Punch and Judy
A Year 10 Exam Scheme of Work
Lesson One
Understanding Unit One Paper One

To develop our knowledge and
understanding of what is expected of us
during Unit One Paper One.
WALT
MUST listen carefully to the information
presented and put all handouts into your
drama diaries.
 SHOULD ask any questions you have
regarding your assessment.
 COULD make additional notes to aid your
understanding of the information.
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WILF
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This unit requires students to engage in a programme of work
that will help them appreciate how a variety of drama activities
can be used to deepen their understanding of drama form.
Students will learn that it is through practical engagement that
understanding might be enriched.

The unit requires students to explore a theme, topic or issue
through the application of learning from the Programme of Study.
Stimuli, chosen by the teacher, will allow students to deepen their
understanding of the central aspects of the chosen theme, topic
or issue and come to appreciate how the dramatic medium and
strategies can be used to create drama form and communicate
meaning.
INTRO
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Students will have the opportunity to
make connections between different
stimuli which support the theme, topic or
issue and explore the creative potential of
the material. The work produced for this
unit is intended to have meaning for the
participants and is not intended for
performance to a theatre audience.
INTRO CONTINUED
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The process of teaching this unit will be
based on the Programme of Study and
include sharing work with others and
responding to constructive feedback. This will
offer students the opportunity to:
engage in a range of drama activities
explore a range of stimuli chosen across
different times and cultures
make connections and comparisons between
different stimuli.
INTRO CONTINUED – AGAIN!
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Students will participate in a teacher led and teacher
supervised six hour practical exploration of drama. The six
hours may be conducted in one session or divided into
suitable sessions that make up the six hour total.
During the practical exploration students should be given
the opportunity to work in a variety of different sized
groups. The practical exploration will be based on the
activities that students have experienced during the
Programme of Study and will include:
at least two different types of stimuli
at least four explorative strategies
at least two examples of the drama medium
the provision of opportunities to select and use
appropriately the elements of drama identified in the
Programme of Study.
Your assessment
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
Documentary response
Students may make notes after the six-hour
practical exploration but the final completion
of the documentary evidence must take place
under supervision. It is recommended that
the final preparation of the documentary will
take between four and six hours. During the
process of completing the documentary
evidence the work must not be removed from
the centre
DOCUMENTARY EVIDENCE
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Students will produce a documentary response to the work
conducted during the six-hour practical exploration that will
allude to the process inthe following terms:
a reflection on the student’s own work and the work of
others an evaluation of the student’s understanding of the
explored theme, topic or issue an evaluation of how the
use of explorative strategies informed the student’s
understanding of the explored theme, topic or issue an
evaluation of how the drama medium can contribute to the
creation of dramatic form.
The response can include any form of suitable
documentation, for example drawings, plans, sketches,
illustrations, photographs.
The documentary response must be no longer than 2000
words.
DOCUMENTARY EVIDENCE
Lesson Two
Punch & Judy – Introduction: non-assessed
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To respond to the themes of domestic
violence and child abuse using the Punch and
Judy framework as a structural device.
To use the structure to examine the factors
behind what makes a man a ‘monster’ and
the nature/nurture issue
To assess the effect on individuals exposed to
domestic violence, child abuse and disability,
and how these can have a profound effect on
social and personal development.
LEARNING OBJECTIVES
Development of improvisational skills in
the creation and exploration of characters
and scenes.
 Use of technical elements (where
appropriate) to aid atmosphere of
presentation
 Use of genres and styles of drama
 Development of sensitive responses to the
issues covered.
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SKILLS
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Still-image
Role-play
Hot-seating
Thought-tracking
Marking the moment
Forum theatre
EXPLORATIVE STRATEGIES
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The use
The use
The use
The use
gesture
The use
of
of
of
of
sound and/or music
lighting
space and/or levels
movement, mime and/or
of spoken language
THE DRAMA MEDIUM
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Action/plot/content
Contrasts
Characterisation
Conventions
Symbols
ELEMENTS OF DRAMA
To become familiar with the source
material
 To consider the historical and social
aspects of the material

WALT
MUST watch/read all information
presented to you today on Punch and
Judy.
 SHOULD present a reaction to the
information and discuss opinions.
 COULD make notes to document your
response to support your later
coursework.
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WILF

http://www.youtube.com/watch?v=JCGcIwC
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qo0Q0FFiyCJjCXCi7_JAevMgK4UarwinY9hYPx
QkLtBHUghBoIlvD7bzkTlvQ7vdFUydMtmOGfs
P776oR2lixDHzLcCrFAtQFp53oeZJWLS7EAenW
Mh-dnHwKXzzrqp5bGyIaQEF5RxtXrGDJT_yuNYJsIWSB3IK53xHL3quNdanWRzmGA
txA0NbpnwpzwLC9ciBqvCk8njhx-LmyRYuI
PUNCH AND JUDY CLIPS

