Autumn 1 Knowledge Organiser – Year 9 Drama GCSE Analysing and

Physical and Vocal skills Evaluating

Physical skills Sentence Starters

- Weight Vocal skills
This element of the performance …
- Tension - Volume
explored, conveyed, communicated, showed, presented
- Pace - Pace
This symbolised …
- Gait - Intonation
This represented …
- Internal Rhythm - Emphasis
This moment was …
Performance
- Period of piece - Tone
spaces The use of design elements included …
- Reactions - Personality
The acting skills made use of …
- Non-verbals - Register
The director staged the section by …
- Facial expressions - Accent

- Gestures - Age
Voice Physicality
- Mime - Mannerisms
accomplished basic
- Stance
enhanced the inconsistent

Building a Character performance variable

exemplary use of lacked development

sophisticated poor
Basic
highly effective cursory
What do they sound like?
Writing about impressive vague
How do they move?
Performance Skills creative patchy
What do they look like?
Ask Mr. King for a FULL appendix which thought provoking little evidence of
What is their backstory?
includes not only performance terminology, but
every possible word you will need to describe powerful ineffective
Advanced
even the most advanced piece of dramatic
inspired under-rehearsed
Improvise characters in different scenarios. staging!
innovative innovative
Hotseat characters in pairs

Visualise characters and then analyse text to decide Warm Ups

motivations and objectives moment to moment +super
objective
Should include….
Rehearse script extract applying motivations and objectives
Physical – Relaxation, Relieving tension, Energising Vocal – Resonance, Breath, Articulation drills
 Autumn 2 Knowledge Organiser – Year 9 Drama GCSE

Performance Glossary

acting style a particular manner of acting which reflects cultural and historical posture Physical alignment of a performer’s body or a physical stance
influences taken by a performer which conveys information about the
articulation the clarity or distinction of speech character being played
aside Lines spoken by an performer to the audience and not supposed projection how well the voice carries to the audience.
to be overheard by other characters on-stage. prompt to give performers their lines as a reminder; the prompter is the
business a piece of unscripted or improvised action, often comic in one who assists performers in remembering their lines.
intention, used to establish a character, fill a pause in dialogue, or proxemics contemporary term for ‘spatial relationships’, referring to spatial
to establish a scene. An author may simply suggest 'business' to signifiers of the relationship between different performers or a
indicate the need for some action at that point in the play. performer and elements of the set which convey information
characterisatio how a performer uses body, voice, and thought to develop and about character and circumstances.
n portray a character. rhythm measured flow of words or phrases in verse forming patterns of
dialogue spoken conversation used by two or more characters to express sound. Regularity in time or space of an action, process or
thoughts, feelings, and actions. feature.
focus in acting, the act of concentrating or staying in character. role the character portrayed by a performer in a drama.
gesture any movement of the performer’s head, shoulder, arm, hand, leg, role playing improvising movement and dialogue to put oneself in another’s
or foot to convey meaning. place in a particular situation, often to examine the person(s)
imaging a technique which allows performers to slow down and focus and/or situation(s) being improvised.
individually on an issue. The performers, sitting quietly with eyes soliloquy a speech in which a performer, usually alone on stage, speaks the
closed, allow pictures to form in their minds. These images may inner thoughts of his/her character aloud.
be motivated by bits of narration, music, sounds, smells, etc. spatial traditional term for what is currently referred to as ‘proxemics’,
improvisation the spontaneous use of movement and speech to create a awareness referring to spatial signifiers of the relationship between different
character or object in a particular situation; acting done without a performers or a performer and elements of the set which convey
script. information about character and circumstances.
inflection change in pitch or loudness of the voice. stage presence the level of comfort, commitment, and energy a performer
appears to have on stage.
Interaction the action or relationship among two or more characters staging another term for blocking; deliberate choices about where the
performers stand and how they move on stage to communicate
language in drama, the particular manner of verbal expression, the diction character relationships and plot and to create interesting stage
or style of writing, or the speech or phrasing that suggests a class pictures in relation to set, properties and audience and effects
or profession or type of character. created by lighting, for example.
mannerism a peculiarity of speech or behaviour. stock characters characters who represent particular personality types or
mime acting without words. characteristics of human behaviour. Stock characters are
immediately recognizable and appear throughout the history of
mirroring copying the movement and/or expression or look of someone else theatre, beginning with Greek and Roman comedy and elaborated
exactly. upon in commedia dell’ arte.
monologue a long speech made by one performer; a monologue may be tableau a technique in creative drama in which performers create a frozen
delivered alone or in the presence of others. picture, as if the action were paused; plural is tableaux. Not to be
confused with freeze frame, which is a term used in film and video
motivation the reason or reasons for a character’s behaviour; an incentive or
inducement for further action for a character. production.
theatre games improvisational exercises structured by the director or teacher to
movement stage blocking or the movements of the performers onstage achieve a specific objective, such as breaking down inhibitions or
during performance; also refers to the action of the play as it establishing trust.
moves from event to event.
timbre The distinctive character or quality of a musical or vocal sound
pace rate of movement or speed of action apart from its pitch or intensity such as in a nasal voice quality.
performance include acting (e.g., character motivation and analysis, empathy), upstage: (verb) to deliberately draw the audience’s attention away from another
elements speaking (breath control, vocal expression and inflection, performer or performers by overacting, using flashy bits of business, or
projection, speaking style, diction), and nonverbal expression other means; term originated from an performer
(gestures, body alignment, facial expression, character blocking, purposefully positioning himself upstage of the other performers
movement). so that they must turn their backs on the audience to deliver their
pitch the particular level of a voice, instrument or tune. lines to him.
vocal expression how an performer uses his or her voice to convey character
vocal projection directing the voice out of the body to be heard clearly at a
distance.
voice the combination of vocal qualities a performer uses
 Spring 1 Knowledge Organiser – Year 9 Drama GCSE

