Theatre Studies & Drama
Theatre Studies & Drama Elective Programme
H2 Theatre Studies & Drama (9726)
OUR PHILOSOPHY: Values in Theatre Education
Love. Courage. Truth. Faith. Belief.
At TPJC TSD, we believe that each student is unique. We aim to embolden our young student-artists with values to practice their craft and be critical of the environment and world around them. With the support from dedicated teachers, supportive parents and encouraging peers, we strive to develop a community of student-artists and learners who are committed and devoted in giving the best to their craft and grounding their work in their personal beliefs.
TPJC TSD aims to
- develop students’ knowledge and understanding of, and critical thinking about, theatre and drama in a variety of historical and cultural settings
- stimulate creative exploration of ideas and the expression of these ideas through dramatic forms and theatre conventions
- foster enjoyment of theatre and drama and so develop the affective, cognitive and aesthetic domains of learning as well as personal and collaborative skills
TPJC TSD COURSE OBJECTIVES
As TSDians, our student-artists should be able to
- understand play texts in relation to dramatic theory and historical context
- analyse and interpret texts from the viewpoint of theatre production
- analyse and record in a cogent and organised way the processes of practical work and evaluate the success of practical projects undertaken
- plan, research and present individual and group projects
- develop practical skills related to the theory and practice of theatre arts including the visual, kinaesthetic and symbol systems of drama and theatre to communicate meaning
- integrate and synthesise skills, knowledge and processes into realising a performance or presentation
- critically reflect on the production process and development of work
OUR TSDIAN’S CORE SKILLS AND OUTCOMES
Our TSD student-artists will be equipped with following skills and learning outcomes:
- Analytical skills
– The ability to analyse a play text in relation to its social context and performance conditions
– The ability to examine a text for its thematic meaning, larger symbolic meaning and cultural significance
- Interpretive skills
– The ability to understand play texts in relation to dramatic theory, and historical and cultural backgrounds
– The ability to respond to and transform a dramatic text into performance
– The ability to perform a dramatic role or create a dramatic sequence in a particular way that conveys understanding of the playwright’s ideas and awareness of audience
- Evaluative skills
– The ability to analyse the different ways in which plays might be interpreted by different directors, designers, performers and audiences
– The ability to critically appreciate and assess the literary and dramatic qualities of plays and other performance scripts
- Writing skills
– The ability to produce a cogent and reasoned argument for a particular reading of the play text
– The ability to write creatively and critically for self-expression and to communicate meaning according to purpose, audience, context and culture
- Creative, devising and improvisation skills
– The ability to interpret and illuminate play scripts and other theatrical texts imaginatively
– The ability to explore and experiment with a variety of ideas and recognise rejection as part of the whole creative process
– The ability to solve practical problems of performance through a variety of approaches
– The ability to develop ideas generated during workshops into theatrical concepts
- Communication skills
– The ability to articulate and express ideas in a cogent and meaningful way
– The ability to use language, gestures, movement and emotion to convey meaning
– The ability to use or modify dramatic and theatre conventions to convey ideas
- Collaborative skills
– An awareness and understanding of the dynamics of working together
– The ability to make group decisions
– The ability to share ideas, and to give and accept criticism
- Performance skills
– The ability to use acting devices explored in the course
– The ability to improvise to create character, mood and sense of style
– The ability to use a variety of theatrical styles
– The ability to use the body and the voice as a means of communicating feelings of varying intensity
– The ability to use, explore and develop the acting methods inspired by theatre practitioners
- Problem-solving skills
– The ability to solve practical problems of performance through a variety of approaches
– The ability to negotiate and resolve conflict and disagreement during the creative process
- Design skills
– The ability to understand, interpret and translate a dramatic idea/vision into a design concept
– The ability to express a design concept through material and other tangible means (e.g. costume, set, sound, lighting, make-up)
- Directorial skills
– The ability to interpret a play text including its themes, characters, style, mood, structure and context
– The ability to identify various stages of development from rehearsal to performance
– The ability to use relevant technical or theoretical devices to enhance a presentation
- Research skills
– The ability to conduct library research into specific historical and social contexts of play texts
– The ability to acquire knowledge and skills in an experiential way from performers in a professional setting
OUR LEARNING ENVIRONMENT
The TSD class happens within a physical classroom and studio environment that is stimulating and inviting.
