Sujet 1 - 1re partie · Bac Anglais Métropole remplacement 2022
Thème : Synthèse du dossier — Arts et débats d'idées · Tiré du sujet Métropole France remplacement (2022)
Énoncé
Document A
Drama improves pupils' self-esteem, study finds
Primary school children participating in National Theatre (NT) drama schemes enjoy school more and have improved their speaking and listening skills, a three-year study has found.
Through studying Shakespeare and Marlowe and acting out their plays using puppets and music, NT children have also experienced a marked increase in self-confidence in class, said the report, published today by the Social Science Research Unit at the Institute of Education.
Jenny Harris, the NT's head of education, urged schools throughout the country to emulate the programme.
"The key findings of this rigorous study raise critical considerations that we hope will inform the current debate about the role, and more importantly, the value of the arts," she said.
The study tracked the work of the NT's education department with children aged seven to 10 from eight inner-London primary schools for three years, during which time they studied Shakespeare's The Tempest and Marlowe's Dr Faustus, and took part in a storytelling programme called Word Alive.
The programmes included sessions in schools by freelance artists trained by the theatre, training days for teachers and visits to specially commissioned productions and performances. The children then gave their own performances at The Albany, Deptford 1.
Compared with children at similar schools not running the NT programme, the study found that NT pupils had a significant increase in 'oracy' skills - the ability to speak and listen. However, there was no marked improvement in literacy SATs 2.
NT students also enjoyed school more and gained self-esteem, regarded as a key tool for learning. And the study said they recognised, through experience, the value of working with other people towards goals.
Researcher Helen Turner said: "Our research highlights several key educational issues: how to make school more enjoyable, how to provide learning environments where different talents are recognised and valued, how to make literacy more exciting, and how to encourage and promote creativity."
"We think that the National Theatre's drama programmes provide a guide for others to follow."
Fellow researcher Professor Berry Mayall said: "Ministers have recognised the intrinsic value for children of engaging with the arts. The results of our study present a clear case for the government to support drama work in schools for the enrichment of children's lives."
John MARTIN, The Guardian, October 6, 2004
1 Deptford: an area in south-east London, England.
2 SATs: Standard Assessment Tests for British pupils.
Document B
Document C
"All the world's a stage" (spoken by Jaques)
All the world's a stage,
And all the men and women merely players;
They have their exits and their entrances;
And one man in his time plays many parts,
5 His acts being seven ages. At first the infant,
Mewling and puking in the nurse's arms;
And then the whining school-boy, with his satchel 1
And shining morning face, creeping like snail
Unwillingly to school. And then the lover,
10 Sighing like furnace, with a woeful ballad
Made to his mistress' eyebrow. Then a soldier,
Full of strange oaths, and bearded like the pard 2,
Jealous in honour, sudden and quick in quarrel,
Seeking the bubble reputation
15 Even in the cannon's mouth. And then the justice,
In fair round belly with good capon 3 lin'd,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part. The sixth age shifts
20 Into the lean and slipper'd pantaloon 4,
With spectacles on nose and pouch on side;
His youthful hose, well sav'd, a world too wide
For his shrunk shank 5; and his big manly voice,
Turning again toward childish treble, pipes
25 And whistles in his sound. Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion;
Sans teeth, sans eyes, sans taste, sans everything.
William Shakespeare, As You Like It, Act II, Scene VII, 1599
1 a satchel: a school bag
2 pard (archaic or poetic): a panther or leopard
3 with good capon lin'd: garni d'un bon chapon
4 Pantaloon is a character in the Commedia dell Arte.
5 shank: leg
1 re partie. Synthèse en anglais [16 points]
Prenez connaissance de la thématique ci-dessus et du dossier composé des documents A, B et C et répondez en anglais à la consigne suivante (500 mots environ):
Paying particular attention to the specificities of the three documents, show how they interact to explore the connection between acting and real life.

Corrigé
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Paying particular attention to the specificities of the three documents, show how they interact to explore the connection between acting and real life.
Réponse : The dossier explores the porous boundary between theatrical performance and daily human existence, illustrating how acting mirrors, enhances and disrupts real life. It consists of three documents. Document A is a press article from *The Guardian* (2004) reporting on the educational benefits of the National Theatre's drama schemes. Document B is a 2009 photograph of a flash mob at Liverpool Street Station. Document C is Jaques's celebrated "All the world's a stage" monologue from Shakespeare's comedy *As You Like It* (1599). First, acting provides an enduring philosophical framework for understanding human life. In Document C, Shakespeare uses an extended theatrical metaphor to conceptualize existence: "All the world's a stage, / And all the men and women merely players." Human beings follow pre-written trajectories through seven distinct "ages", from helpless infancy to declining old age and "mere oblivion". The performance here is not chosen but inherent to the human condition. Each social role (the whining schoolboy, the sighing lover, the quarrelsome soldier, the formal justice) corresponds to a prescribed costume and script. In this perspective, reality itself is structured like theatre, with individuals inevitably making their "exits and their entrances". Conversely, acting can serve as an active, practical tool to empower individuals in real-world society. Document A demonstrates that theatre is far from mere illusion: it directly enhances the social and cognitive abilities of schoolchildren. By acting out plays by Shakespeare and Marlowe, primary school pupils significantly increased their "oracy" skills, their self-confidence and their capacity for teamwork, although their literacy results did not markedly improve. Rather than confining individuals to predetermined roles, drama education offers agency. It allows children to experiment with other identities in order to better navigate their academic and social realities. Ironically, Jaques's "whining school-boy" creeping "unwillingly to school" finds his counterpart in pupils who, thanks to drama, now enjoy school more. Acting thus becomes a rehearsal for real-world interaction and personal growth. Finally, the boundaries between stage and ordinary life can be deliberately dissolved through unexpected public intervention. Document B illustrates this with a flash mob at London's Liverpool Street Station. Performers gather in a functional, everyday transit hub and turn a mundane railway concourse into an impromptu stage. By raising their arms in synchronized collective movement, the participants disrupt the anonymous, individualistic routine of commuting. Unlike the institutional, school-based framework of Document A or the fatalistic drama imagined in Document C, this modern form of performance democratizes art. Bystanders become an audience or even co-performers, and joy, surprise and communal vitality are injected into public space. In conclusion, the three documents interact to reveal that acting is neither separate from nor subordinate to real life. It serves as an existential mirror of the life cycle in Shakespeare, as a transformative pedagogical instrument in the *Guardian* article, and as a spontaneous, collective celebration in the flash mob photograph. In each case, performance helps us understand, shape and re-enchant our everyday existence. Thus Jaques's metaphor remains strikingly relevant four centuries later: if the world is a stage, we may not only play our parts but also learn to choose and transform them.
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