Stanislavski and Naturalism Brecht and Epic Theatre

1 KonstantinA Russian theatrical practitioner. He 1 Bertolt Brecht A German playwright Physical Skills
Stanislavskibelieved in naturalistic performances that who wanted to make the 1 Physical skills The different techniques used by an actor to
communicate the distinct way that an actor uses
were as realistic audience think, and used their body to portray a character.
as possible a range of devices to 2 gestures Any movement of the performer’s head,
remind them that they shoulder, arm, hand, leg,
2 SergeyevichReal name of Konstantin Stanislavski
or foot to convey meaning.
Alexeyev before becoming an actor were watching theatre 3 Facial expressionsUsing the face to convey emotions, develop the
3 1863 When he was born. and not real life. story and communicate the feelings and
thoughts of the character to the audience.
2 1898 When he was born.
4 1938 When he died. 4 Stillness Not moving.
5 Major textsStanislavski wrote many books on 3 Ausburg The town in which he
5 Stance The way that a character stands. Also known as
acting that have influenced many was born. ‘posture’.
famous actors. 4 Medical Orderly The position he held in 6 Contact Physical contact with another actor.
the army during the
6 Moscow ArtThe company that he co-founded in 7 Use of space How an actor uses the stage to communicate
Theatre 1898 First World War. meaning to an audience.
5 Appalled How he felt about the 8 Spatial Traditional term for ‘proxemics’,
7 NaturalismActing as realistically as possible – as relationships referring to the relationship between different
close to ‘real life’ as an actor can War and what happened performers or a performer and elements of the
perform. in it. set which convey
6 1933 When the Nazis came to information about character and their
8 MotivationWhy a character does and says the circumstances.
things they do. power and Brecht had to 9 Proxemics The position of people in relation to each other
9 The fourthAn imaginary fourth wall separating flee. onstage and the meaning that this
7 Stateless Citizenq Someone who is not communicates.
wall the actors from the audience. 10 Mannerism A peculiarity of speech or behaviour.
considered as a national
10 ProsceniumThe traditional staging type most
stage suited to production using a fourth by any state or country. 11 Pace The speed of movement.

wall. 8 1941 When he became a 12 Rhythm The ‘flow’ of a character’s movement

11 ObjectiveThe reason for a characters’ national of the USA.

13 Gait How a person walks.
9 1947 When he returned to
actions.
Europe. Vocal Skills
12 Super An over-reaching objective that
10 Communism The political belief that 1 Vocal skillsThe different techniques used by an actor to
Objective acts as a through-line for a communicate the distinct ‘voice’ of a
all people are equal and
character over the course of a play. character.
that workers should
Brecht Stanislavski 2 clarity Speaking clearly so that an audience can
control the means of hear you.
producing things. 3 pace Speed of speech.
11 1956 When he died. 4 inflection Change in pitch or loudness of the voice.
12 The Berliner The theatre company he 5 Pitch The particular level of a voice e.g. ‘high’ or
Ensemble founded. ‘low’.
13 Epic Theatre Brecht’s style of 6 Projection How well the voice ‘carries’ to the
production – audiences audience.
being engaged with a 7 ArticulationThe clarity or distinction of speech
drama and constantly 8 Rhythm Measured flow of words or phrases in
reminded that they are verse forming patterns of sound.
watching a play. 9 Timbre The distinctive ‘character’ or quality of a
14 verfremdungseffekt Also known as the ‘V- voice (apart from its pitch or intensity
Effect’. The act of such as in a nasal voice quality).
alienating the audience 10 Accent A distinctive way of pronouncing a
language, especially one associated with a
15 Breaking the fourth Talking directly to, or
particular country, area, or social class.
wall interacting, with the 11 Vocal How an performer uses his or her voice to
audience. expression convey character
12 Vocal Directing the voice out of the body to be
projection heard clearly at a
distance.
 Stanislavski and Naturalism Spring 2 Knowledge Organiser – Year 9 Drama GCSE
Mother Courage
1 Konstantin A Russian theatrical practitioner. He 1 Mother Play by Bertolt Brecht
Courage
Stanislavski believed in naturalistic Approaching a text 2 Epic TheatreThe genre of the piece
performances that were as realistic 1 DramatisThe cast of characters.
3 Time and Written during Brecht's exile in Sweden, 1939
as possible Personae place written
2 Naturalism Acting as realistically as possible – 2 Setting Where the play takes place 4 Structure Not typical – each scene stands alone
as close to ‘real life’ as an actor can
3 Dialogue The words that the characters 5 Tragi-comicThe play is tragic but is also funny.
perform.
speak. 6 Themes War as a business
3 Motivation Why a character does and says the 4 ResearchAny additional work you need to do to 7 Mother Central Character.
things they do. better understand the text or the
The fourth Courage
4 An imaginary fourth wall separating characters. 8 Kattrin Courage’s daughter. Undergoes a lot of trauma
wall the actors from the audience.
5 Background Reasons why the play was written. of during the war, and ends up disfigured.
5 Proscenium The traditional staging type most 9 Eilif The first child Mother Courage loses to the army.
the play
stage suited to production using a fourth 10 Swiss CheeseThe first of Mother Courage's children to die.
wall. Genres
1 11 Cook The Chaplain's rival for Courage's affections and
6 Objective The reason for a characters’ Genre Different ‘categories’ of theatre bread.
actions. 2 Epic Alienating/distancing the audience 12 Chaplain One of two characters dependent on Mother
7 Super An over-reaching objective that acts Courage as their "feedbag."
as a through-line for a character over 3 NaturalismAs realistic an ‘honest’ as possible 13 Yvette Pottier Initially appearing as a camp prostitute, Yvette is
Objective
4 the only character who will make her fortune
the course of a play. Musical The characters often break into through the war, marrying and inheriting the estate

