• 4.1.2 improvises and playbuilds through group-devised processes.
• 4.1.3 devises and enacts drama using scripted and unscripted material.
• 4.2.3 explores and uses aspects of dramatic forms, performance styles, theatrical conventions and technologies to create dramatic meaning.
• 4.3.2 recognises the function of drama and theatre in reflecting social and cultural aspects of human experience.

• 5.1.2 contributes, selects, develops and structures ideas in improvisation and playbuilding.
• 5.1.3 devises, interprets and enacts drama using scripted and unscripted material or text.
• 5.2.3 employs a variety of dramatic forms, performance styles, dramatic techniques, theatrical conventions and technologies to create dramatic meaning.
• 5.3.2 analyses the contemporary and historical contexts of drama.

• civics and citizenship
• difference and diversity
• literacy
• information and communications technology.

Within this task, students predict the content of this sequence.

Students will:

• form a semi-circle in front of the whiteboard/projector.
• watch the Protest Montage on YouTube.
• as they are watching students are to use their logbooks to predict what the content of this lesson sequence will involve. Common responses include:
  • protest
  • socio-political issues
  • political issues
  • inequity
  • war
  • social unrest

• introduce students to the concept of foreshadowing and highlight how this video highlights the style of theatre they will be exploring.

1. Review the definition of political theatre provided on slide 3 of the KASCA Political Theatre - Brecht Presentation (PPTX 11.9 MB)
2. Monitor students' understanding of key words by defining any unfamiliar words and recording definitions in their logbooks.

Remind students that political theatre is good political theatre reflects current social, cultural or historical issues as it makes the performance more engaging and relevant for the audience.

Students will:

• brainstorm social and political issues individually
• share their findings with a partner and add to any new findings to their brainstorm
• share their findings with the class and add any new findings to their brainstorm
• review and interpret a range of images and ask students to interpret the social, cultural and political issue being explored. Examples might include:
  • political posters
  • images of war
  • images of poverty
  • images of homelessness
• after students have a varied list of political issues to choose from, divide them into groups of three to six and ask them to select one issue, research it and devise a short one-minute performance that has a linear narrative using this issue as a stimulus.

Students will:

• use their devices to access Bite Size - Epic Theatre and BrechtExternal link study guide
• students are to summarise the information presented by completing the Epic theatre - conventions handout (PDF 3.09 MB).

Students will:

• re-structure the work they devised at the beginning of this sequence, converting it from a linear narrative into a non-linear narrative
• while watching each other's work students will reflect on the impact a non-linear narrative has on the audience
• reflect and record their findings in their logbook.

Students will:

• adjust the work they devised at the beginning of the sequence by selecting up to four conventions listed on the Epic theatre - conventions handout and applying them to their performance
• watch each other's work and reflect on the impact these conventions have on audience engagement
• reflect and record their findings in their logbook.

Students will:

• write a letter to a friend describing what political theatre is. Ensuring they use the conventions of a letter, which include:
  • a postal address followed by date in top right corner
  • a greeting which is typically 'Dear Sir' or 'Dear Madam' or their full title if they have met, spoken, or written before. For example, 'Dear Mr Brown' or 'Dear Dr Jones'
  • ending is always 'Yours faithfully' if you have opened with 'Sir' or 'Madam' or 'Yours sincerely' if you have used a name
• in their response include an example of how/why/when they might use political theatre
• use examples from the workshop as evidence.