Grade: 8L & 8E

Date: January 5 – February 29, 2021

Subject: Drama

Time: 1 hour 10 mins

Topic: The Production Team (Theatre Personnel)

Subtopic: The Stage Manager

Attainment Target: Students should:

1. Be familiar with the members of the production team

2. Be aware of the roles and responsibilities of each member of the production team
3. Be cognizant of the importance of each member of the production team.

Specific Objectives: students should be able to:

1. Identify the roles and responsibilities of the Stage Manager

2. Learn the process involved in stage management
3. Demonstrate understanding of the importance of the stage manager to a production
team and a production

Materials: cell phones, laptops, tablets, videos, notebook

Content: The Stage manager (S.M)

Stage managers typically provide practical and organizational support to the director, actors,
designers, stage crew and technicians throughout the production process. They also are the
director's representative during performances, making sure that the production runs smoothly

The role of the stage manager is especially important to the director in rehearsals. Here the
director and the stage manager work side by side, with the stage manager recording the
director's decisions about blocking and notes for the actors, keeping track of logistical and
scheduling details and communicating what goes on in rehearsals to the rest of the team and
Prompting actors This enables the director to concentrate his or her full attention on directing.

Stage managers have several key responsibilities and tasks to perform in each phase of a
production, including:

 scheduling and running rehearsals

 communicating the director's wishes to designers and crafts people
 coordinating the work of the stage crew
  calling cues and possibly actors' entrances during performance
 overseeing the entire show each time it is performed

In conjunction with the director, the stage manager determines the scheduling of all
rehearsals and makes sure everyone involved is notified of rehearsal times, meetings,
costume/wig fittings and coaching sessions. During the rehearsal phase, stage managers also:

 mark out the dimensions of the set on the floor of the rehearsal hall
 make sure rehearsal props and furnishings are available for the actors
 attend all rehearsals
 notify the designers and crafts people of changes made in rehearsal
 Assemble cast; record attendance.
 Record changes to the script.

 Record running times.

 Time and coordinate breaks for actors and staff.
 Keep director informed of time allocation.

In rehearsals the stage manager also records all blocking, plus all the light, sound and set
change cues, in a master copy of the script called the prompt book. The information in the
prompt book also allows the stage manager to run the technical rehearsals, calling each
technical cue in turn to determine precisely how it needs to be timed to coordinate with the
onstage action.

The stage manager and the technical director also work out a smooth and efficient plan for
the stage crew to follow during set changes. Furniture and prop plans for complicated sets are
drawn up by the stage manager and technical designer to show exactly where the furniture
and props are to be positioned on stage at the beginning of each scene and sometimes in the
wings.

Once the show opens, the director's work is essentially complete. Now it's the stage
manager's job to make sure that every aspect of the production runs just as the director
intended time after time, until the production closes.

Activities: students will

1. Share what they know about the stage manager and stage management(engage)
2. Watch videos about the stage manager and stage management. From the following
links https://youtu.be/8LxCKf3RT94 https://youtu.be/TvuQwLv3QUs (Engage) (explore)
3. Students will respond to the following questions to ascertain what they have learnt from
the videos ( Evaluate)
a. Who is a stage manager
b. 2. What is stage management
c. 3. What are the roles of the stage manager
d. 4. What is a prompt book
e. 5. List two items that must go in the promptbook
4. Record notes about the stage manager (engage)
5. Create their own prompt book using a short script given. The following items will be
created and placed into the prompt book (elaborate)
 Props list
 Script
 Register
 Contact sheet
 Blockings and notes
 Rehearsal review

Evaluation (2): The lesson was taught however some activities were not attempted by the
students as students failed to turn in their work. As such there is no proof of full
understanding of the content.
Grade: 8L & 8E

Date: February 1-26, 2021

Subject: Drama

Time: 1 hour 10 mins

Topic: The Production Team (Theatre Personnel)

Subtopic: The Choreographer

Attainment Target: Students should:

1. Be familiar with the members of the production team

2. Be aware of the roles and responsibilities of each member of the production
team
3. Be cognizant of the importance of each member of the production team.

Specific Objectives: students should be able to:

1. Identify the roles and responsibilities of the choreographer

2. Learn the process involved in choreography
3. Demonstrate understanding of the importance of the choreographer to a production
4. Choreograph movements

Content:

The Choreographer

The Choreographer's Job

Choreographers design and direct the dance or stylized movement in musical productions,
working closely with the director and musical director.