Brecht and Epic Theatre Theatre song. of a lecherous old Colonel.

5 Physical Using the body in an abstract and Cherry Orchard
1 Bertolt Brecht A German playwright who
Theatre stylised way to tell a story. 1 Cherry Play by Anton Checkhov
wanted to make the Orchard
6 T.I.E.Theatre in Education – teaching an audience
audience think, and used a 2 Tragi ComedyThe play is tragic but is also funny.
something.
range of devices to remind 3 Setting - timeBetween May and October of a year around the
them that they were Style beginning of the 20th century
watching theatre and not 1 Style The ‘way’ you present your
4 Setting - At the country estate of Lyuba Ranevsky
place
real life. performance. I.e. ‘comically’ 5 Themes Modernity vs. the old russia; breaking with the past;
2 Epic Theatre Brecht’s style of nature
Forms
production – audiences 6 Mrs. Lyuba A middle-aged Russian woman, the owner of the
1 Form The method you use to tell your Ranevsky estate and the cherry orchard around which the
being engaged with a story revolves.
drama and constantly story. 7 Yermolay A businessman, and the son of peasants on
reminded that they 2 Mime/muteNot speaking – only using your body Lopakhin Ranevsky's estate.
8 Leonid GayevGayev is Ranevsky's brother.
are watching a play. 3 Choral workSpeaking and moving in unison with
3 verfremdungseffekt Also known as the ‘V- the rest of the cast 9 Varya Varya is Ranevksy's adopted daughter, who is
twenty-four years old. She is in love with Lopakhin,
Effect’. The act of 4 Physical Abstract movements using the body. but she doubts that he will ever propose to her.
alienating the audience Theatre 10 Anya Ranevksy's biological daughter
4 Breaking the Talking directly to, or 5 Musical Breaking into song or dance 11 Peter A student at the local university, he knows Ranevsky
fourth wall interacting, with the Theatre Trofimov from tutoring her son Grisha before he died.
audience. 6 Farce Over the top comedy in which 12 Boris
Simeonov-
A nobleman, and fellow landowner, who is, like
Ranevsky, in financial difficulties.

The World of the Play everything goes wrong Pischik

Situation and circumstances in which 7 Satire Comedy that pokes fun at a 13 Charlotte Anya's governess.
1 Context
particular person or people. 14 Firs Ranevsky's eighty-seven-year-old manservant.
something is set.
2 Locations Where the action takes place 8 Commedia Masked comedy 15 Simon Yephikodov is a clerk at the Ranevsky estate.
del Arte Yephikodov
3 Culture What is happening culturally
9 Dance Dancing 16 Yasha Yasha is the young manservant who has been
4 History What is going on historically traveling with Ranevsky ever since she left for
France.
5 Politics Who is in charge? 17 Dunyasha A maid on the Ranevsky estate. She functions mainly
as a foil to Yasha, her innocent naïveté and love for
6 Sociality How do people interact with others? him emphasizing and making clear his cynicism and
selfishness.
 Autumn 1 Knowledge Organiser – Year 10 Drama GCSE Analysing and
The Portfolio
Evaluating

Useful Information: Sentence Starters

This element of the performance …
Portfolio:
explored, conveyed, communicated, showed, presented
1500-2000 words +photos/drawings (Feedback allowed
for final draft – once only) – Responses to 6 questions: This symbolised …
What was your initial response to the stimulus + what This represented …
were the intentions of the piece?

What work did your group do in order to explore the

Directing This moment was …

stimulus and start to create ideas for performance? The use of design elements included …

What were some of the significant moments during the Advice The acting skills made use of …
development process and when rehearsing and refining
your work? Question the actors The director staged the section by …

How did you consider genre, structure, character, form, Guide – don’t tell.
style and language throughout the process?
Always keep an eye on the ‘big picture’ Physicality
How effective was your contribution to the final
performance? What is your intention for the piece? Voice
basic
Were you successful in what you set out to achieve? How are you going to use the stage? accomplished
inconsistent
enhanced the
Writing about performance variable
Physical skills
- Weight Vocal skills Performance Skills exemplary use of lacked development

Ask Mr. King for a FULL appendix which sophisticated poor

- Tension - Volume

- Pace - Pace includes not only performance terminology, but highly effective cursory
every possible word you will need to describe
- Gait - Intonation even the most advanced piece of dramatic impressive vague
staging! creative
- Internal Rhythm - Emphasis patchy

