Term / Half-term 

Main topics / units 

Key knowledge & skills 

Autumn 1 

Mime 

In this module, students are introduced to the foundations of mime, developing their ability to communicate meaning without spoken language. They learn key physical skills including approach, shape and weight, exploring how to convincingly handle imaginary objects and environments through precise body control. Students also develop facial expressions, gestures, and exaggeration to convey character, emotion, and intention clearly to an audience. Through both structured exercises and devised group performances, they apply these skills to a range of narratives such as kitchen mishaps, storytelling through movement, and larger ensemble pieces. Pupils gain an understanding of stylistic influences, including the work of Steven Berkoff, and learn how mime can be used for both comedic and serious effects. Throughout the module they build confidence in performing, collaborating, evaluating peer work, and using drama-specific terminology, culminating in an assessed mimed performance demonstrating their learning. 

Autumn 2 

Romeo & Juliet 

In this module, students develop a foundational understanding of Shakespearean theatre while exploring performance skills through key scenes from Romeo and Juliet. They learn to interpret Shakespeare’s language, beginning with the Prologue, using translation, narration, and vocal delivery techniques to communicate meaning clearly. Students gain knowledge of the social, cultural and historical context of Elizabethan theatre—including dialogue‑driven storytelling, status, and the conventions of The Globe—helping them understand how Shakespeare’s plays were originally performed. Through practical workshops, pupils build core dramatic skills such as characterization, proxemics, levels, stage positioning, gesture, facial expression, and vocal expression. They apply these in performances of major scenes: the street fight, the meeting of Romeo and Juliet, Mercutio’s death, Romeo’s exile and the final tragic scene. The scheme emphasizes interpreting text, showing relationships through space, and performing emotional authenticity. Students also develop evaluative skills by giving structured peer feedback, considering clarity, characterization, and effective use of space. The module culminates in an assessed performance where pupils independently apply the techniques learned to demonstrate their understanding of Shakespeare’s narrative, themes, and characters. 

Spring 1 

European Storytelling 

In this module, students explore storytelling traditions from across Europe, developing a wide range of physical, vocal, and creative performance skills. Beginning with Ancient Greek fables, pupils learn how morals are communicated through simple narratives, clear characterization and the use of a narrator. They then study Norse mythology, gaining understanding of status, power and epic narrative structure while using physicality, gesture and vocal effects to communicate gods, giants and dramatic action. Moving to Russian folklore, students experiment with atmosphere, tension and soundscapes, using movement, pacing and silence to create eerie settings such as the Baba Yaga forest. They later explore Italian Commedia dell 'Arte, learning to perform exaggerated stock characters, incorporate lazzi (comic routines), and improvise confidently using physical comedy. Across all lessons, pupils build skills in storytelling, characterization, ensemble work, dynamic movement, slow motion, levels, transitions, soundscape creation and the use of space. The module culminates in a devised performance where students apply knowledge from multiple European traditions, demonstrating control over voice, movement, structure and style while creating an engaging and original piece. 

Spring 2 

Greek Theatre 

In this module, students develop an understanding of the core conventions of Ancient Greek Theatre through practical exploration of choral speech, choral movement and Greek tragedy. They begin by learning the history and purpose of the Greek theatre, including the role of the chorus, outdoor amphitheaters and the storytelling traditions of the time. Pupils develop vocal skills by performing choral speech—using unison, pace, tone, volume, intonation and expression—to communicate mythological stories effectively. They also study ensemble movement, learning to work as a unified chorus using techniques such as unison, canon, repetition, stylized movement, and physical theatre. This includes creating group images (tableaux), choreographing transitions, and combining movement with speech to retell stories such as Oedipus and the Sphinx. 

Summer 1 

Physical Theatre 

In this module, students develop an understanding of Physical Theatre as a performance style that uses the body, rather than spoken dialogue, to communicate meaning. They begin by exploring slow‑motion movement to build physical control, clarity of gesture and expressive facial work, learning how movement alone can tell a story. Students then study the work of Rudolf Laban, gaining knowledge of his four movement categories—direction, weight, speed and flow—and the eight effort actions, applying these to create characters and physical sequences. They develop skills in stylized movement, ensemble awareness, and abstract storytelling, strengthening their ability to convey emotion and narrative physically. Pupils also explore the techniques of Frantic Assembly, including chair duets and “building blocks” sequencing, to understand how relationships and dramatic moments can be shown through repeated, refined movement patterns. Finally, students learn to devise original physical theatre pieces from a stimulus, using still images, slow motion, Laban effort work, and chair duets to create meaning without dialogue. Throughout the module, they build confidence in performing, collaborating, refining choreography, and evaluating the physical storytelling of others. 

Summer 2 

Blood Brothers 

In this module, students explore Blood Brothers through practical and theoretical work, developing an understanding of social class, status, characterization, and context within performance. They learn how class shape's identity by examining the contrasting lives of Mickey and Edward, using vocal and physical skills to portray differences in confidence, upbringing, and behaviour. Pupils study key scenes from the play, analyzing language, relationships and playwright intention, particularly Willy Russell’s focus on inequality, fate, superstition, and the impact of Margaret Thatcher’s social policies on working‑class communities. Through still image, improvisation, duologues and movement‑based work, students explore how to communicate themes such as rich vs. poor, nature vs. nurture, friendship and tragedy. They also develop performance design skills by learning how lighting and sound can create mood, reflect emotion, and support storytelling. Throughout the module, pupils build skills in character embodiment, script interpretation, emotional expression, ensemble work, and evaluative feedback. These skills feed into their practical assessment, where they must clearly convey social class, emotional state, and scene location using voice, movement, and design choices. 

Type of assessment 

Approx. frequency / when 

What it is used for (e.g. reports, targets) 

Classwork / quizzes 

Short retrieval questions at the start of every lesson.  

To check recall of key facts and address misconceptions quickly 

Homework tasks 

Not set during KS3 

End-of-topic assessments 

A practical performance done at the end of term.  

To ensure they understand the dramatical technique/s or style they have been studying. 

End-of-year assessment 

End of year assessment would take the same format as end of term assessments (term 6 assessment) 

To ensure they understand the dramatical technique/s or style they have been studying.