zealand in the 1930s.
Possible context – exploring plays that challenge society
(UC)
-
Read a selection of scenes or extracts from New Zealand plays reflecting different cultural perspectives. Possible examples include:
• Purapurawhetu by Briar Grace Smith
• Waiora by Hone Kouka
• Krishnan’s Dairy by Jacob Rajan
• Bare by Toa Fraser
• Awhi Tapu by Arthur Belz
• Falemalama by
Dianna Fuemana.
- Discuss how these plays use conventions and technologies to challenge the dominant ideologies of New Zealand society.
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Embodiment and performance
The contexts for learning outlined below make links to the
drama key concept of embodiment and performance.
Possible context – exploring elements of epic form
(UC, PK, CI)
- Explore ways of performing plays in the epic form, in contrast to Stanislavski’s method.
- Practice using chorus in many ways.
- Practice using gestus.
- Perform scenes from Mervyn Thompson’s Children of the Poor or any of the Brecht plays.
Rework the short dramas exploring power (see the first context for this level) or create new ones, using the features of Brecht’s epic theatre.
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Last updated August 22, 2019
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