A choreographer works with dancers to interpret and develop ideas and transform them into
the finished performance. This might mean taking overall control of a production, or working
under the director of an opera, play or musical. When working with a director, the
choreographer must gain a full understanding of the director's vision of the show, including
style and pacing, and must be familiar with the script and music. The choreographers work on
the production must support the story, characters, and the overall artistic intent.
The choreographer must work closely with the musical director (and accompanist), costume
designer, set designer and lighting designer, to make sure that all stage movement is
compatible with musical cues, costuming , sets and lighting.

Choreographers must often work with non-dancers, or dancers with limited experience, as
well as those who have had considerable training. This can mean extra rehearsal time. Many
choreographers use team captains or assistants to work with individuals or groups within the
ensemble, as a way of maximizing the amount of time available for rehearsal.

1. State who is a choreographer and what they know about choreography (Engage)
2. Watch a video which outlines the work and the roles of the Choreographer. (Engage)
3. Identify the roles of the choreographer and state their observations based on the
videos watched.(explain )
4. Discuss the importance of a choreographer to a production. (explore)
5. Discuss the importance of the costume designer to the production (Evaluate)

Evaluation (1):

6. Create a one minute choreography and share it with their class mates (elaborate)

Evaluation (2): students turn up for lessons and some participated in the lesson however they
did not complete the evaluation activity. This makes it difficult to see if students were able to
apply what they learnt.
Grade: 8L & 8E

Date: March 1-30, 2021

Subject: Drama

Time: 1 hour 10 mins

Topic: The Production Team (Theatre Personnel)

Subtopic: The sound designer

Attainment Target: Students should:

1. Be familiar with the members of the production team

2. Be aware of the roles and responsibilities of each member of the production team
3. Be cognizant of the importance of each member of the production team.

Specific Objectives: students should be able to:

1. Identify the roles and responsibilities of the sound designer

2. State the functions of sound
3. List the planning tools used by the sound designer
4. List and define the properties of sound
5. Demonstrate understanding of the importance of the sound designer to a production
6. Create a sound scape

Content

The sound designer's work

Sound designers and composers begin their work by studying the script, gathering as much
information as they can about any sound or music it calls for. As in all other aspects of
design, an early meeting with the director and the design team is essential to get a clear
understanding of the production concept.

Some directors will already have very clear ideas about what the sound effects and/or music
should sound like, while others may request that the sound designer/composer sit in on
rehearsals to assist with developing effects and music to fit the specific contexts in which
they will be used. Once they have a precise sense of what the production needs out of the
music or sound, the composer begins composing the necessary musical pieces and the sound
designer begins to gather and create the necessary sounds.

Sounds and music in the theatre can:

  motivate actions onstage and indicate events taking place offstage
 establish the time of day, season and weather
 locate the action in a specific place
 create mood and changes in mood
 stimulate audience expectations of what is to come
 provide information about the characters
 build transitions between scenes
 offer shortcuts that rapidly advance the plot or recall past events

The designer or composer combines and varies the five controllable properties of sound to
create unique effects or music required by the production of the play.

The controllable properties of sound are:

Pitch - the wavelength or frequency of the sound

 Volume - the loudness or quietness of the sound

 Quality - how pitch and volume combine to give each sound its own distinctive effect
 Direction - the location of the sound in space and how sound travels from one
location to another
 Duration - the length of time the sound lasts

Planning tools of sound designers and composers

Plot: A list of all the music and sound cues for each act/scene. It indicates where the sound or
music occurs, the page number of the script where it appears, precisely when it begins and
ends, and the equipment that will be used to produce it.

System layout: A system layout shows the type and location of speakers on stage, on the set
and in the auditorium. The system layout may also include a layout of how all of the sound
equipment will be interconnected.

Cue sheet: A version of the sound plot to be used by the sound technicians who will run the
equipment during the performance.

Sound and music cues are often dependent on the precise timing of the onstage action and can
only be set after the play's blocking has been determined. Ideally, the director, cast and crew
will have several opportunities to fine tune the timing of the completed music/sound design
during technical rehearsals.

Collaboration

The sound designer will meet with the director and the design team (set, costume, lighting
and sound designers), to discuss the details of the set and the director's interpretation of the
play. The set, costume and lighting designers also meet and work together to ensure the
creation of a unified look and feel for the production.

