Travel & Tourism – Impacts and Sustainability (IGCSE Drama 0411)
1. Aims of the IGCSE Drama Course
- Develop an enjoyment of drama and confidence in performing.
- Build practical skills in acting, directing, designing and devising.
- Understand the roles of the actor, director and designer and how they collaborate.
- Apply knowledge of drama terminology, theory and context to written and practical tasks (AO1‑AO3).
- Explore real‑world issues – here, the economic, environmental and socio‑cultural impacts of travel and tourism – and reflect on sustainable practice.
2. Syllabus Context – What Drama 0411 Requires
| Area | Cambridge Requirement | Link to Tourism Theme |
|---|
| Elements of practical drama |
Structure, characterisation, dialogue, physicality, pacing & tension, spatial awareness, contrast & dynamics, proxemics, levels, stage picture. |
Use a “tourist‑guide” or “airport‑terminal” scenario to illustrate each element. |
| Performance skills |
Vocal technique, movement, use of space, sustaining a role. |
Exercises such as “Boarding a crowded ferry” or “Market‑stall negotiation”. |
| Staging & design |
Costume, set, props, lighting, sound, stage space (proscenium, thrust, arena). |
Design a beach‑resort pavilion, a local‑artisan workshop or a busy airport lounge. |
| Working with published plays |
Extract analysis, actor/director/designer perspectives; avoid using the same play for individual and group work; two pre‑release extracts will appear in Component 1. |
Analyse an extract that features visitors and locals, then devise staging that highlights tourism impacts. |
| Devising from a stimulus |
Use a stimulus (image, brochure, news article, poem, infographic) to create an original piece with clear dramatic intention and a structured tension arc. |
Devising a 2‑minute scene from a tourism brochure, focusing on economic, environmental or socio‑cultural effects. |
| Terminology |
Core drama, design & performance terms (AO1). |
Glossary provided in Section 7. |
| Assessment objectives |
AO1 – Knowledge & understanding; AO2 – Application; AO3 – Analysis & evaluation. |
All activities are mapped to AOs in Section 8. |
3. Core Elements of Practical Drama (Tourism‑Themed Examples)
- Structure – Beginning, middle, end. Example: tourists arrive → tension as a local craftsperson feels pressured → resolution with a decision about sustainable practice.
- Characterisation – Physical, vocal, psychological traits. Example: enthusiastic tour guide vs. weary resident.
- Dialogue – Sub‑text, register, pacing. Example: clipped tourist questions contrasted with reflective monologues from locals.
- Physicality – Gesture, posture, movement patterns. Exercise: “Walk the airport terminal” – map pathways and notice how space shapes interaction.
- Pacing & Tension – Rhythm of action, climactic moments. Example: escalating crowd noise leading to a clash over a cultural performance.
- Spatial Awareness – Proxemics, levels, stage zones. Exercise: create a stage map of a beach resort and decide where tourists, staff and wildlife occupy the space.
- Contrast & Dynamics – Opposing forces (e.g., luxury vs. authenticity) that generate dramatic interest.
- Levels – Use of height (up‑stage/down‑stage, platforms) to show power relations (tourist dominance vs. local marginality).
- Stage Picture – Frozen tableau that conveys meaning through composition (e.g., tourists crowding a historic square).
4. Performance Skills Development (Tourism Theme)
| Skill | Descriptor | Suggested Classroom Activity |
|---|
| Vocal technique |
Projection, articulation, pitch, pace. |
Read a tourist information leaflet aloud, varying volume for a bustling market vs. a quiet museum. |
| Movement |
Clear intention, economy, expressive quality. |
Choreograph a “boarding a crowded ferry” sequence using levels and pathways. |
| Use of space |
Awareness of stage zones, audience relationship. |
Stage a “street‑food stall” where actors must negotiate limited space with passing tourists. |
| Sustaining a role |
Consistency of character choices throughout a piece. |
Maintain the same “tourist” accent and body language across three short scenes set in different locations. |
5. Staging & Design – Vocabulary and Direct Links to Impacts
5.1 Costume
- Silhouette, texture, colour symbolism, period, cultural signifiers.