- Period of piece - Tone Warm Ups thought provoking little evidence of

powerful
- Reactions - Personality ineffective
Should include…. inspired under-rehearsed
- Non-verbals - Register
Physical – Relaxation, Relieving tension, innovative innovative
- Facial expressions - Accent
Energinsing
- Gestures - Age
Vocal – Resonance, Breath, Articulation drills
- Mime - Mannerisms
How to approach it
- Stance
The Think, Discuss, Improvise!
Stimulus
 Performance Autumn 2 Knowledge Organiser – Year 10 Drama GCSE Analysing and
Vocabulary Evaluating
acting style a particular manner of acting which reflects cultural and historical Posture` Physical alignment of a performer’s body or a physical stance
influences taken by a performer which conveys information about the
Evaluative terms…
articulation the clarity or distinction of speech character being played Positive Negative
aside Lines spoken by an performer to the audience and not supposed projection how well the voice carries to the audience. accomplished basic
to be overheard by other characters on-stage. prompt to give performers their lines as a reminder; the prompter is the
enhanced the inconsistent
business a piece of unscripted or improvised action, often comic in one who assists performers in remembering their lines.
intention, used to establish a character, fill a pause in dialogue, or proxemics contemporary term for ‘spatial relationships’, referring to spatial
to establish a scene. An author may simply suggest 'business' to signifiers of the relationship between different performers or a performance variable
indicate the need for some action at that point in the play. performer and elements of the set which convey information
characterisation how a performer uses body, voice, and thought to develop and about character and circumstances. exemplary use
portray a character. rhythm measured flow of words or phrases in verse forming patterns of lacked
of
dialogue spoken conversation used by two or more characters to express sound. Regularity in time or space of an action, process or
thoughts, feelings, and actions. feature.
development
focus in acting, the act of concentrating or staying in character. role the character portrayed by a performer in a drama. sophisticated
gesture any movement of the performer’s head, shoulder, arm, hand, leg, role playing improvising movement and dialogue to put oneself in another’s poor
or foot to convey meaning. place in a particular situation, often to examine the person(s) highly effective
imaging a technique which allows performers to slow down and focus and/or situation(s) being improvised. cursory
individually on an issue. The performers, sitting quietly with eyes soliloquy a speech in which a performer, usually alone on stage, speaks the impressive vague
closed, allow pictures to form in their minds. These images may inner thoughts of his/her character aloud.
be motivated by bits of narration, music, sounds, smells, etc. spatial traditional term for what is currently referred to as ‘proxemics’,
improvisation the spontaneous use of movement and speech to create a awareness referring to spatial signifiers of the relationship between different creative patchy
character or object in a particular situation; acting done without a performers or a performer and elements of the set which convey
script. information about character and circumstances. thought
inflection change in pitch or loudness of the voice. stage presence the level of comfort, commitment, and energy a performer provoking little evidence
appears to have on stage.
Interaction the action or relationship among two or more characters of
staging another term for blocking; deliberate choices about where the
performers stand and how they move on stage to communicate powerful
language in drama, the particular manner of verbal expression, the diction character relationships and plot and to create interesting stage ineffective
or style of writing, or the speech or phrasing that suggests a class
or profession or type of character.
pictures in relation to set, properties and audience and effects inspired
created by lighting, for example. under-
mannerism a peculiarity of speech or behaviour. stock characters characters who represent particular personality types or
characteristics of human behaviour. Stock characters are
innovative rehearsed
mime acting without words.
immediately recognizable and appear throughout the history of
mirroring copying the movement and/or expression or look of someone else theatre, beginning with Greek and Roman comedy and elaborated innovative
exactly. upon in commedia dell’ arte.
Sentence Starters
monologue a long speech made by one performer; a monologue may be tableau a technique in creative drama in which performers create a frozen
delivered alone or in the presence of others. picture, as if the action were paused; plural is tableaux. Not to be This element of the
motivation the reason or reasons for a character’s behaviour; an incentive or confused with freeze frame, which is a term used in film and video
performance …
inducement for further action for a character. production.
theatre games improvisational exercises structured by the director or teacher to
movement stage blocking or the movements of the performers onstage
during performance; also refers to the action of the play as it
achieve a specific objective, such as breaking down inhibitions or explored, conveyed,
establishing trust. communicated, showed,
moves from event to event.
timbre The distinctive character or quality of a musical or vocal sound
pace rate of movement or speed of action
apart from its pitch or intensity such as in a nasal voice quality.
presented
performance include acting (e.g., character motivation and analysis, empathy),
upstage: (verb) to deliberately draw the audience’s attention away from another
elements speaking (breath control, vocal expression and inflection,
performer or performers by overacting, using flashy bits of business, or This symbolised …
projection, speaking style, diction), and nonverbal expression
other means; term originated from an performer
(gestures, body alignment, facial expression, character blocking,
purposefully positioning himself upstage of the other performers This represented …
movement).
so that they must turn their backs on the audience to deliver their
pitch the particular level of a voice, instrument or tune.
lines to him.
vocal expression how an performer uses his or her voice to convey character This moment was …
vocal projection directing the voice out of the body to be heard clearly at a
distance. The use of design
voice the combination of vocal qualities a performer uses elements included …