Once the show opens, the designer's work is essentially complete. Now it's normally the job
of the stage manager and sound crew to make sure that every aspect of the production runs
just as the designer intended, time after time, until the production closes.
Sound Engineer
The sound engineer works under the designer, and must take the sound design and ensure that
it can be created in a given space. This involves selecting equipment to reproduce the various
sound elements required, installing and testing it, and usually running the actual show.

Activities: Students will

1. State who a sound designer is based on the name (Engage)

2. Watch videos about the sound designer and sound design (engage)
3. Discuss what they learnt from the videos and respond to questions(explain evaluate)
4. Identify movies or plays they have watched and how sounds played a part in them
enjoying and understanding the play ( explore )
5. Create a sound scape 2 minutes in length by using objects, the body and music
(elaborate)
6. Share their sound scape with the class for their comments ( evaluate)

Evaluation (2): the lesson was completed only a few students submitted their soundscape and
the answers to the questions. A few students participated in class and also gave their feedback
based on what they learnt from the watching of the videos. The lesson could have been better
with greater participation.
Subject: Drama

Time: 1 hour 10 mins

Date: April 12- May 5 2021

Topic: The Production Team (Theatre Personnel)

Subtopic: The lighting designer

Attainment Target: Students should:

1. Be familiar with the members of the production team

2. Be aware of the roles and responsibilities of each member of the production team
3. Be cognizant of the importance of each member of the production team.

Specific Objectives: students should be able to:

1. Identify the roles and responsibilities of the lighting designer

2. State the functions of lighting
3. List the planning tools used by the lighting designer
4. List and define the properties of light
5. Demonstrate understanding of the importance of the lighting designer to a production
6. Draw a lighting plot

The Lighting designer

The Lighting Designer's Job

Lighting designers know how to make the best use of the subtle and powerful medium of
light, creating effects that can be changed at will to match the mood of the action.

At its most basic, stage lighting functions to make the actors and their environs visible to the
audience. But it can also be used to:

 Evoke the appropriate mood

 Indicate time of day and location
 Shift emphasis from one stage area to another
 Reinforce the style of the production
 Make objects on stage appear flat or three dimensional
 Blend the visual elements on stage into a unified whole

The lighting Designer's work

The lighting designer begins by reading the script to be produced noting the type of light it
calls for in each scene. Designer and director share their ideas about how light could be used
to enhance the production concept at their first meeting. Early meetings with the set designer
are also important because the set and lighting designers must collaborate on how to achieve
the desired "look" for the play. The plan for the set may influence the placement and direction
of the necessary lighting instruments, so flagging any potential problems in this area as early
as possible makes sense.

Lighting designers attend rehearsals to get a feel for the lighting cues and to plan how to light
the actors as they move from place to place on stage. When the blocking is set, the lighting
designer can start to work out which lighting instruments will be used and where each one
will be located.

Planning tools

The planning tools lighting designers use include:

 Paintings and photos showing the mood and style of specific lighting techniques and
are gathered through research
 A lighting plot: a scale drawing of the stage and set as seen from above showing the
planned layout of each lighting fixture to be used
 A vertical section plot: a cross-section of the stage and set drawn to scale showing the
vertical sightlines and the height and position of each instrument
 An instrument schedule: a chart that lists each lighting instrument separately along
with the details of its type, wattage, purpose, filter color, the dimmer it will be
plugged into and the circuit that will control it
 A cue sheet: a complete list of the various lighting effects the designer has planned for
the show and when they occur.

Light control

Lighting designers usually combine both direct and indirect light to illuminate the actors and
objects on stage. Direct lighting comes from a definite location and illuminates specific areas;
indirect lighting washes over the entire area to be lit and doesn't appear to come from any one
specific location.

There are four properties lighting designers can control to create a vast array of effects:

Intensity. The brightness of light. Everything in the range from the faintest dim glow to the
most blinding glare can be created with stage lighting. Contrast has a great impact on how
bright a light will appear to be to the audience, with a single flashlight on an otherwise dark
stage appearing to be bright, while a strong spotlight shining on an already brightly lit stage
may appear dim.

