Working practices: teamwork, roles, responsibilities

Working Practices: Teamwork, Roles & Responsibilities

1. Syllabus Aims & Overall Objectives (Cambridge IGCSE Drama 0411)

• Develop an enjoyment of drama and an appreciation of its cultural and social value.
• Build a clear understanding of the practical drama process – from analysing a published extract to devising an original piece.
• Progress toward AS/A‑Level drama by mastering terminology, performance techniques and reflective evaluation.
• Prepare students for the three components of the IGCSE examination (written, practical and oral) and the associated assessment objectives.

2. Learning Objectives for This Unit

• Identify and apply the full range of practical drama processes required by the syllabus.
• Demonstrate effective teamwork, clear role allocation and professional working procedures in a short production.
• Use key drama terminology accurately (AO1).
• Analyse a published extract and devise a short piece from a stimulus, showing planning, rehearsal and performance skills (AO2).
• Evaluate the production process, reflect on personal contribution and link feedback to the mark‑scheme descriptors (AO3).

3. Mapping to the IGCSE Assessment Objectives (with weightings)

4. Command Words & Exam Technique (Component C – Written)

Students should be familiar with the following command words and the level of response they require:

5. Key Drama Terminology (AO1)

Students must be able to define and use at least five of the following terms in planning, rehearsal notes or debriefs. Example sentences are provided to model correct usage.

6. Elements of Practical Drama – From Theory to Application

When moving from script to performance, students should consider how each element influences their decisions.

1. Structure – Map the beginning, middle and end; create a “beat sheet” that shows how scenes link.
2. Characterisation – Complete a character worksheet (objective, obstacle, tactics) and share findings with the director.
3. Dialogue – Analyse sub‑text; rehearse with emphasis on rhythm and pauses.
4. Physicality & Movement – Use a movement‑exploration journal to record gestures that support character intentions.
5. Pacing & Tension – Mark tempo changes on the script and rehearse with a metronome if needed.
6. Spatial Awareness (Proxemics, Levels, Downstage/Upstage) – Sketch a stage map showing where each character will be at key moments.
7. Audience Communication – Decide where eye‑contact, asides or direct address will occur and rehearse accordingly.

7. Working with Published Extracts (Component 2 – Practical)

All extracts used for the practical exam are pre‑released. Students must avoid the exact pre‑release extract in their performance, but may use the same play.

1. Select an extract (2–4 minutes) that displays clear dramatic elements and offers design opportunities.
2. Analyse the text (AO1):
   • Identify genre and style (e.g., realism, absurdist).
   • State the dramatic intention of the playwright.
   • Complete a table of character objectives, obstacles and tactics.
   • Highlight key moments for blocking, lighting or sound cues.
3. Design justification (AO1) – Write a 150‑word paragraph for each design area (set, costume, lighting, sound, props) explaining how the choices support the dramatic intention.
4. Rehearsal planning (AO2) – Produce a rehearsal timetable that allocates time for:
   • Line work and vocal warm‑ups.
   • Blocking and spatial work.
   • Integration of design elements (e.g., lighting cues).
5. Performance & Evaluation (AO3) – After the run‑through, complete the self‑assessment grid (see Section 9) and a 200‑word reflective paragraph using the command word “evaluate”.

8. Devising from a Stimulus (Component 2 – Practical)

Students may create an original short piece (max 4 minutes) based on a stimulus (image, sound, quote, or situation).

1. Stimulus analysis – Record mood, possible characters, conflict and a central theme.
2. Structure development – Use the template Opening – Complication – Climax – Resolution to plot the piece.
3. Role allocation – Assign a writer, director, actors, designers and a stage manager. Record responsibilities in a production log.
4. Rehearsal focus – Plan at least three rehearsal sessions:
   • Session 1: Improvisation and idea‑generation (physical & vocal exploration).
   • Session 2: Script drafting and initial blocking.
   • Session 3: Design integration and run‑through.
5. Evaluation rubric (AO3) – After the performance, answer the following prompts:
   • How effectively did the piece communicate its theme to the audience?
   • Which design choices most strongly supported the dramatic intention?
   • What personal strengths and areas for improvement did you notice in your role?
   • How would you adapt the piece for a different venue or audience size?