Punch and Judy is a puppet show put on by
strolling puppet players, especially
overChristmas. It came to England in the 17th
century but its roots are in Italy and the
Commedia dell’Arte character Pulcinella.
Punch is a mixture of his Italian character
and the stereotypical medieval English fool.
He is known for his hunched back, booked
nose, chin and pot belly, as well as his cruel
behaviour towards his wife, Judy, whom he
physically abuses (and in many versions
kills).
HISTORICAL BACKGROUND
Lesson Three
Assessed lesson – 1 of 6
To create a starting point for character
development
 To use role-play to explore image stimuli
 To produce a still-image representation
using ideas developed in role work

WALT
MUST work individually and as part of a
team to develop character profiles and
still images.
 SHOULD contribute ideas/suggestions and
opinions on the stimulus to develop the
drama.
 COULD support others with the
development of ideas through feedback
and direction.
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WILF
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(Medicine) a grossly malformed and
usually nonviable foetus
An imaginary creature usually having
various human and animal parts
A person or animal that is markedly
unusual or deformed
Someone or something this is abnormally
large and powerful
A cruel, wicked and inhuman person
MONSTER
What makes a man a ‘monster?’ If we
were all born innocent, what factors affect
what we become?
 You will all be taking the role of a trainee
criminal/child psychologist helping the
police in their investigation into a murder
case.
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ASSESSMENT
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In the early hours of the morning of Wednesday
September 1st we received a phone call from a
Mr Jenkins of Brighton Avenue, who was
concerned about a disturbance at his neighbour’s
house next door.
On arriving at the scene, officers found that
there were no signs of life, but on further
investigation of the property they discovered the
body of a small infant lying on the back ground
in the garden. It appeared on first examination
that the infant may have fallen from an open
window above their heads.
Police report
Officers then entered the premises by
force through the back door. Searching
the ground floor area, they discovered the
battered and bruised body of a female
lying across a settee in the lounge.
 There were more disturbing finds in the
kitchen. The fridge and freezer unit
contained a variety of pork sausages and
chained to the cooker was a small
crocodile.
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Police report
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The search was then extended to the top
floor of the building. It was here that officers
found a locked door, behind which they could
hear a male voice repeating: ‘That’s the way
to do it.’
Officers prised the door open and it was here
they discovered Mr Punch, the owner of the
house, and a large wooden club leaning
against his chair.
Mr Punch was subsequently arrested, and
taken to the local station for questioning.
Police report
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In role as child psychologists, you need to
study the picture that Punch drew when
he was five years old and the family
photograph. Make case notes on what the
images suggest to them about Punch’s
first year of childhood, then discuss their
notes with your partner.
TASK
Punch’s Drawing, Aged 5
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Using the discussion and notes generated,
each group should create four still images
that depict key moments from Punch’s
childhood. The images must link in some way
to the case notes. Think about:
Levels/space
Facial expression
Body posture/positioning
Share images and discuss:
What words/phrases do the images suggest?
How successful were the individual images
(evaluation)
PRACTICAL TASKS