Color. The color an object on stage appears to be is determined both by its actual hue and by
the color of the light that illuminates it. Filters or gels on lighting instruments make it
possible for designers to tint stage lighting in colors that flatter the actors' faces, cast a warm
glow over an entire set or heighten the colors of scenery and costumes.
Distribution. Light can be distributed in different ways on stage. The form of light may vary
from a soft unfocused glow to a sharply defined beam that casts dramatic shadows. The beam
of light from an instrument may be directed through a piece of metal called a gobo that
shapes it into a pattern such as the broken effect of light coming through the leaves of tress.
Light may also be directed at an object from any angle, giving rise to an infinite variety of
light and shadow combinations, each with a different look and feel.

Movement. The intensity, color and distribution of light can be noticeably altered as quickly
or slowly as the lighting designer and director deem fit while the play is being performed. For
example, a scene that starts in the diffuse and rosy light of dawn can end in the brilliant
golden beams of full morning light. This capacity for change over time is called the
movement of light. It offers a kind of flexible expressiveness that is unmatched by any of the
other visual elements of production.

Collaboration

The lighting designer will meet with the director and the design team (set, costume, and
sound designers), to discuss the details of the set and the director's interpretation of the play.
The set, costume and lighting designers also meet and work together to ensure the creation of
a unified look and feel for the production.

Once the show opens, the designer's work is essentially complete. Now it's normally the job
of the stage manager and light crew to make sure that every aspect of the production runs just
as the designer intended, time after time, until the production closes.

Master Electrician

The Master Electrician is responsible for taking the lighting plot and making sure that all
lighting units on the plot are hung in the correct locations and actually work. Coordinating the
numbers of lights and circuits and allocating cabling, gels, and other accessories are the most
important aspects of this role.

Activities:

1. Students will watch share their ideas as to who is lighting designer and what they
think the lighting designer does (engage)
2. 2. Watch videos and then answer questions based on what they learnt from the videos
(explore)
3. Discuss their responses to the questions and share what they have discovered
(explain)

Evaluation (1):

4. Assume the roles of a lighting designer and explaining his or her importance of the
lighting designer to a production (explore )
5. Create a lighting plot based on a short script which they will be given (elaborate)
6. Share their essays and other while their classmates gives feedback on what was done
(evaluate)
Subject: Drama

Time: 1 hour 10 mins

Date: May 8-28, 2021

Topic: The Production Team (Theatre Personnel)

Subtopic: The set designer

Attainment Target: Students should:

1. Be familiar with the members of the production team

2. Be aware of the roles and responsibilities of each member of the production team
3. Be cognizant of the importance of each member of the production team.

Specific Objectives: students should be able to:

1. Identify the roles and responsibilities of the set designer

2. State the functions of a set
3. List the planning tools used by the set designer
4. Demonstrate understanding of the importance of the set designer to a production
5. Design a simple set for a short script

The Set designer

All the scenery, furniture and props the audience sees at a production of a play make up the
set design. The set designer's job is to design these physical surroundings in which the action
will take place.

A theatre set should:

 suggest the style and tone of the whole production

 create mood and atmosphere
 give clues as to the specific time and place of the action
 offer creative possibilities for the movement and grouping of the actors

The set may also need to be designed so the backstage areas used by the actors and stage
crew are kept out of sight from the audience. This will depend on the effect the director wants
to create with the staging and on the type of stage the production uses.

All the things appearing on the stage other than the scenery are called stage properties, or
props. Set props like furniture, draperies and decorations are the types of things that complete
the set and they need to be part of the set design.
The set designer will normally read the script many times, both to get a feel for the flavor and
spirit of the script and to list its specific requirements for scenery, furnishings and props. The
time of day, location, season, historical period and any set changes called for in the script are
noted. The set designer's focus here is on figuring out everything that may be needed based
on the dialogue in the script.

Designer's tools

Set designers use several tools to communicate their ideas to the director and the other
designers. These include:

 a rough sketch of the set in the preliminary phase

 floor plans drawn to scale showing from above the general layout of each set and the
placement of the furniture and large props
 front elevations giving a view of the elements of the set from the front and showing
details like windows or platforms
 Small three-dimensional models showing how each set will look when finished.

.Once the show opens, the designer's work is essentially complete. Now it's normally the job
of the stage manager and backstage crew to make sure that every aspect of the production
runs just as the designer intended, time after time, until the production closes.

Collaboration

The set designer will meet with the director and the design team (set, costume, lighting and
sound designers), to discuss the details of the set and the director's interpretation of the play.
The set, costume and lighting designers also meet and work together to ensure the creation of
a unified look and feel for the production.