- Shows economic status (luxury resort uniform vs. local‑artisan dress) and cultural identity.
5.2 Set
- Flat, platform, backdrop, focal point, scale, modularity.
- Creates location (airport lounge, beach pavilion) and can illustrate environmental change (e.g., construction scaffolding).
5.3 Props
- Hand‑prop, scenic prop, symbolic prop, functional.
- Objects such as souvenir‑shop signs, passport stamps, or a broken coral sample can carry thematic weight.
5.4 Lighting
- Key light, fill light, colour gel, cue, focus, intensity.
- Highlights time of day, mood (sun‑lit beach vs. polluted sunset) and can suggest environmental degradation.
5.5 Sound
- Foley, ambient, cue, die‑getic, non‑die‑getic.
- Airport announcements, waves crashing, crowd murmur – all reinforce the tourism context.
5.6 Stage Space
- Proscenium, thrust, arena, up‑stage, down‑stage, centre‑stage, wings.
- Choice of space influences power dynamics (tourist at centre‑stage, local at up‑stage).
6. Working with Published Plays – Systematic Guidance
- Selecting extracts
- Choose a public‑domain or pre‑release extract that contains at least one visitor‑local interaction.
- Ensure the extract is short enough for detailed analysis (≈200‑300 words).
- For Component 1 you will encounter two extracts: one for an individual performance, one for a group performance – do not use the same play for both.
- Analyzing the extract (AO1)
- Identify the dramatic intention of each character.
- Note any explicit or implicit references to economic, environmental or socio‑cultural issues.
- Highlight stage directions that suggest design choices (e.g., “the bustling market” → set, props, sound).
- Actor/Director/Designer perspectives (AO2)
- Actor: Decide on vocal and physical choices that convey the character’s relationship to tourism.
- Director: Plan a blocking scheme that creates contrast (tourist dominance vs. local resistance).
- Designer: Sketch a quick set/lighting/prop concept that visualises the relevant impact.
- Writing the analysis (AO3)
- Evaluate how effectively the original text and your proposed staging communicate the chosen impact.
- Consider alternative approaches and justify your creative decisions.
7. Devising from a Stimulus – Cambridge‑Aligned Process
Acceptable stimuli: image, tourism brochure excerpt, news article, poem/song lyric, statistical infographic (economic, environmental or socio‑cultural data).
- Research & Inspiration – Gather factual information on the selected impact (e.g., economic leakage, carbon footprint, cultural commodification).
- Brainstorm & Generate Ideas – In groups, list possible characters, conflicts, and dramatic situations that arise from the stimulus.
- Define Dramatic Intention – State clearly what each character wants and what the overall piece aims to show about tourism.
- Structure the Piece – Map a beginning, middle and end; create a tension arc (inciting incident → climax → resolution).
- Rehearse & Refine – Experiment with dialogue, movement, and design; record a short video for peer feedback.
- Evaluate (AO3) – Write a reflective commentary linking the final performance to the economic, environmental or socio‑cultural impact studied and to the assessment objectives.
Sample stimulus & devised outcome:
Stimulus: One‑page brochure for “Coral Bay” – “luxury resorts, pristine beaches, vibrant local crafts”.
Devised 2‑minute scene: A local potter confronts a resort manager about “hand‑painted souvenirs” being mass‑produced overseas. The scene reveals economic leakage, cultural commodification and the environmental strain of new construction.
