CSEC-Theatre-Arts-Syllabus

OPTION A: DRAMA

Section I: Drama Improvisation (30 marks)

  • Participation Requirements:
    • (i) Spontaneous performance: 3–5 minutes from a given stimulus.
    • (ii) Journal documentation: Candidates must document the improvisation process in a journal.
    • (iii) Viva Voce: Respond to questions regarding the performance and process.

Section II: Playmaking (30 marks)

  • Participation Requirements:
    • (i) Prepared performance: 10–15 minutes using a prescribed Caribbean cultural form.
    • (ii) Journal documentation: Document the creation and preparation process in a journal.
    • (iii) Viva Voce: Answer questions related to the performance and playmaking process.

Section III: Production (40 marks)

  • Participation Requirements:

    • (i) Prepared performance: 20–30 minutes of an excerpt from a text on the reading list.
    • (ii) Journal documentation: Complete a journal that documents the rehearsal and performance.
    • (iii) Viva Voce: Respond to questions in relation to the performance and production process.

  • Special Circumstances:

    • Non-examination candidates may substitute for a candidate who is absent due to illness prior to the exam.

OPTION B: DANCE

Section I: Dance Improvisation (30 marks)

  • Participation Requirements:
    • (i) Spontaneous performance: 3–5 minutes from a given stimulus.
    • (ii) Journal documentation: Document the improvisation process in a journal.
    • (iii) Viva Voce: Respond to questions about the performance and process.

Section II: Dancemaking (30 marks)

  • Participation Requirements:
    • (i) Group or solo study: 5–8 minutes in groups of no more than four or individual performance of 3–5 minutes based on a prescribed Caribbean theme.
    • (ii) Journal documentation: Complete a journal documenting the preparation and creation process.
    • (iii) Viva Voce: Respond to questions in relation to the performed dance.

Section III: Dance Fundamentals (40 marks)

  • Participation Requirements:

    • (i) Prepared class performance: 20–30 minutes based on a Caribbean cultural form.
    • (ii) Journal documentation: Document the preparation process in a journal.
    • (iii) Viva Voce: Answer questions regarding the dance fundamentals and performance.

  • Special Circumstances:

    • Non-examination candidates may substitute a candidate if they are unable to attend due to illness.

OPTION C: STAGECRAFT

Section I: Drama Improvisation or Dance Improvisation (30 marks)

  • Participation Requirements (either):
    • (i) Spontaneous performance: 3–5 minutes from a given stimulus.
    • (ii) Journal documentation: Document the improvisation process in a journal.
    • (iii) Viva Voce: Respond to questions on the performance.

Section II: Stage Management or Production Management (30 marks)

  • Participation Requirements:
    • (a) Participate in a school or community production.
    • (b) Complete a journal documenting the process.
    • (c) Respond to questions during a viva voce.

Section III: Technical Design Fields (40 marks)

  • Candidates may choose to engage in:

    • Areas Include:
    • Costume Design and Construction
    • Set Design and Construction
    • Lighting Design and Operation
    • Sound Design and Operation
    • Participation Requirements:
    • (a) Participate in a school or community production.
    • (b) Complete a journal documenting the process.
    • (c) Respond to questions during a viva voce.

  • Teamwork Expectation:

    • Students are expected to assist in technical areas, working as a team with directors, designers, and facilitators. Full-length plays do not have to be fully designed or managed by students.
    • Substitution Rule:
    • Same as above regarding illness or lack of specialized skills.

Paper 031 (SBA) (40 marks)

  • Project Requirements:
    • Candidates must complete TWO projects during the second, fourth, and fifth terms of the course.
    • Details of Projects:
    • Provided on pages 79–88 of the syllabus.

Paper 032: Alternate to the SBA (1 hour)

  • Exam Focus:
    • Examines skills similar to those tested in Paper 031
    • Focus on critiquing a play or dance and conducting research.
    • Format includes two compulsory questions, each worth 20 marks.

Mark Allocation by Papers and Profile Dimensions

  • PAPER 01 (CORE)
    • Raw Score: 60
    • Raw Score Percentage: 30%
  • PAPER 02 (OPTIONS)
    • Raw Score: 100
    • Raw Score Percentage: 50%
  • PAPER 031/032
    • Raw Score: 40
    • Raw Score Percentage: 20%
  • GRAND TOTAL
    • Total Raw Score: 200
    • Total Score Percentage: 100%

Profile Dimensions

  • Appreciating and Analyzing (APAN)
    • Paper 01: 60 (30%)
    • Paper 02: 10 (5%)
    • Paper 031/032: 20 (10%)
    • Total: 90 (45%)
  • Performing (PERF)
    • Paper 01: -
    • Paper 02: 60 (30%)
    • Paper 031/032: -
    • Total: 60 (30%)
  • Creating (CREA)
    • Paper 01: -
    • Paper 02: 30 (15%)
    • Paper 031/032: 20 (10%)
    • Total: 50 (25%)

Regulations for Resit Candidates

  • SBA Carry Forward:
    • Resit candidates may carry forward SBA scores only ONCE and during the year immediately following the first sitting.
    • Candidates with moderated SBA scores below 50% will be indicated in preliminary results.
    • Registration: Resit candidates must register as “Re-sit candidates” and provide the previous candidate number.
    • Must complete Papers 01 and 02 for examination registration.