Master Carpenter
The master carpenter's job takes the working drawings from the Technical Director, and
using them, builds the set. After a quick glance at the working drawings, the MC should be
able to schedule the build, order lumber, and then just pass that information on to the crew
chief and TD, who make sure that the carpenters are there at the appropriate times. In many
theatres, these duties having been absorbed into the TD position

Master Painter
A highly sought skill in most theatres, the MP is responsible for painting set elements under
the direction of the set designer, but often the Master Painter has the freedom to choose many
of the design elements him/herself.

Carpenters/Electricians

When sets need to be built or lights hung, shows need carpenters and electricians to do the
grunt work of sawing, hammering, lifting, hanging. In many companies, no experience is
necessary to serve in one of these roles as you will be taught on the job.

Activities: students will

 1. State what they know or think they know about a theatre set and who creates the set
(engage)
2. Watch the following video on the set designer/ production designer
https://youtu.be/xnV0GNtHlyU (explore)
3. share their thoughts and discoveries based on the video (explain)
4. makes notes about the roles and job of a set designer/ production designer

Evaluation (1)

5. draw a set design based on a given script or idea (elaborate)

6. Present design to teacher.
7. Share why they made the choices they made in their designs (evaluate) (explain)

Evaluation (2): The lesson was completed however students showed no interest in turning in
their designs. This made it difficult to ascertain if students clearly understood how to design a
set based on what was explored.
Grade: 8L&E

Date: May 31- June 15

Subject: Drama

Time: 1hr 10 minutes

Topic: creating advertisements

Attainment targets: Students should

1. Be knowledgeable of what an advertisement is

2. Be aware of the types of advertisements
3. Be cognizant of mediums through which advertisements are done

Specific objectives: Students should be able to:

1. Identify define the term advertisement

2. State the types of advertisements
3. Identify mediums through which advertisements are done
4. explain the reasons or importance of advertisements
5. Create an advertisement and share with their class

Content

What is an advertisement?

An advertisement (often shortened to advert or ad) is the promotion of a product, brand or

service to a viewership in order to attract interest, engagement and sales. Advertisements
come in many forms, from copy to interactive video, and have evolved to become a crucial
feature of the app marketplace.

An advertisement is different from other types of marketing because it is paid for, and
because the creator of an advert has total control over the content and message

Ways Through which advertisments are done

1. Newspaper.

Display advertisements are placed throughout the paper, while classified listings are under
subject headings in a specific section.

Magazine

Advertising in a specialist magazine can reach potential customers quickly and easily.
Potential customers tend to read magazines at their leisure and keep them for longer, giving
these advertisements multiple chances to attract attention.
Radio

Advertising on the radio is a great way to reach potential customers

Television

Television has an extensive reach and advertising this way is ideal if you cater to a large
market in a large area. Television advertisements have the advantage of sight, sound,
movement and colour to persuade a customer to buy from you. They are particularly useful if
you need to demonstrate how your product or service works.

Directories

Directories list businesses by name or category (e.g. Yellow Pages phone directories).
Customers who refer to directories have often already made up their mind to buy - they just
need to decide who to buy from.

The major advantage of online directories over print directories is that if you change your
business name, address or phone number, you can easily keep it up to date in the directory.
You can also add new services or information about your business.

Outdoor and transit

There are many ways to advertise outside and on-the-go. Outdoor billboards can be signs by
the road or hoardings at sport stadiums. Transit advertising can be posters on buses, taxis and
bicycles. Large billboards can get the message across with a big impact. If the same
customers pass the billboard every day as they travel to work, that business that they is likely
to be the first business they think of when they want to buy a product.

Direct mail, catalogues and leaflets

Direct mail means writing to customers directly.

Catalogues, brochures and leaflets can also be distributed to the target area. Including a
brochure with direct mail is a great way to give an interested customer more information
about products and services.

Online

Many customers research businesses online before deciding whom to buy from.

A well-designed website can entice customers to buy from. There are a number of ways to
promote business online.

Other ways to advertise business online include promoting products or services on social
media sites, blogs and search engines and other websites that potential customers visit

Activities: Students will:

1. Watch an advertisement ( the mothers patty line up) (engage)

 2. Define the term advertisement based on prior knowledge and the advertisement
watched (engage)
3. Share advertisements that they know or are familiar with (explore)
4. Explain why advertisements are created ( explain)

Evaluation (2)

5. Create an advertisement for a new product of their choice that they have created
(elaborate)
6. Share the advertisement with their class for feedback ( evaluate)