Note down your involvement in the
shaping and development of the images,
and the role you played in each image.
Make reference to your use of face, body,
space and levels and how the notes made
in role helped you.
Homework
Lesson Four
Assessed lesson 2 of 6 – Family Values
To discuss the impact of nature and
nurture on development
 To use hot-seating to explore and develop
roles.
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WALT
MUST take part in the hot seating activity
taking a role of a member of Punch’s
family and a psychologist.
 SHOULD make notes of the information
and feed them back to the group.
 COULD make links between the hot
seating answers and the themes of
nature/nurture.
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WILF
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Discussion on ‘family values’. What is
nature and nurture? What constitutes
successful parenting? How much are we
influenced by our environment? To what
extend does our genetic make-up
influence our behaviour and learning?
TASK – CLASS DISCUSSION
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In groups of three, each of you take on
the role of either: Punch’s mother, Punch’s
father or Punch. Using hot-seating,
students interview one character at a
time, to find out what that character’s
views on family life are. The rest of the
group will be in role as
councillors/psychologists.
HOT-SEATING ACTIVITY
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Punch’s mother and father should consider: their
relationship with their partner; their relationship
with their child; their views on childcare and
discipline.
Punch will need to consider: their relationship with
their mother; their relationship with their father;
their views on rules, rewards and punishments at
home.
Counsellors will need to consider: what the
responses from the family, both oral and physical,
reveal about the character; what they can pick up
about the things that are not spoken; what family
values are being communicated.
THINGS TO CONSIDER...
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Hot seat each character for 5 minutes.
Counsellors are to make notes, providing
suggestions for further dialogue and
scenes. On a large sheet of paper, write
‘Family Values’. As each group feeds back
their findings, record them for display on
the incident board. Evaluate which factors
(nature/nurture) are influencing Punch’s
development as a child.
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Find out about and make notes on the
medical condition scoliosis.
Homework
Lesson Five
Primary Awareness 3 of 6 – Practically Assessed
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To consider the impact of self-awareness
on the individual
To explore the medical condition scoliosis
To utilise research material in the devising
of scenes and roles
To utilise the technique of marking the
moment
To consider the format of a presentation
to others
WALT
MUST share homework information on
Scoliosis in role as a medical professional.
Work positively as part of a group to start
preparing a performance.
 SHOULD begin to think how you will mark
the moment for the audience and which
technical elements you will use.
 COULD begin to apply your ideas
practically and perform a section for
feedback.
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WILF
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Students, in role as doctors share their
research material on scoliosis gathered from
their homework research. (Response) Outline
to students that Punch is nearing the end of
his primary school years and has been
diagnosed with the condition it is early
stages. Discuss:
The effect the diagnosis might have had on
Punch
A time when students were singled out
because they were ‘different’ in some way.
STARTER
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In groups students should create a scene
which depicts Punch in his last year at
Primary School. The scene must use the
technique of marking the moment to
indicate the moment when Punch was
made to realise that he was ‘different’
from his classmates.
(Response/Development)
PRACTICAL TASKS
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Use of appropriate dramatic conventions
to depict the scene
How to communicate Punch’s feels using
realistic and symbolic techniques
Use of space and staging
Use of lighting and sound to enhance the
marking of the moment
Their knowledge of scoliosis
The vocal and physical presentation of
characters and their response to Punch.
Think about the following
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Evaluate how the moment when Punch
realised he was different was marked ad
the effect this had on the drama. A wholegroup evaluation should be carried out of
how the elements of drama, the drama
medium and research material have been
utilised in performance (Evaluation)
EVALUTION
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Write a diary entry as Punch detailing the
incident and reaction to it.
HOMEWORK
Lesson Six
Practically assessed 4 of 6 - Secondary Confirmation
To use thought-tracking and forum
theatre to stimulate role development
 To consider the effects of puberty on
teenage Punch
 To use stimulus material for group devised
work.
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WALT
MUST react to the stimulus presented
today and present ideas to your group.
 SHOULD begin to rehearse your group
performance and discuss use of
costume/lights/sound/staging.
 COULD begin to apply the technical
elements to your piece.
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WILF
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Punch is now at secondary school.
Students are to take the role of Punch’s
classmates and decide their attitudes
towards Punch. They should think of a
word or sentence that sums up those
feelings and consider how they would
deliver the line if they were speaking
directly to Punch.
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One pupil becomes Punch and the rest of
the group become the corridor. Students
in role deliver lines so a thought
tunnel/conscience corridor is created.
Using forum theatre discuss how this
could be improved to create more tension
or emphasise Punch’s isolation. Share two
poems. The first is one Punch read in an
English lesson and the other was his
personal poetic response to it.
Conscience corridor/Forum
Theatre
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Sticks and stones may break my bones,
but words can also hurt me.
Stones and sticks break only skin,
while words are ghosts that haunt me.
Slant and curved the word-swords fall
to pierce and stick inside me.
Bats and bricks may ache through bones,
but words can mortify me.
Pain from words has left its scar
On mind and heart that’s tender.
Cuts and bruises now have healed;
it’s words that I remember.
Truth by Barrie Wade
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Snigger in the classroom
Staring at the gate
Whispers in the corridor
Echo sounds of hate
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Ignorance is welcome
Ignorance is bliss
Sticks and stones may break my bones
Girls tease me with a kiss
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They never told me about this
Never prepared me for the game
Lost in the world of normality
Paying the price of shame
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Beauty and the Beast
The Beast had feelings too
Fairytales have happy endings
The End.
Quicksand by Punch