Regulations for Private Candidates

  1. Entry Requirements:
    • Must be entered for examination through the Local Registrar or approved private institutions.
    • Required to sit Papers 01, 02, and EITHER Paper 031 OR Paper 032.
  2. Paper 032 Specifics:
    • Designed for candidates without tutor monitoring from recognized institutions.
    • Consists of two questions, one-hour duration.
  3. For Paper 031:
    • Work must be monitored and feedback provided prior to final assessment.
    • Projects must have been monitored during development; teachers should not accept unmonitored projects.
    • Marks must be submitted via designated online forms, or candidates will be reported as “ungraded.”
    • Both candidates and tutors must keep a copy of completed components for their portfolios.

CORE SECTION 1: ELEMENTS OF THEATRE

General Objectives

  • 1. Understanding the nature, function, elements, and processes of Drama, Dance, and Stagecraft.
  • 2. Historical, social, cultural, spiritual, and economic impacts of cultural forms on Theatre.
  • 3. Application of skills from engagement with cultural and theatrical practitioners.
  • 4. Fundamental skills and competencies to perform in Drama, Dance, and Stagecraft.
  • 5. Utilize various techniques and technologies for creating and sharing theatre information.

Specific Objectives

  1. Identify elements of Theatre Arts.
  2. Describe functions of theatre elements in relation to Drama, Dance, and Stagecraft.
  3. Distinguish various performance spaces.
  4. Discuss pros and cons of different performance spaces.
  5. Differentiate roles and relationships among theatre personnel.
  6. Outline various production processes.
  7. Health and safety considerations in theatre.

Content

  1. Elements of Theatre Arts:
    • (a) Plot, theme, space, characters, dialogue, rhythm, movement, spectacle, audience, mood.
    • (b) Setting, lighting, sound, costume, props, sound effects, music.
    • (c) Stage positions: center, upstage, downstage, upstage left, upstage right, downstage left, downstage right.
    • (d) Theatre spaces: informal, formal, proscenium, arena, thrust, theatre in the round, street, green room, black box, advantages/disadvantages of each.
  2. Elements of Production:
    • Setting, costume, makeup, lighting, sound, front of house management, stage management, directing.
  3. Theatre Personnel:
    • Roles and tasks: Producer, Artistic Director, Director, Choreographer, Designers (set, costume, lighting, sound), Stage Manager, Assistant Stage Manager, Stage Crew/Hands, Musical Director, Playwright, Properties Manager, Technicians, Makeup Artist, Front of House personnel, Wardrobe Mistress, Cast/Performers.
    • Hierarchical structure and relationships among personnel.
  4. The Production Process:
    • Auditions, callbacks, casting, pre-rehearsals, cue-to-cue, line rehearsal, technical rehearsal, dress rehearsal, production, post-production.
    • Public relations and social media strategies.

Preparation for Performance

  1. Body Preparation:
    • (a) Warm up, cool down.
  2. Voice Preparation:
    • (a) Breathing exercises, projection, articulation, resonance, pitch, tone, volume, pace, pause.
  3. Spatial Preparation:
    • (a) Marking, spiking, blocking, technical checks (light, sound, properties).
  4. Health and Safety in Theatre:
    • Safety inspections, compliance, emergency equipment, exit routes, tripping hazards, fluids, fragile items, sharp objects, muster points, flammable materials, protective equipment, poisonous substances.
    • Identifying First-Aid supplies and procedures.
  5. Suggested Activities for Learning:
    • Reading/viewing plays, drawing stage spaces, touring local theatres, attending productions, research cultural spaces, video critiques on elements of production.

SECTION 2: CARIBBEAN CULTURAL FORMS

General Objectives

  1. Develop understanding of Caribbean cultural forms and their influence on Theatre Arts.
  2. Understand historical, social, cultural, spiritual, and economic impacts of cultural forms on theatre.
  3. Show how Caribbean cultural forms relate to self and society.
  4. Apply skills from engagement with cultural practitioners in Theatre Arts.
  5. Use various techniques and technologies for sharing knowledge in Theatre Arts.

Specific Objectives

  1. Define cultural form.
  2. Identify elements of cultural forms.
  3. Discuss skills developed from engagement with cultural practitioners.
  4. Explain the relation between Caribbean cultural forms and Theatre Arts.
  5. Describe cultural forms' influence on Drama, Dance, or Stagecraft.
  6. Justify the importance of studying cultural forms in modern society.
  7. Compare traditional and contemporary movements/skills.