8. Glossary of Core Drama & Design Terms (AO1)
| Term | Definition (concise) |
|---|
| AO1 | Knowledge and understanding of drama concepts, terminology and context. |
| AO2 | Application of knowledge in performance, analysis and devising. |
| AO3 | Analysis, evaluation and critical reflection on drama processes and outcomes. |
| Structure | Organised sequence of beginning, middle and end. |
| Characterisation | Creation of a believable, consistent character through voice, movement and choices. |
| Dialogue | Spoken interaction that may contain sub‑text and varied register. |
| Physicality | Use of gesture, posture and movement patterns to convey meaning. |
| Pacing & Tension | Rhythm of action that builds toward a climactic moment. |
| Spatial Awareness | Understanding of proxemics, levels and stage zones. |
| Contrast & Dynamics | Opposing forces that generate dramatic interest. |
| Proxemics | Use of space to show relationships (intimate, personal, social, public). |
| Levels | Vertical positioning (up‑stage/down‑stage, platforms) to indicate power. |
| Stage picture | Frozen tableau that conveys meaning through composition. |
| Devising | Creating original drama from a stimulus using collaborative processes. |
| Blocking | Planning actors’ movements and positions on stage. |
| Sub‑text | Underlying meaning not spoken directly. |
| Intention | What a character wants to achieve in a given moment. |
| Costume | Clothing and accessories that reveal status, culture and period. |
| Set | Physical environment that creates location and mood. |
| Props | Objects used by actors; can be functional or symbolic. |
| Lighting | Manipulation of light to shape atmosphere, focus and time of day. |
| Sound | Auditory elements that create realism or mood. |
| Stage space | Configuration of the performance area (proscenium, thrust, arena, etc.). |
Activity: Match each term with its definition on a set of cards; then incorporate at least five terms into a short improvisation about tourism impacts.
9. Assessment Overview – Mapping Activities to AO1‑AO3
| Component | Weighting | Key AO(s) | Relevant Classroom Activities |
|---|
| Component 1 – Written (2 hr) |
30 % |
AO1 (knowledge of impacts, drama terminology), AO3 (evaluation of sustainability arguments). |
Essay on economic leakage; short‑answer on design vocabulary; analysis of a pre‑release extract. |
| Component 2 – Coursework (10 hr) |
70 % |
AO2 (application in performance, devising), AO3 (critical reflection). |
Devised scene from a tourism stimulus; performance log; reflective commentary linking dramatic choices to the three impact pillars. |
10. Impacts of Travel & Tourism
10.1 Economic Impacts
| Positive | Negative |
|---|
- Job creation in accommodation, transport, attractions.
- Foreign‑exchange earnings boost national income.
- Infrastructure development (roads, airports, broadband).
- Support for local businesses and artisans.
|
- Seasonal employment → income instability.
- Leakage: profits repatriated to multinational operators.
- Inflation of housing, food and services for residents.
- Over‑dependence makes economies vulnerable to crises (e.g., pandemics).
|
10.2 Environmental Impacts
| Positive | Negative |
|---|
- Entry‑fee funding for conservation (national parks, marine reserves).
- Eco‑tourism encourages low‑impact practices and environmental awareness.
- Incentive to preserve natural heritage as a market asset.
|
- Carbon emissions from air, road and sea travel.
- Habitat degradation from overcrowding and construction.
- Waste generation – plastic, sewage, food waste.
- Disturbance to wildlife (e.g., coral reef damage from boat tours).
|
10.3 Socio‑Cultural Impacts
| Positive | Negative |
|---|
- Cross‑cultural exchange enriches perspectives of visitors and hosts.
- Revival of traditional crafts, music and dance for tourist markets.
- Improved public services (health, education) funded by tourism revenue.
|
- Commodification of culture – rituals altered for entertainment.
- Loss of authenticity; erosion of local identity.
- Social tension from crowding, crime or unequal benefit distribution.
- Gentrification displaces residents from historic neighbourhoods.
|
11. Sustainable Tourism – The Three Pillars
- Economic sustainability – Promote local ownership, fair wages, diversify income (e.g., combine tourism with agriculture or crafts).
- Environmental sustainability – Carbon‑offset schemes, visitor caps, renewable energy on resorts, strict waste‑management policies.
- Socio‑cultural sustainability – Community participation in decision‑making, protection of intangible heritage, tourist education on respectful behaviour.
12. Applying the Impacts to Drama Creation
When devising or performing a tourism‑focused piece, ask:
- How does the set, costume and props reflect the economic reality (luxury resort vs. modest local market)?
- Which environmental cues (lighting, sound, stage picture) can illustrate impact (e.g., smog, aircraft noise, litter on stage)?
- How do characters negotiate the tension between cultural authenticity and commodification?
- What dramatic intention drives each character’s actions regarding sustainability?
- How can the blocking and levels visualise power relations between tourists and locals?
Document these decisions in your performance log – this forms the basis for the AO3 reflective commentary.