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Students in role as psychologists need to
discuss what clues these poems give us
about Punch’s teenage years. Students
should feedback individual ideas back to
the group.
IN ROLE AS PSYCHOLOGIST
Lesson Seven
Practically Assessed 5 of 6 - Punch’s Teenage Nightmare
To consider Punch’s feelings and
experiences as a teenager using the
stimuli (poem and picture)
 To work effectively in groups, suggesting
ideas and encouraging others to do the
same.
 Begin working on a scene showing
‘Punch’s Teenage Nightmare’
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WALT
MUST contribute ideas effectively in
groups and begin thinking about
costume/staging/lighting/sound (need to
use at least 2)
 SHOULD do all of the above and think
about the use of drama
strategies/techniques.
 COULD do all of the above and have a
rehearsed scene.
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WILF
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Sometimes things that we find stressful during the day –
problems at home, problems at school, stress from school
work and so on – can turn dreams into nightmares.
Sometimes nightmares are caused by the stress of major
changes, such as moving house, or the illness or death of a
loved one.
While these are the most common causes, nightmares can
also be rooted in deeper psychological problems, often the
result of abuse. Someone may suppress the memories of
distressing event, but find that these memories resurface
in dreams years later. A nightmare is a disturbing dream
that usually causes the person to wake up at least partially.
Any number of distressing emotions may be experienced
during a nightmare, such as fear, anxiety, anger, guilt,
sadness or depression.
WHY DO I GET NIGHTMARES?
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In groups of 4/5 you are to create
‘Punch’s teenage nightmare’. The devised
piece must call on the poem content and
use a selection of performance
techniques. It must utilise the drama
medium/elements and have some
symbolic content. Students should begin
preparation on creating the nightmare.
The presentation of your work will take
place in the next session.
PRACTICAL TASK
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Outline your contribution to the pieces
devised in the session and make notes on
your roles as performer and shaper.
HOMEWORK
Lesson Seven
Punch’s Teenage Nightmare
To evaluate the success of devised
presentations
 To revise and review role developments
 To reflect on own achievements
 To plan the layout of portfolio work
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WALT
MUST present your devised piece and as
an audience member feedback on the
success of another group’s work.
 SHOULD make use of the stimuli in your
work and as a reviewer, make critical
judgements which are justified.
 COULD reflect upon your performance and
those of others to set targets for
improvement.
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WILF
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Begin with students’ performances of
Punch’s nightmare. Evaluate how
effectively groups have used techniques
to enhance the presentation and what the
work conveys about Punch and his
development in ‘what makes a man a
monster’ theme. (response/evaluation)
PERFORM/EVALUATE
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Next, students should add to the role on
the wall diagram to incorporate ideas that
have been created regarding Punch’s
character and the issues of
abuse/domestic violence. (response)
Follow with a whole-group discussion of
what sort of attitudes Punch may have
formulated by the time he is 18 years old.
(Evaluation)
ROLE ON THE WALL
Lesson Eight
Practically Assessed 6 of 6 - When Punch met Judy
To explore the relationship between roles
 To create a group devised piece
 To consider how previous work can be fed
into devising
 To incorporate dramatic elements into
task presentation
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WALT
MUST begin to prepare a performance in
your group.
 SHOULD think about how you can use
technical and design elements to improve
your piece.
 COULD begin to rehearse with the
technical and design elements in
preparation for next lesson.
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WILF
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The focus for this session is on the role of
Judy within the drama and her relationship
with Punch. Show students various
‘photographs’ of the couple and discuss what
the images suggest. In groups students
should create a piece of drama entitled
‘When Punch met Judy’ in four sections:
The moment when the two met
The relationship before the baby
The relationship after the birth
The hour leading up to the arrest of Punch.
PRACTICAL TASK
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The sections should incorporate a number
of presentation techniques, as well as
consideration of additional effects, such as
lighting and sound
(response/development) Give groups the
rest of the session to plan and devise for
presentation.
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Add notes to the role on the wall diagram.
(response) Update notes and discuss how
the techniques selected are helping to
shape the development of scenes and
characters.
HOMEWORK
Lesson Nine
When Punch met Judy performance
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To continue to develop your ideas for
performance.
WALT
MUST complete the practical blocking and
direction of your scene.
 SHOULD have a run-through of your
scene including technical elements.
 COULD perform your piece to another
group in order to receive feedback before
your assessed performance tomorrow.
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WILF
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Groups should continue to formulate and
shape ideas for the ‘When Punch met
Judy’ task (Development) and then show
their devised performacnes. Using the
exam criteria, pupils are to peer evaluate
giving band levels for each group.
TASK
Lesson Ten
Written evaluation in exam conditions
To evaluate the presentations according to
exam criteria
 To assess the exam level of each group
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WALT
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MUST complete a written evaluation of the
unit ensuring you answer all the questions on
the sheet.
SHOULD use a wide range of drama
terminology and language to help
communicate your intentions and evaluate
your successes and areas for development.
COULD make thoughtful and intelligent
statements about how your drama skills and
knowledge has developed and improved over
the series of workshops completed.
WILF
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What themes did you explore during the workshop sessions? How
did your practical exploration influence/change/develop your
opinion on the themes explored?
Which stimulus did you connect with best/show the most
dramatic potential? Why?
What techniques have you used and developed in the work on
domestic violence/child abuse?
Describe the work you have developed in detail, evaluating what
you have learned and how well you and others in your group
worked.
How did you put the work together?
What skills and techniques have you developed?
How well have you worked as an individual/in a group?
What skills did you bring to the group?
How could you have developed things differently?
How could you improve?
WRITTEN EVALUATION