9. Performance Skills – Self‑Assessment Grid (AO2 / AO3)

10. Staging & Design – Practical Tasks (AO1 & AO2)

1. Set – Produce a scaled sketch (max A4) with labelled sight‑lines and movement pathways. Write a 100‑word justification linking the set to the dramatic intention.
2. Costume – Create a mood board (digital or paper) showing colour, texture and silhouette. Include a short paragraph explaining how the costume reflects character status.
3. Lighting – Draft a lighting cue sheet for each scene, noting colour, intensity and purpose (e.g., “warm wash to suggest sunrise”).
4. Sound – Compile a cue sheet that distinguishes die‑getic and non‑die‑getic sounds, with timing notes.
5. Props – List all hand‑props and set‑props, indicating any symbolic use.

11. Teamwork & Communication Principles

• Active Listening – Maintain eye‑contact, paraphrase, ask clarifying questions.
• Constructive Feedback – Use “I” statements, focus on the work, suggest at least one alternative.
• Clear Instructions – Keep language concise, confirm understanding by asking the receiver to repeat back.
• Flexibility – Be prepared to revise plans when unforeseen issues arise (e.g., technical failure).
• Accountability – Record tasks in the production log and meet agreed deadlines.
• Recognition – Celebrate milestones (first run‑through, successful technical check) as a group.

12. Roles & Responsibilities – Typical Production Team

13. Key Working Procedures – Production Workflow

1. Pre‑production meeting – Set objectives, confirm budget, agree on timelines.
2. Role allocation & production log – Record each person’s duties and deadlines.
3. Rehearsal scheduling – Include warm‑up, line work, blocking, design integration and technical run‑throughs.
4. Technical set‑up & safety checks – Verify rigging, electrical safety, fire exits, and conduct a risk assessment.
5. Front‑of‑house preparation – Ticketing system, usher training, audience briefing sheets.
6. Full dress rehearsals – Run the show with all cues; record any timing or technical issues.
7. Performance night – Execute cue sheets, monitor audience safety, maintain backstage communication.
8. Post‑show debrief & evaluation – Use the self‑assessment grid, discuss successes and challenges, record suggestions for future productions.

14. Suggested Classroom Activity: Mini‑Production Simulation

1. Form production teams – Each team includes a Director, Stage Manager, Actors (2‑3), Designers (any two areas) and Technical Crew.
2. Provide a short script extract (2–3 min) or a stimulus for devising.
3. Production plan (15 min) – Teams create a concise plan covering:
   • Rehearsal timetable (including vocal/physical focus).
   • Task list with responsible person (recorded in a production log).
   • Front‑of‑house procedure for a mock audience (ticketing, ushering, safety brief).
4. Rehearse (30 min) – Emphasise blocking, design integration and cue practice.
5. Perform for peers – Peers act as the audience and complete a short feedback form.
6. Structured debrief (20 min) – Use the following prompts:
   • How effectively was audience care delivered? (e.g., clear ticketing, safe seating)
   • Provide two examples of clear teamwork or communication, and two areas for improvement.
   • Identify at least three design terms used to justify choices (e.g., “contrast”, “downstage”, “gobo”).
   • Using the command word “evaluate”, write a 150‑word reflection linking performance to the AO3 mark‑scheme descriptors.
7. Assessment – Teacher checks the production log, design justification, self‑assessment grid and the written evaluation against the AO checklist.

15. Assessment Checklist (aligned with AO weightings)

• AO1 (40 %)
  • Can the student explain why audience care (safety, reputation) is essential?
  • Has the student named and described at least five key working procedures?
  • Does the student accurately define and use a minimum of five drama terms?
  • Is there a written justification for each design area (set, costume, lighting, sound, props)?
• AO2 (30 %)
  • Has the student demonstrated vocal, physical and emotional performance skills during rehearsals and the final run‑through?
  • Is the rehearsal timetable logical and does it show integration of design cues?
  • Did the student contribute to the creation of a coherent short piece (extract or devised) that follows the required structure?
• AO3 (30 %)
  • Has the student completed the self‑assessment grid with reasoned ratings?
  • Is the post‑show evaluation reflective, using the command word “evaluate” and providing evidence‑based suggestions?
  • Does the student demonstrate awareness of personal strengths, weaknesses and how they affect the overall production?

16. Glossary of Essential Terms (AO1)