#ONSTAGE BEAUMONT HOW TO#

Students can choose to be assessed as either a performer or designer in the non-examined components. There is no Home Learning in KS3 Key Stage 4 There is a written exam in Year 7 and in Year 8 in the Lower School Exams week. They will also be introduced to key practitioners from the world of Theatre and get to explore new styles and methodologies.ĭownload the Year 9 Vocabulary List here.

#ONSTAGE BEAUMONT HOW TO#

In addition to the skills gained in Year 8, students should be able to: adopt and sustain convincing roles be confident when performing use a variety of dramatic structures and techniques have an understanding of how to use drama to explore ideas and issues have an understanding of and ability to use a comprehensive drama vocabulary analyse practical activities in an informed, critical manner in discussions and written work. Year 9ĭuring Year 9 students develop their drama skills through the following topics:

In addition to the skills gained in Year 7 students should be able to:- respond imaginatively to a variety of stimuli invent and develop credible roles use language appropriate to given situations be aware of and know how to use a variety of dramatic techniques have an understanding of how to use devising and rehearsal processes increase evaluation skills of own work and that of others.ĭownload the Year 8 Vocabulary List here. Year 8ĭuring Year 8 students develop their drama skills through the following topics: Students are taught a range of skills including:- mime vocal projection still image improvisation scripted performance characterisation.ĭownload the Year 7 Vocabulary List here. mistaking the Author’s intention’ by informers may lead not only to ‘unkind reports’, but also ultimately to the horrors of the early modern gaol.In Year 7 students are introduced to basic drama skills through the following topics: His metadrama therefore registers, in both form and content, the solid fear that ‘unseemly speeches. In offering this Beaumont reveals the precarious nature of his own authority in relation to that of a potentially informing audience. The end result is a theatrical form which accurately reproduces the critical atmosphere of the drama and of the material context of its production. Beaumont’s onstage citizens therefore stage an authorship which feels itself to be under siege by a far more unruly form of audience empowerment and signify the fear of of venal interpretation and misheld authority. In The Knight of the Burning Pestle however, the onstage audience are allowed a much more actively intrusive role, as they attempt to hold sway over the writing and production of the play they inhabit. As a contrast, Ben Jonson’s onstage audiences are often allowed only ridiculous or overblown reactions, a kind of instructional dysfunction, while remaining entirely under the control of the author. Francis Beaumont’s play, The Knight of the Burning Pestle (1607) stages a disjunction between interpretation and legitimate authority, centred around an audience which is empowered partly by the threat of informing.

Onstage beaumont