LTCL/LGSMD Teaching

(Speech and Drama,

Musical Theatre)
November 2012
Unit 1 Principles of Teaching
INSTRUCTIONS TO CANDIDATES
1. The time allowed for answering this paper is 2 HOURS 30 MINUTES.
2. Fill in your name and the registration number printed on your appointment slip in the appropriate space on
the front of the answer booklet.
3. DO NOT OPEN THIS PAPER UNTIL YOU ARE TOLD TO DO SO.
4. Read each question carefully before answering it.
5. Your answers must be written in ink in the answer booklet provided.
6. You are reminded that you are bound by the regulations for written examinations displayed at the centre.
In particular, you are reminded that you are not allowed to bring books or papers into the examination room.
Bags must be left at the back of the room under the supervision of the invigilator.
7. If you leave the examination room you will not be allowed to return.
8. At the end of the examination, fix together all your work including rough work using the tag provided.
Examiners use only: 1
2
3
Total
(C23)
November 2012 (C) LTCL/LGSMD Teaching (Speech and Drama, Musical Theatre)
LTCL/LGSMD Teaching (Speech and Drama, Musical Theatre)
written paper
Unit 1 Principles of Teaching
Time allowed: 2 hours 30 minutes
Answer ONE question from Section 1 (30%) and ONE question from either Section 2 or Section 3 (40%) and ONE
question from Section 4 (30%).
Please ensure that the section and question number of each question attempted is clearly marked on your answer paper.
Candidates are advised to use specific examples in answering their questions.
Candidates are advised not to repeat material from one answer in other answers.
In your answers about teaching be sure to specify the age, experience, background and other relevant information about
the pupils you are considering.
2
Section 1 EITHER
1. Discuss how you would use the following poem to teach the principals and practice of effective
voice production. As part of this process explain, with specic reference to the poem, how you
would introduce your dened group of students to the poems meaning, mood and structure.
Rising Five
Im rising ve, he said,
Not four and the little coils of hair
Un-clicked themselves upon his head.
His spectacles, brimful of eyes to stare
At me and the meadow, reected cones of light 5
Above his toffee-buckled cheeks. Hed been alive
Fifty-six months or perhaps a week more:
not four,
But rising ve.
Around him in the eld, the cells of spring 10
Bubbled and doubled; buds unbuttoned; shoot
And stem shook out the creases from their frills,
And every tree was swilled with green.
It was the season after blossoming,
Before the forming of the fruit: 15
not May,
But rising June.
And in the sky
The dust dissected the tangential light:
not day, 20
But rising night;
not now,
But rising soon.
The new buds push the old leaves from the bough.
We drop our youth behind us like a boy 25
Throwing away his toffee-wrappers. We never see the ower,
But only the fruit in the ower; never the fruit,
But only the rot in the fruit. We look for the marriage bed
In the babys cradle, we look for the grave in the bed:
not living, 30
But rising dead.
Norman Nicholson
November 2012 (C) LTCL/LGSMD Teaching (Speech and Drama, Musical Theatre)
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OR
2. Outline a six-week course of two hours a week for teaching the theory and practice of effective,
integrated use of voice and body, adapted to ONE of the following situations.
a) A group of mixed ability students who are taking a public examination in Drama or
Performance Arts with a performance module. Some have chosen this school option
reluctantly. The students are in the 14 to 16 age group.
OR
b) A group of adults whose careers require condence and uency in oral communication.
Indicate how your approach might relate to various professional contexts.
Please turn over for remainder of Section 2
Section 2
Speech and
Drama
EITHER
1. Using the following extract from Act 3 of Shakespeares play Hamlet, discuss the methods
you would adopt in coaching your students to convey the meaning of the text, to inhabit the
characters, to be confident in the performing space and to use voice and body expressively for
this purpose. Illustrate and support your answer with clear and specific reference to the text.
Hamlets father, the King of Denmark, has recently died in mysterious circumstances. His ghost
appears to Hamlet and tells him he was murdered by his brother Claudius, who shortly afterwards
married Hamlets mother and became king. In order to find out more, Hamlet pretends to be mad.
Claudius arranges for Hamlet to meet his ex-girlfriend Ophelia in order to discover if his strange
behaviour is the result of being disappointed in love. Claudius and Ophelias father Polonius are
hidden and observe this encounter, a fact of which Hamlet may or may not be aware.
HAMLET: I did love you once.
OPHELIA: Indeed, my lord, you made me believe so.
HAMLET: You should not have believed me; for virtue cannot
so inoculate our old stock but we shall relish of
it*: I loved you not. 5
OPHELIA: I was the more deceived.
HAMLET: Get thee to a nunnery*: why wouldst thou be a
breeder of sinners? I am myself indifferent honest*;
but yet I could accuse me of such things that it
were better my mother had not borne me: I am very 10
proud, revengeful, ambitious, with more offences at
my beck than I have thoughts to put them in,
imagination to give them shape, or time to act them
in. What should such fellows as I do crawling
between earth and heaven? We are arrant knaves, 15
all; believe none of us. Go thy ways to a nunnery.