Settings A Street / A Field / A Wood The acting skills made

Characters Phil, Leah, Jan, Mark, Cathy, Brian, Adam use of …
DNA Context Originally commissioned by NT Education as part of its Connections The director staged the
project and was performed preofessionally at the Cottesloe Theatre of section by …
the National Theatre in 2008
Themes Gender Identity, Gangs and belonging, Bullying, Responsibility,
 Spring 1 Knowledge Organiser – Year 10 Drama GCSE
Creative Intentions and
communicating meaning Responding to a stimulus Stimuli
1 Artistic/Creative The decisions, made by 1 Stimulus The ‘starting point’ to provide 1 Bullying The use superior strength or
Intentions theatre makers, to inspiration and ideas for
communicate deeper meaning devising a drama. influence to intimidate
through their work. 2 Explorative A technique to explore and (someone), typically to force
2 Acting style A particular manner of acting strategies deepen understanding of the them to do something.
which reflects cultural and drama you create. 2 Daylight andAnthony and the Johnsons
historical influences. 3 Drama Term comes from a Greek the Sun song
3 Characterisation How a performer uses body, word meaning action. 3 Anthony andAn American music group
voice, and thought to develop 4 Plot The organisation or building
the Johnsonspresenting the work of
and portray a character. development of the action in a play.
4 Performance These include acting, Anohni (formerly
5 Ritual A prescribed form or
elements speaking and nonverbal ceremony; drama grew out of known as Antony
expression. religious ritual. Hegarty) and her
5 Proxemics Contemporary term for collaborators.
6 Story line The plot or plan of action.
‘spatial relationships’, 4 Anohni an English-born singer,
7 Imaging A technique which allows
referring to spatial signifiers composer. In 2016, Anohni
performers to slow down and
of the relationship between became the second openly-
focus individually on an issue.
different performers or a transgender person
The performers, sitting
performer and elements of nominated for an Academy
quietly with eyes closed,
the set which convey Award
allow pictures to form in
information about character their minds. These images
and circumstances. may be motivated by bits of
6 Role The character portrayed by a narration, music, sounds,
performer in a drama.
smells, etc.
7 Staging Another term for blocking;
8 Mime Acting without words.
deliberate choices about
where the performers stand 9 Role playingImprovising movement and dialogue
to put oneself in another’s
and how they move on stage
place in a particular
to communicate character
situation, often to examine
relationships and plot and to
create interesting stage the person(s) and/or
pictures in relation to set, situation(s) being improvised.
properties and audience and 10 Aims and Why are you creating your
effects created by lighting, objectives drama?
for example. What effect do you want it
Genre A category or 'type' given to to have on the audience?
8
plays that include a particular 11 ImprovisationLive theatre in which the plot,
form, content or technique, characters and dialogue of
based upon the conventions a game, scene or story are
used e.g. tragedy, comedy, made up in the moment.
farce, and melodrama. 12 Tableaux Another term for a freeze
9 Form Formal elements and frame
characteristics (e.g. 13 Hot seatingAsking an actor questions
structure and content) of a while they are ‘in character’.
particular play e.g. a well 14 Scales Different states of feeling
made play usually consists of or emotion.
three acts. 15 Role on wall Ideas on a ‘gingerbread man’
 Spring 2 Knowledge Organiser – Year 10 Drama GCSE
Creative Intentions, Responding to a stimulus
meaning and ‘form’ and developing drama Stimuli
1 Artistic/Creative The decisions, made by 1 Stimulus The ‘starting point’ to provide 1 Bullying The use superior strength or
Intentions theatre makers, to inspiration and ideas for
communicate deeper meaning devising a drama. influence to intimidate
through their work. 2 Explorative A technique to explore and (someone), typically to force
2 Acting style A particular manner of acting strategies deepen understanding of the them to do something.
which reflects cultural and drama you create. 2 Daylight andAnthony and the Johnsons
historical influences. 3 Drama Term comes from a Greek the Sun song
3 Characterisation How a performer uses body, word meaning action. 3 Anthony andAn American music group
voice, and thought to develop 4 Plot The organisation or building the Johnsonspresenting the work of
and portray a character. development of the action in a play.
4 Performance These include acting,
Anohni (formerly
5 Ritual A prescribed form or
elements speaking and nonverbal ceremony; drama grew out of
known as Antony
expression. religious ritual.
Hegarty) and her
5 Proxemics Contemporary term for collaborators.
6 Story line The plot or plan of action.
‘spatial relationships’, 4 Anohni an English-born singer,
7 Imaging A technique which allows composer. In 2016, Anohni
referring to spatial signifiers performers to slow down and
of the relationship between became the second openly-
focus individually on an issue.
different performers or a transgender person
The performers, sitting
performer and elements of nominated for an Academy
quietly with eyes closed,
the set which convey Award
allow pictures to form in
information about character their minds. These images
and circumstances. may be motivated by bits of
6 Role The character portrayed by a narration, music, sounds,
performer in a drama.
smells, etc.
7 Staging Another term for blocking;
8 Mime Acting without words.
deliberate choices about
where the performers stand 9 Role playingImprovising movement and dialogue
to put oneself in another’s
and how they move on stage
place in a particular
to communicate character
situation, often to examine
relationships and plot and to
create interesting stage the person(s) and/or
pictures in relation to set, situation(s) being improvised.
properties and audience and 10 Aims and Why are you creating your
effects created by lighting, objectives drama?
for example. What effect do you want it
8 Genre A category or 'type' given to to have on the audience?
plays that include a particular 11 ImprovisationLive theatre in which the plot,
form, content or technique, characters and dialogue of
based upon the conventions a game, scene or story are
used e.g. tragedy, comedy, made up in the moment.
farce, and melodrama. 12 Tableaux Another term for a freeze
9 Form Formal elements and frame
characteristics (e.g. 13 Hot seatingAsking an actor questions
structure and content) of a while they are ‘in character’.
particular play e.g. a well 14 Scales Different states of feeling
made play usually consists of or emotion.
three acts. 15 Role on wall Ideas on a ‘gingerbread man’
 1984 Autumn 1 Knowledge Organiser – Year 11 Drama GCSE Analysing and
Evaluating

