A Teaching Program
Focus
Introduction
Making 5.1.1 A student
manipulates the elements of
drama to create belief, clarity
and tension in character, role,
situation and action
Students learn to
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develop sophisticated physicalisation
techniques appropriate to the
Commedia style
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develop sophisticated vocal
techniques
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explore movement techniques in
relationship to fully realised
characters
manipulate elements of drama in a
specified dramatic form
explore and reveal aspects of
role/character in dramatic situations
explore role/character through
playbuilding
explore and reveal aspects of role in
dramatic situation
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Students integrated learning
experiences
stretches and strenuous warm-ups
via tag games or teacher guided
move as sequences - yoga
stretches and ‘salute to sun’
approaches
control of exaggeration, slow
motion and fast activities [Centre
stage]
breathing –on the spot and moving
[Practical Approach to
Performance]
gibberish exercises [Drama
Recipe book.]
silent movie – watch a variety students improvise own scenarios
and perform with music – created
by themselves or published
improvise some stereotypical roles
provide via teacher/student created
cards
create scenes using slapstick,
stereotyped roles and make the
obvious link to Commedia
Registration
Stock Character:
Zanni
Performing 5.2.1
A student applies acting and
performance techniques
expressively and
collaboratively to
communicate dramatic
meaning
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use breath and voice as key
instruments of performance
use movement and stillness to
enhance performance
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create sub-text and emotional
complexity in performance
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explore the dynamics of timing in
performance
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apply acting techniques to create a
stock character
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Arlecchino
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use breath and voice as key
instruments of performance
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revisit introductory physical
warm-up
use neutral mask activities [Senior
Drama Studies] text – enactment
and observation approaches
allow students to create a response
with the neutral masks that
explore status –subservient and
dominant master /servant and
adding various emotional overlays
teacher led activities on Zanni
Walks courtesy of Rudkin – Little
Zanni, Big Zanni, Zanni running
Teacher lead activities on Zanni
jubilant, Vain Zanni and Soldier
Zanni
Allow students to respond to
outlines of Zanni Improvisation
exercises [Rudkin]
Divide class into groups and have
students create own situations –
firstly without sound and then add
in grammelot dialogue – side
coach if necessary
Watch the section from Ross
Brown’s video on Arlecchino as it
provides a clear example of the
style and realisation of the servant
character
Allow students to work with his
physicalisation to realise the
movement and body language of
the character
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explore the dynamics of timing in
performance
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Il Dottore
Panatalone
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Apply acting techniques to create a
stock character
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explore the dynamics of timing in
performance
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apply acting techniques to create a
stock character
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Stock Character
Il Capitano
Making 5.1.4
A student explores, structures
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create a dynamic actor-audience
relationship in the performance
situation
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Research and apply concepts of
relevant drama practitioners and their
works
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Make use of the Improvisation
activity provided by Rudkin
Provide examples of Lazzi and
allow students to enact
Students can use sample
monologue as a model for a selfdevised response
Students encouraged to devise and
perform and appreciate/evaluate
using Rudkin, use role cards with
his movement and stance on it and
allow students to create this
character [he is easy to do]
provide and allow students to
enact improvisation activities
repertorio activities
sample dialogue [Rudkin]
use Ross Brown’s section on
Pantalone – the style is right and
students enjoy his realisation
Allow students to move and
vocalise as Pantalone
Divide class into threes and issue
sample dialogues that includes
Zanni, Il Dottore and Pantalone –
students to work on creating
situation
build on research already done by
students - introduce Il Capitano
who is a political stock character
to place him in context
and refines ideas using
dramatic forms, performance
styles, dramatic techniques,
theatrical conventions and
technologies
Performing
Performing 5.2.2
A student selects and uses
performance spaces, theatre
conventions and production
elements appropriate to
purpose and audience
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explore the nature of different theatre
companies and their dramatic
function in relationship to an
audience
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manipulate a variety of scene and plot
structures in order to structure
particular dramatic forms
introduce and workshop his
movement which is engaging and
flamboyant
 provide his characteristics
1. politic
2. total coward
3. really courageous
4. non-masked – Il Cavaliere
 briefly touch on improvisation and
repertorio activities
 Focus and create on a Canovaccio
which uses any combination of the
characters studied so far
E.g. Il Capitano. Zanni and
Arlecchino in a recruitment type
segment – military power
Eg Il Capitano, Pantalone and
Arlecchino with a mixed message
scenario - power
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Colombina
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explore and perform in a variety of
performing spaces
use dramatic techniques suitable to
explore different spaces, dramatic
meanings and audience relationships
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as she is the generic of the male
zanni revise the zanni movement
and add in her “flick of foot”
provide her relevant dossier and
take note that she is the “ “ only
lucid, rational person in the
dramatic form”– see page 130 of
Rudkin
Students to be given a sample
canovaccio and should then be
encouraged to create their own.
Divide into groups Emphasis to be
placed on using an outside or
unusual performing space as
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use techniques such as juxtaposition
to create contrast in dramatic works
adapt features of established dramatic
forms to create their own groupdevised works
manipulate a variety of dramatic and
theatrical techniques to enhance
dramatic texts in different forms and
styles
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demanded by the ‘locus’ of the
style and supported by the
evidence in their research
Students to improvise a brief
scene set in modern times to focus
on the Eternal Love Triangle and
mistaken identity. Then juxtapose
a piece in the style of Commedia
using any of the Stock characters
- must include Colombina
The Individual Task
Appreciating 5.3.3.
A student analyses and
evaluates the contribution of
individuals and groups to
processes and performances
in drama using irrelevant
drama concepts and
terminology
The group task
Appreciating 5.3.2.
A student analyses the
contemporary and historical
contexts of drama
Performing 5.2.3 [5.2.1 and
5.2.2 are implicit outcomes
assessment of individual
performance skills]
A student employs a variety
of dramatic forms,
performance styles, dramatic
techniques, theatrical
conventions and technologies
to create dramatic meaning
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investigate, analyses and synthesise
dramatic ideas through enactment and
workbook
research the contribution of various
historical drama groups
use appropriate drama terminology
deconstruct and analyses an historical
dramatic form
understand the historical context of
Commedia
select, explore and use specific
performance style
demonstrate acting skills appropriate
to the chosen dramatic context and to
communicate with an audience
use knowledge and understanding of
dramatic forms and performance
styles to shape and refine their own
playbuilding and performance work
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students provided with research
task
need to hand in written response
need to provide persona delivery
of information
Task Description
Students will
 be divided into groups
 draw on all theoretical and
experiential learning to enact the
specific performance style of
Commedia
 select what stock characters will
be integrated into the performance
 demonstrate an awareness of the
function of relevant characters and
use appropriate acting skills
 create an original plot structure
using traditional models
 incorporate and manipulate the
elements of drama in the
performance.
 use stagecraft and rehearsal skills
appropriate to process
 reflect on their work through
entries in the log and also provide
assessments of their peer’s work.