Drama & Performance: Medium-Term Delivery Plan
A structured, ready-to-implement instructional delivery schedule mapping Drama and Performance across three progressive developmental milestones: Awakening, Change, and Embrace. The plan preserves GCSE drama skills while shifting delivery towards experiential confidence-building, structured role-play, script exploration, character analysis, performance refinement, and reflective evaluation.
DDP Delivery Schedule Explorer
Navigate across the weeks to inspect delivery frameworks, concrete focuses, delivery scripts, and assessment pathways.
The Standard DDP Drama Lesson Architecture Runner
Simulate or run a 60-minute neuro-affirming drama lesson structure. Guides instruction pacing automatically.
DDP Teacher Script Engine
Select a typical classroom barrier below to practise the recommended delivery intervention script.
Each script provides a direct, low-demand verbal instruction.
DDP Drama Technical Terminology Glossary
Search or filter technical drama and performance terminology used across the Medium-Term Plan. Definitions are loaded instantly.
The Personalised DDP Drama MTP Exporter
Customise and export your formal week-by-week delivery schedule. Select the delivery rules and executive accommodations that fit your student profile, then copy your individualised plan instantly.
DDP Diverse Resource Bank: Drama and Performance (AQA 8261)
Department rule: where a play, practitioner, stimulus, live production or performance reference is the teacher's choice, it is drawn from this bank so that Black, female and neurodivergent theatre-makers are the norm across the course. Set plays are chosen from AQA's current list; check the list and the live performance requirements each year.
Set play choice
From AQA's list, the strongest fits for this cohort: Noughts and Crosses (Malorie Blackman, adapted by Dominic Cooke), The Empress (Tanika Gupta), The Great Wave (Francis Turnly) and A Taste of Honey (Shelagh Delaney). Blood Brothers, The Crucible, Romeo and Juliet, Things I Know to be True and Around the World in 80 Days remain available. The set play and the live production must be different plays.
Live production and companies
Prioritise productions by Talawa Theatre Company (Black British), Tara Theatre (South Asian British), Graeae (deaf and disabled-led, artistic director Jenny Sealey) and Access All Areas (learning-disabled and autistic-led). Book relaxed performances where offered; they satisfy the live requirement and model the sensory protocol the department already uses. Streamed productions may be used for the exam section but do not replace the live requirement.
Practitioners and companies
Alongside Stanislavski and Brecht: Augusto Boal's Theatre of the Oppressed (forum theatre suits structured role-play); Frantic Assembly's building-blocks method (chair duets, hymns hands) for movement without improvisation anxiety; Complicité for ensemble; Kelly Hunter's Flute Theatre and the Hunter Heartbeat method, Shakespeare games developed with and for autistic young people; Emma Rice for physical storytelling.
Stimulus bank
Poems by Grace Nichols, Benjamin Zephaniah, John Agard and Raymond Antrobus; Windrush arrival photographs and the Mary Seacole memoir for historical stimuli; Malorie Blackman's world-building; a single object, sound or image from the learner's own interest. Stimuli are chosen for a clear situation and at least two characters so the role-card method has somewhere to start.
Voices to name in AO3 and evaluation
Playwrights: debbie tucker green, Roy Williams, Kwame Kwei-Armah, Winsome Pinnock, Inua Ellams (Barber Shop Chronicles), Natasha Gordon (Nine Night), Chinonyerem Odimba, Tanika Gupta. Directors: Lynette Linton, Ola Ince, Nadia Fall. When learners evaluate a production they name the director and at least one designer, so theatre-making is visibly a job people like them hold.
Access and performance conditions
Relaxed performance conventions (house lights up, freedom to move, chill-out space) are used for internal showings as standard. The Curious Incident of the Dog in the Night-Time (Simon Stephens) as a live or streamed production for the neurodivergent-protagonist discussion, with the caution that it is one portrayal, not a template. Access All Areas' work is the reference point for learning-disabled and autistic performers leading rather than being represented.