Useful terms: Sentence Starters

"The book“ - Titled "Theory and Practice of This element of the performance …
Oligarchical Collectivism" and supposedly written by
explored, conveyed, communicated, showed, presented
Goldstein, it contains the story of humankind and the
Revolution. This symbolised …
Doublethink - Newspeak word with two mutually This represented …
contradictory meanings.
This moment was …
Newspeak - The official language of Oceania and the
new language of the Party, devised to reduce the The use of design elements included …
English language to the fewest words possible.
The acting skills made use of …
Telescreen - An oblong metal plaque that looks like a Directing
dulled mirror and acts like a television, a camera, and The director staged the section by …
a listening device for the Inner Party and Thought
Police. Advice

Thought Police - The arm of the Inner Party that Question the actors
seeks out those against the Party. Positive: Negative:
Guide – don’t tell.
Thoughtcrime - Thinking against the Party, having accomplished basic
misgivings about the Party, doubting Big Brother, or Always keep an eye on the ‘big
enhanced the inconsistent
questioning any Party action or "fact." picture’
performance variable
Two Minutes Hate - Daily requirement for all Party What is your intention for the piece?
members. Organized group of members watches Party exemplary use of lacked development
presentations on a telescreen denouncing Goldstein and How are you going to use the stage?
war enemies. sophisticated poor

Room 101 – Where the enemies of the Party are taken Creating highly effective cursory
and tortured using their greatest fear. Atmosphere impressive vague
Characters:
creative patchy
How?
Winston – The Protagonist
thought provoking little evidence of
Use lights, sound, set and staging.
Julia – His lover
powerful ineffective
O’Brien – A member of the inner party
Sound, Lighting inspired under-rehearsed
Charrington – Owner of an antique shop and Design, innovative innovative
Martin – A mysterious character who seems to have no
Ask Mr. King for a FULL appendix
past or future
which includes not only performance
Syme – Works with Winston terminology, but every possible word
you will need to describe even the most
Parsons – Winston’s neighbour advanced piece of dramatic staging!
 General Dramatic
Terminology
Autumn 2 Knowledge Organiser – Year 11 Drama GCSE Performance glossary