At TPJC TSD, We fosters a classroom culture that encourages exploration, experimentation and independent learning. A climate of co-operation and acceptance of ideas that supports and validates our student-artists’ contribution and work in progress is constantly maintained.
Opportunities for experiential learning and practice will be provided in frequent workshops through the TPJC TSD Masterclass Series. Our student-artists will also be encouraged to forge links with other theatre groups and practitioners so as to benefit from a rich diet of diverse theatre experiences.
Theatre offers possibilities in pushing ideological and artistic boundaries thus, balance and maturity is expected from each TSDian through proper guidance in their artistic experiments.
OUR AREAS OF STUDY
Through both analytical study of play texts and genres and the practical exploration of theories about drama, our student-artists will demonstrate the ability to:
- understand and analyse play texts in relation to history, culture and theory
- produce informed and independent opinions and judgements on dramatic texts, styles and genres and their dramatic effectiveness
- reflect, analyse, evaluate and record in a cogent and organised way the processes and results of theatrical projects undertaken
- conceptualise and implement theatrical projects, demonstrate practical skills of theatre and evaluate performance conditions.
At the pinnacle of their learning, our student-artist will offer three papers as a candidate for the Singapore–Cambridge GCE A-Level examination:
Candidates will answer 3 essay questions, showing knowledge of dramatic texts from around the world, theatre history, traditions and conventions. Candidates will be required to make detailed reference to 3 play texts and respond to an unseen extract.
Candidates will write a critical and reflective evaluation and analysis of the processes leading up to their presentation of a chosen individual skill, showing research and knowledge of theatre traditions and conventions.
Candidates will conceptualise and produce an Individual Presentation of a chosen area of theatre and collaborate in the production of a Group Presentation.
SPECIFICATIONS OF PAPERS
Paper 1 World Theatre and Drama
The paper is divided into 4 sections.
Candidates will answer a total of 3 questions. All questions carry equal marks. Candidates should make use of all 3 texts they have studied.
Section A (Compulsory)
Candidates will answer a compulsory question (10 marks) and one other question (from a choice of two) from this section (15 marks). Candidates will be asked to study a passage taken from an unseen play text. Candidates will answer questions about the way the extract makes use of dramatic forms and concepts to create setting and atmosphere, to indicate character and themes as well as the use of possible theatrical techniques and the actors’ or director’s viewpoints.
In approaching the passage, candidates are expected to demonstrate understanding of the elements of drama such as Roles, Relationships, Dramatic Tension, Time and place, Focus, Space, Mood, Language, Symbol, Movement and Contrast, Dramatic Conventions.
Sections B, C and D*
Sections B, C and D each specify one theatrical tradition or area. Candidates will study a total of 3 texts, in 2 theatrical traditions/areas, and answer 1 question each from the 2 relevant sections in the paper. A detailed knowledge of these 3 scripted or published texts must be shown.
The study of this paper should include a knowledge of:
(i) theatrical traditions and conventions
(ii) the social, cultural and political contexts of plays
(iii) the influence of other dramatists
(iv) directing and production.
*TPJC TSD offers Section B and Section D.
The following is the list of texts for Paper 1.
Paper 2 Critical Commentary
Each candidate will write a Critical Commentary on his or her Individual Skills Presentation.
The critical commentary is a critical analysis, evaluation and reflection of the creative process leading to the Individual Skills Presentation. It must be submitted before the presentation.
The critical commentary should be between 2000 and 2500 words and written in formal, continuous prose. Candidates are reminded that quality rather than quantity is important here, and should be concise in their written style.