Wheres your father?
OPHELIA: At home, my lord.
HAMLET: Let the doors be shut upon him, that he may play the
fool no where but ins own house. Farewell. 20
OPHELIA: O, help him, you sweet heavens!
HAMLET: If thou dost marry, Ill give thee this plague for
thy dowry: be thou as chaste as ice, as pure as
snow, thou shalt not escape calumny*. Get thee to a
nunnery, go: farewell. Or, if thou wilt needs 25
marry, marry a fool; for wise men know well enough
what monsters you make of them. To a nunnery, go,
and quickly too. Farewell.
OPHELIA: O heavenly powers, restore him!
* virtue cannot be grafted onto the tree
of sin without some sin remaining.
* both sense of convent and brothel (slang)
* averagely virtuous
* slander
November 2012 (C) LTCL/LGSMD Teaching (Speech and Drama, Musical Theatre)
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HAMLET: I have heard of your paintings* too, well enough; God * use of make-up 30
has given you one face, and you make yourselves
another: you jig, you amble, and you lisp, and
nick-name Gods creatures, and make your wantonness
your ignorance. Go to, Ill no more ont; it hath
made me mad. I say, we will have no more marriages: 35
those that are married already, all but one, shall
live; the rest shall keep as they are. To a
nunnery, go.
[Exit Hamlet]
OPHELIA: O, what a noble mind is here oerthrown!
The courtiers, soldiers, scholars, eye, tongue, sword; 40
The expectancy and rose of the fair state,
The glass of fashion and the mould of form,
The observed of all observers, quite, quite down!
And I, of ladies most deject and wretched,
That suckd the honey of his music vows, 45
Now see that noble and most sovereign reason,
Like sweet bells jangled, out of tune and harsh;
That unmatchd form and feature of blown* youth *blooming
Blasted with ecstasy*: O, woe is me, *madness
To have seen what I have seen, see what I see! 50
OR
2. What do you consider to be the main challenges in working with students EITHER on a play translated
into English from another language OR on a play from a very different cultural context from their
own? With reference to ONE or TWO specic plays, discuss ways in which you might introduce your
advanced level students to relevant aspects of content and style, and how these characteristics might
be reected in performance.
OR
3. Discuss in detail EITHER two contrasting poems OR two contrasting verse or prose narratives that
you have used with your intermediate level students for performance. Explain your approach to
introducing them to aspects of content, style and structure and give reasons why you feel the pieces
are appropriate for students at this level.
November 2012 (C) LTCL/LGSMD Teaching (Speech and Drama, Musical Theatre)
5
EITHER
1. Discuss how you would work with EITHER foundation OR intermediate level students to prepare the
following piece as part of a themed performance of musical theatre repertoire. Identify the particular
challenges it presents and suggest some other material you might use in the themed performance.
Narnian Suite
March for Strings, Kettledrums, and Sixty-three Dwarfs
With plucking pizzicato and the prattle of the kettledrum
Were trotting into battle mid a clatter of accoutrement;
Our beards are big as periwigs and trickle with opopanax*, * gum-resin
And trinketry and treasure twinkle out on every part of us
(Scrape! Tap! The fiddle and the kettledrum). 5
The chuckle-headed humans think were only petty puppetry
And all our battle-tackle nothing more than pretty bric-abrac;
But a little shrub has prickles, and theyll soon be in a pickle if
A scud of dwarfish archery has crippled all their cavalry
(Whizz! Twang! The quarrel and the javelin). 10
And when the tussle thickens we can writhe and wriggle under it;
Then dagger-pointll tickle em, and grab and gripll grapple em,
And trap and trickll trouble em and tackle em and topple em
Till theyre huddled, all be-diddled, in the middle of our caperings
(Dodge! Jump! The wriggle and the summersault). 15
When weve scattered em and peppered em with pebbles from our catapults
Well turn again in triumph and by crannies and by crevices
Go back to where the capitol and cradle of our people is,
Our forges and our furnaces, the caverns of the earth
(Gold! Fire! The anvil and the smithying). 20
C S Lewis
OR
2. What challenges do musical theatre students face as they move from an intermediate to an
advanced level of study and begin working on more complex and demanding material than
they have previously encountered? How does your approach to teaching help them to meet
these challenges? Illustrate your answer with specific examples throughout.
OR
3. Identify a musical theatre show that would be suitable for a large group of mixed ability teenage
students. Discuss how you would work with the students on the show to give everyone fair and
appropriate performance opportunities while ensuring that the overall standard of the production
was as high as possible.
EITHER
1. Drama and performance studies are sometimes dismissed as relatively soft subjects, compared
to maths, science, foreign languages and so on. Write a newspaper article explaining the rigour
and worth of your subject(s).
OR
2. You are keen to set up your own studio or school. What national and/or local legislation and
related regulations will you need to consider and how might these impact on your plans? Relate
your answer specifically to legislation, standards and expectations in your own country and culture.
Section 3
Musical
Theatre
Section 4