Content

  1. Definition and Examples of Cultural Forms:
    • Rituals, festivals, celebrations, games, music, dances, language indicative of Caribbean culture.
  2. Elements of Cultural Forms:
    • Physical elements: paraphernalia, music, sound, props, dress, movement/dance.
    • Symbolic elements: spiritual, ritualistic, historic, economic significance.
  3. Cultural Form Practitioners (Past and Present):
    • Skills in Drama, Dance, and Stagecraft; sessions with practitioners (traditional, contemporary).
  4. Uses of Space, Props, and Roles in Cultural Forms:
    • Authentic and traditional settings, staged performances.
  5. Cultural Forms' Influence on Theatre Arts:
    • Ways cultural forms are impacted and portrayed in text and their effects on society, community, and the individual.

Teaching Activities Suggestions:

  1. Identify examples of cultural forms from selected videos and texts.
  2. Participate in authentic experiences observing cultural forms.
  3. Digital storytelling around cultural paraphernalia.
  4. Visit the theatre/community for direct engagement.
  5. Participate in debates on cultural forms' relevance.

SECTION 3: TEXT ANALYSIS

General Objectives

  1. Understand the function, elements, and processes of Drama, Dance, and Stagecraft.
  2. Develop understanding of Caribbean texts.
  3. Explore thematic concerns in Caribbean plays and choreographies.

Specific Objectives

  1. Determine character functions in text.
  2. Analyze text for thematic concerns.
  3. Evaluate dramatic/choreographic devices.
  4. Analyze production elements in text.
  5. Distinguish genres, styles, and techniques.
  6. Discuss intentions of studied texts.

Content

  1. Functions of Characters:
    • Character analysis, motivations, objectives, relationships.
  2. Thematic Concerns:
    • Social, contemporary, historical, political issues.
  3. Styles and Techniques:
    • Narrative structure, dramatic devices, choreographic principles, production design considerations.

Suggested Teaching Activities:

  1. Journal entries on text analysis.
  2. Guest presentations on text analysis.
  3. Field trips for text experiences.
  4. Videos to illustrate text analysis techniques.
  5. Role play scenarios for character engagement.

OPTION A: DRAMA

SECTION 1: DRAMA IMPROVISATION

General Objectives:
  1. Explore imagination, emotional, and sensory life as tools for self-discovery.
  2. Develop group work skills.
  3. Understand improvisational development methods.
  4. Explore cultural forms in improvisation.
  5. Communicate contemporary issues via improvisation.
Specific Objectives:
  1. Use the body for creative expression.
  2. Use the voice for effective character communication.
  3. Outline improvisation development processes.
  4. Demonstrate improvisational skills.
  5. Perform improvisations with Caribbean cultural forms.
Content:
  1. Exploring the body via warm-ups, trust, concentration, and spatial awareness exercises.
  2. Understanding vocal preparation through breathing, projection, tone.
  3. Engaging in solo work with life stories, proverbs, and props.
  4. Characterization techniques emphasizing gesture, motivation, and obstacle identification.
  5. Develop improvisations focused on thematic concerns.
  6. Cultural forms significance in props, costumes, and music.
Suggested Teaching Activities:
  1. Vocal preparation activities like tongue-twisters and readings.
  2. Physical warm-ups focusing on relaxation and stretching.
  3. Exploring interpersonal skill-building games.
  4. Pair work for improvisation development.
  5. Engage in cultural form-based improvisations.

SECTION 2: PLAYMAKING

General Objectives:

  1. Explore imagination for personal play production.
  2. Understand play structure and develop improvisational skills.
  3. Produce plays based on personal experiences.
  4. Experiment with Caribbean styles.
Specific Objectives:
  1. Use body and voice for communicating ideas.
  2. Create texts using plot, theme, and character.
  3. Develop characters for the playmaking exercise.
  4. Demonstrate playmaking skills in performance.
Content:
  1. Voice and body movement exercises.
  2. Text creation focusing on dramatic techniques like flashbacks, and soliloquies.
  3. Engage in personal imagination exercises to build emotional memory.
  4. Character analysis and relationship building techniques.
  5. Explore improvisation relevant to teenage and social themes.
Suggested Teaching Activities:
  1. Vocal preparation and physical warm-ups.
  2. Scene readings to analyze characters.
  3. Interview professional performers for insight.
  4. Encourage journaling about the experience.

SECTION 3: PRODUCTION

General Objectives:

  1. Understand production elements and their processes.
  2. Analyze plays regarding characters and structure.
  3. Learn hierarchical functions among theatre personnel.
Specific Objectives:
  1. Evaluate texts for performance suitability.
    2.