acting area that area within the performance space within which the mood the tone or feeling of the play, often engendered by the music, acting style a particular manner of acting which reflects cultural and
performer may move in full view of the audience. Also known as setting, or lighting. historical
the playing area. naturalism a style of drama that developed in the late 19th century as an influences
attempt to represent real life on stage faithfully and without articulation the clarity or distinction of speech
action the movement or development of the plot or story in a play; the artifice; the actions of characters tend to be dominated by blocking the path formed by the performer’s movement on stage,
sense of forward movement created by the sense of time and/or determinism (societal or environmental forces). usually
the physical and psychological motivations of characters.
parody a mocking or satirical imitation of a literary or dramatic work. determined by the director with assistance from the
character a person portrayed in a drama, novel, or other artistic piece. plot the events of a play or arrangement of action, as opposed to the performer
theme. and often written down in a script using commonly accepted
climax the point of greatest intensity in a series or progression of events
plot the organisation or building of the action in a play. theatrical symbols.
in a play, often forming the turning point of the plot and leading
to some kind of resolution. development business a piece of unscripted or improvised action, often comic in
protagonist the main character or hero in a play or other literary work. intention, used to establish a character, fill a pause in
comedy a play that treats characters and situations in a humorous way. In scenography the art of creating performance environments using one or more dialogue, or
Shakespeare’s time, a comedy was any play with a happy ending components including light, costume, set , space and sound. to establish a scene. An author may simply suggest 'business'
that typically told the story of a likable character’s rise to fortune. sightlines imaginary lines of sight that determine what areas of the stage to
In ancient Greece, comedies dealt almost exclusively with are visible to the audience from any given seat in the house. indicate the need for some action at that point in the play.
contemporary figures and problems. Low comedy is physical space a defined area characterisation how a performer uses body, voice, and thought to develop
rather than intellectual comedy; high comedy is more stage furniture elements of the production that can be used/moved but cannot be and
sophisticated, emphasizing verbal with more than physical action. defined as personal props e.g. chair, table. portray a character.
staging another term for blocking; deliberate choices about where the gesture any movement of the performer’s head, shoulder, arm, hand,
performers stand and how they move on stage to communicate leg,
comic relief a break in the tension of a tragedy provided by a comic character, or foot to convey meaning.
character relationships and plot and to create interesting stage
a comic episode, or even a comic line.
pictures in relation to set, properties and audience and effects inflection change in pitch or loudness of the voice.
conflict the internal or external struggle between opposing forces, ideas, created by lighting, for example. interaction the action or relationship among two or more characters.
or interests that creates dramatic tension. style the decisions made when presenting a play in performance, language in drama, the particular manner of verbal expression, the
contrast dynamic use of opposites, such as movement/stillness, influenced by the social, historical and cultural context and artistic diction
sound/silence, and light/darkness. choices of the creative team. The mode of expression - the way in or style of writing, or the speech or phrasing that suggests a
which characters, narrative, are expressed to an audience. class
drama term comes from a Greek word meaning action. The enactment of Realism an attempt in theatre to represent everyday life and people as or profession or type of character.
drama in theatre, performed by performers on a stage before an they are or appear to be through careful attention to detail in mannerism a peculiarity of speech or behaviour.
audience, presupposes collaborative modes of production and a character motivation, costume, setting, and dialogue. Plays from
collective form of reception. The structure of dramatic texts is mirroring copying the movement and/or expression or look of someone
this period (from 1820 to 1920) seek the truth, find beauty in the else
directly influenced by this collaborative production and collective commonplace, and focus on the conditions of the working class. exactly.
reception. Henrik Ibsen is an exemplar of the movement; he influenced others motivation the reason or reasons for a character’s behaviour; an
such as George Bernard Shaw and Anton Chekov. incentive or
dramatic and focus, tension, timing, rhythm, contrast, mood, space, language, scene a small section or portion of a play. inducement for further action for a character.
theatrical sound, symbol, conflict, climax theatrical: divided into literary
pace rate of movement or speed of action
elements elements: Characters, Plot, Theme, Dialogue, Convention, Genre, set the physical surroundings, visible to the audience, in which the
performance include acting (e.g., character motivation and analysis,
Audience technical elements: set, props, lighting, sound, costume action of the play takes place.
elements empathy),
performance elements: acting, motivation, vocal/physical Setting when and where the action of a play takes place. speaking (breath control, vocal expression and inflection,
expression. sightlines imaginary lines of sight that determine what areas of the stage projection, speaking style, diction), and nonverbal expression
are visible to the audience from any given seat in the house. (gestures, body alignment, facial expression, character
dynamic the energetic range of or variations within physical movement or sound the effects an audience hears during a performance to blocking,
the difference between levels of sound communicate character, context, or environment. movement).
sound elements music, sound effects, performers’ voices.
end on Traditional audience seating layout where the audience is looking pitch the particular level of a voice, instrument or tune.
space a defined area posture Physical alignment of a performer’s body or a physical stance
at the stage from the same direction. This seating layout is that of
story line the plot or plan of action. taken by a performer which conveys information about the
a Proscenium Arch theatre. See also THRUST, IN THE ROUND,
structure The arrangement of and relationship between the constituent character being played
TRAVERSE.
parts of a whole as in ‘prologue, exposition, denouement’ or
projection how well the voice carries to the audience.
scenes and acts within a play.
proxemics contemporary term for ‘spatial relationships’, referring to
stylisation the shaping of dramatic material, settings, or costumes in a
ensemble the dynamic interaction and harmonious blending of the efforts of spatial
deliberately non-realistic manner.
the many artists involved in the dramatic activity of theatrical signifiers of the relationship between different performers or
suspense a feeling of uncertainty as to the outcome, used to build interest a
production.
and excitement on the part of the audience. performer and elements of the set which convey information
flashback in a non-linear plot, to go back in time to a previous event; a symbolism the use of symbolic language, imagery, or colour to evoke about character and circumstances.
flash forward would move the action into the future. emotions or ideas.
rhythm measured flow of words or phrases in verse forming patterns
tempo relative speed or rate of movement in pace over time, e.g. the
form formal elements and characteristics (e.g. structure and content) of
speed at which the music for a dance should be played. Can be sound. Regularity in time or space of an action, process or
of a particular play e.g. a well-made play usually consists of three applied to dramatic contexts such as in ‘tempo rhythm’.