The Critical Commentary should include the following sections:
- Directorial Vision/Concept (10 marks)
- candidates write concisely about the overall vision or concept underpinning their chosen skill or area of study
- Performance Theory/History of Tradition (10 marks)
- candidates show historical and contextual knowledge of the tradition of theatre as well as knowledge of performance theory which their work is grounded in or departing from
- detailed evidence should be provided and sources should be cited
- Evaluation of Creative Process (10 marks)
- candidates critically assess and evaluate their work
- candidates describe and critically analyse the creative process, drawing attention to significant moments and crucial turning points
- candidates provide a critical justification of their main creative choices.
Relevant support material in the form of photographs, drawings or sketches related to the individual skills are permissible as annexes. It should be noted that the annexes will only be consulted by the examiners when specific reference is made to them in the body of the Critical Commentary. In particular, additional written material included in the annexes will not be considered for the purposes of assessment.
Paper 3 Practical Assessment
An Individual Skills Presentation and a Group Presentation must be undertaken to integrate theoretical and practical work.
Part 1: Individual Skills Presentation – Externally Assessed by Visiting Examiner
Each candidate will conceptualise, develop and work on an Individual Presentation showcasing an area of specialisation and related skills in theatre.
Candidates’ choice of an area or skill (e.g. lighting design) for the Individual Presentation must fall within one of the three broad categories below:
(i) Repertoire: acting, stage movement†
(ii) Devised drama: dramatic sequence, puppetry, stage movement†
(iii) Design: set, make-up and costume, lighting, sound, masks
† For stage movement, candidates may choose to offer a performance based on an existing play text or devise their own short piece of theatre.
The Individual Skills Presentation must not be based on the same material used in the Group Presentation, though candidates may be involved in similar skill areas for both the Group and Individual Presentation.
Other skills not listed here may be submitted for consideration on a case-by-case basis.
The marks awarded by the visiting examiner for the Individual Skills Presentation constitute 15% of the total mark for TSD.
Interview for the Individual Skills Presentation
Following each Individual Skills Presentation, there will be an interview with the Examiner.
The purpose of this interview is:
- to give candidates an opportunity to clarify aspects of their performance/demonstration
- to allow the Examiner to follow up on ideas raised in the Critical Commentary or during the performance/demonstration.
Part 2: Group Presentation – Externally Assessed by Visiting Examiner
Candidates in groups ranging from 4 to 6 in number will be required to realise or devise one dramatic presentation.
All members in the group will be awarded a group mark for their collective work by the visiting examiner. Individually, they will also be assessed by the visiting examiner in terms of their performance in an ensemble. The marks awarded by the visiting examiner for the group presentation constitute 20% of the total mark for TSD.
In addition, teachers will assign individual marks to members of the group according to how well they work as a team and how much they have contributed to the group. These marks will be based on the teachers’ observation and judgement of the candidates over the period of time used for the creative process. The marks awarded by the teachers constitute 10% of the total mark for TSD. The final mark for each candidate in the group may vary.
The presentation should offer each candidate sufficient opportunity to develop and present his or her skills and abilities creatively within the context of the Group Presentation.
The content of the Group Presentation must be a choice of the following:
- An adaptation and performance of a published play text
- A performance of an original work or theatrical presentation of their own invention.
Candidates will demonstrate through the process of the Group Presentation:
- an understanding of group dynamics and collaboration
- the ability to work creatively in both initiating ideas and responding to the ideas of others
- the ability to evaluate work in progress
- the ability to make and sustain a contribution to the project
- the ability to recognise the potential of the group and fully explore the shape and the meaning of the chosen dramatic vehicle.
Interview for the Group Presentation
Following each group presentation, there will be an interview with the Examiner.
The purpose of this interview is:
- to give the group an opportunity to discuss the conceptualisation, development and execution of the presentation
- to give the group a chance to clarify aspects of their presentation
- to give individual candidates an opportunity to explain their role within and contribution to the group
- to allow the Examiner to follow up on ideas raised by the performance.
Updated as of 30 January 2018