acts. feature.
tension the atmosphere created by unresolved, disquieting, or
role the character portrayed by a performer in a drama.
fourth wall the invisible wall of a set through which the audience sees the inharmonious situations that human beings feel compelled to
spatial traditional term for what is currently referred to as
action of the play. address; the state of anxiety the audience feels because of a
awareness ‘proxemics’,
threat to a character in a play.
genre a category or 'type' given to plays that include a particular form, referring to spatial signifiers of the relationship between
text the basis of dramatic activity and performance; a written script or
content or technique, based upon the conventions used e.g. different
an agreed-upon structure and content for an improvisation.
tragedy, comedy, farce, and melodrama. performers or a performer and elements of the set which
theme the basic idea of a play; the idea, point of view, or perception that
convey
binds together a work of art.
irony an implied discrepancy between what is said and what is meant. information about character and circumstances.
There are several forms of irony. Verbal irony is when a writer or timing includes setting cues for effects and lighting, synchronizing two or
timbre The distinctive character or quality of a musical or vocal
speaker says one thing and means something else (often the more things that must happen simultaneously, and establishing
sound
opposite of what is said). When the audience perceives something the pace at which lines will be delivered or the play performed.
apart from its pitch or intensity such as in a nasal voice
that a character does not know, that is dramatic irony. Situational turning point: the climax or high point of a story, when events can go either
quality.
irony can be described as a discrepancy between expected results way.
vocal projection directing the voice out of the body to be heard clearly at a
and the actual results. wings offstage areas to the right and left of the acting/onstage area.
distance.
 Spring 1 Knowledge Organiser – Year 11 Drama GCSE
Applying theatrical skills to
Vocal Skills Physical Skills ‘realise artistic intentions’
1 Vocal skills The different techniques used by 1 Physical The different techniques used by 1 Theatrical skills Also known as ‘performance
an actor to communicate the skills an actor to communicate the skills’. The different
distinct ‘voice’ of a character. distinct way that an actor uses techniques used by an
2 clarity Speaking clearly so that an their body to portray a actor to communicate a
audience can hear you. character. character
3 pace Speed of speech. 2 gesturesAny movement of the performer’s using vocal and physical skills.
4 inflection Change in pitch or loudness of the head, shoulder, arm, hand, leg, 2 Artistic The decisions, made by
voice. or foot to convey meaning. intentions theatre makers, to
5 Pitch The particular level of a voice e.g. 3 Facial Using the face to convey communicate deeper meaning
‘high’ or ‘low’. expressions emotions, develop the story and through their work.
6 Projection How well the voice ‘carries’ to communicate the feelings and 3 Style The decisions made when
the audience. thoughts of the character to the presenting a play in
7 Articulation The clarity or distinction audience. performance,
of speech 4 Stillness Not moving. influenced by the social,
8 Rhythm Measured flow of words or 5 Stance The way that a character stands. historical and cultural
phrases in verse forming patterns Also known as ‘posture’. context and artistic choices
of sound. 6 Contact Physical contact with another of the creative team. The
9 Timbre The distinctive ‘character’ or actor. mode of expression - the way
quality of a voice (apart from its 7 Use of How an actor uses the stage to in which characters,
pitch or intensity such as in a space communicate meaning to an narrative, are expressed to
nasal voice quality). audience. an audience.
10 Accent A distinctive way of pronouncing a 8 Spatial Traditional term for ‘proxemics’, 4 Genre A category or 'type' given to
language, especially one relationships referring to the relationship plays that include a particular
associated with a particular between different form, content or technique,
country, area, or social class. performers or a performer and based upon the conventions
11 Vocal How an performer uses his or her elements of the set which convey used e.g. tragedy, comedy,
expression voice to convey character information about character and farce, and melodrama.
12 Vocal Directing the voice out of the their circumstances. 5 Theatrical A set of rules which both the
projection body to be heard clearly at a 9 ProxemicsThe position of people in relation to conventions audience and actors are
distance. each other onstage and the familiar with and which act as
meaning that this communicates. a useful way of quickly
10 MannerismA peculiarity of speech or signifying the nature of the
behaviour. action or of a character.
6 Characterisation how a performer uses body,
11 Pace The speed of movement.
voice, and thought to develop
12 Rhythm The ‘flow’ of a character’s and
movement
portray a character.
13 Gait How a person walks.
 Spring 2 Knowledge Organiser – Year 11 Drama GCSE
Applying theatrical skills to
Vocal Skills Physical Skills ‘realise artistic intentions’
1 Vocal skills The different techniques used by 1 Physical The different techniques used by 1 Theatrical skills Also known as ‘performance
an actor to communicate the skills an actor to communicate the skills’. The different
distinct ‘voice’ of a character. distinct way that an actor uses techniques used by an
2 clarity Speaking clearly so that an their body to portray a actor to communicate a
audience can hear you. character. character
3 pace Speed of speech. 2 gesturesAny movement of the performer’s using vocal and physical skills.
4 inflection Change in pitch or loudness of the head, shoulder, arm, hand, leg, 2 Artistic The decisions, made by
voice. or foot to convey meaning. intentions theatre makers, to
5 Pitch The particular level of a voice e.g. 3 Facial Using the face to convey communicate deeper meaning
‘high’ or ‘low’. expressions emotions, develop the story and through their work.
6 Projection How well the voice ‘carries’ to communicate the feelings and 3 Style The decisions made when
the audience. thoughts of the character to the presenting a play in
7 Articulation The clarity or distinction audience. performance,
of speech 4 Stillness Not moving. influenced by the social,
8 Rhythm Measured flow of words or 5 Stance The way that a character stands. historical and cultural
phrases in verse forming patterns Also known as ‘posture’. context and artistic choices
of sound. 6 Contact Physical contact with another of the creative team. The
9 Timbre The distinctive ‘character’ or actor. mode of expression - the way
quality of a voice (apart from its 7 Use of How an actor uses the stage to in which characters,
pitch or intensity such as in a space communicate meaning to an narrative, are expressed to
nasal voice quality). audience. an audience.
10 Accent A distinctive way of pronouncing a 8 Spatial Traditional term for ‘proxemics’, 4 Genre A category or 'type' given to
language, especially one relationships referring to the relationship plays that include a particular
associated with a particular between different form, content or technique,
country, area, or social class. performers or a performer and based upon the conventions
11 Vocal How an performer uses his or her elements of the set which convey used e.g. tragedy, comedy,
expression voice to convey character information about character and farce, and melodrama.
12 Vocal Directing the voice out of the their circumstances. 5 Theatrical A set of rules which both the
projection body to be heard clearly at a 9 ProxemicsThe position of people in relation to conventions audience and actors are
distance. each other onstage and the familiar with and which act as
meaning that this communicates. a useful way of quickly
10 MannerismA peculiarity of speech or signifying the nature of the
behaviour. action or of a character.
6 Characterisation how a performer uses body,
11 Pace The speed of movement.
voice, and thought to develop
12 Rhythm The ‘flow’ of a character’s and
movement
portray a character.
13 Gait How a person walks.