Teaching Strategies and Lesson Plan Sharing for Pre-U AQA Drama | Pre-U AQA 戏剧：教学策略与教案分享

📚 Teaching Strategies and Lesson Plan Sharing for Pre-U AQA Drama | Pre-U AQA 戏剧：教学策略与教案分享

The Pre-U AQA Drama course demands a sophisticated synthesis of practical performance, analytical rigour, and creative interpretation. For teachers, designing effective lessons means moving beyond conventional rehearsal models to cultivate independent artists and critical thinkers. This article shares evidence-informed strategies, classroom-tested activities, and adaptable lesson plans to support educators in guiding students through the unique challenges and rewards of Pre-U Drama.

Pre-U AQA 戏剧课程要求学生将实践表演、严谨分析和创造性诠释进行综合。对教师而言，设计有效课堂意味着超越传统的排练模式，培养独立的艺术家和批判性思考者。本文分享基于教学证据的策略、经过课堂检验的活动以及可调整的教案，帮助教育工作者引导学生应对 Pre-U 戏剧课程独特的挑战与收获。

1. Understanding the Pre-U AQA Drama Specification | 理解 Pre-U AQA 戏剧考试大纲

A deep reading of the specification reveals that Pre-U Drama is structured around two components: a written examination focusing on set texts and live theatre evaluation, and a non-exam assessment comprising a devised piece and a scripted performance. Teachers should begin by mapping the assessment objectives (AO1–AO4) across each unit, ensuring students recognise how practical work ties directly to theoretical understanding.

深入研读大纲可知，Pre-U 戏剧由两个部分构成：聚焦固定文本与现场戏剧评价的笔试，以及包含原创作品和剧本片段的非考试评估。教师应从绘制各单元评估目标（AO1–AO4）的分布图入手，确保学生意识到实践作业如何与理论理解直接挂钩。

The specification rewards students who can articulate their own directorial vision, justify design choices, and analyse how meaning is constructed on stage. Early in the course, dedicate at least two lessons to deconstructing mark schemes with students, using exemplar material and peer-assessment exercises so that the criteria become a lived language in the classroom.

大纲青睐能阐述个人导演构想、证明设计选择并分析舞台意义构建方式的学生。在课程初期，至少用两节课与学生解构评分标准，使用样卷和同伴评估练习，让评分标准成为教室里的活语言。

A common pitfall is treating the written and practical components as separate entities. Instead, every practical workshop should generate written reflection; every set text lesson should include a moment of practical experimentation. This integrated approach is the cornerstone of Pre-U success.

常见误区是将书面与实践部分割裂。恰恰相反，每一次实践工作坊都应产生书面反思；每一堂固定文本课都应包含实践试验的环节。这种整合方法是 Pre-U 成功的基石。

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2. Approaches to Set Texts | 固定文本教学方法

Begin set text study by placing the play in its original performance context: investigate staging conventions, audience expectations, and socio-political climate. Have students create factual timelines and a ‘context map’ that visually links historical events to moments in the text. This prevents anachronistic interpretation later.

固定文本教学应从将剧作置于原始表演语境开始：探究当时的舞台惯例、观众期待和社会政治气候。让学生制作史实时间线和“语境导图”，将历史事件与文本中的时刻视觉化地联系起来。这能防止日后出现脱离时代的诠释。

Next, move to a whole-class reading that is punctuated by ‘stop and stage’ moments. Whenever a key stage direction, monologue, or turning point appears, pause and ask students to quickly sketch a ground plan or improvise a short staging. This transforms passive reading into active directorial thinking.

接下来进行全班朗读，穿插“停下并搬演”的环节。每当出现关键舞台指导、独白或转折点，暂停并让学生快速画出地面平面图或即兴短排演。这将被动阅读转化为主动的导演思维。

Use a ‘character web’ strategy: assign each student a character or a design element, and after each act, they must write a short internal monologue from that perspective. This builds empathy and deepens understanding of subtext. Follow with a group discussion on how these perspectives might collide on stage.

运用“角色网络”策略：给每个学生分配一个角色或设计元素，每幕结束后，他们必须从该视角撰写简短内心独白。这培养共情并加深对潜台词的理解。随后进行小组讨论，探讨这些视角如何在舞台上冲突。

For exam preparation, practise writing a full directorial concept for an extract under timed conditions. Insist that students reference precisely cited quotes, use appropriate terminology (proxemics, blocking, semiotics), and consider the visual, aural, and spatial dynamics of the imagined production.

备考时，练习在限时条件下为选段撰写完整的导演构思。要求学生引用准确的文句，使用恰当术语（空间关系学、走位、符号学），并考虑想象的制作的视觉、听觉和空间动态。

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3. Practical Exploration: From Page to Stage | 实践探索：从文本到舞台

The bridge between textual analysis and performance is built through exploratory workshops. Begin with ‘thought-tracking’ exercises: actors freeze mid-scene, and the teacher taps their shoulder, prompting them to speak their character’s inner thoughts aloud. This reveals subtext and ignites interpretive debate.

文本分析与表演之间的桥梁要由探索性工作坊搭建。从“思维追踪”练习开始：演员在场景中定格，教师轻拍他们肩膀，促使其说出角色的内心念头。这揭示了潜台词并激发诠释辩论。

Another powerful tool is the ‘essence machine’: students stand in a circle and, one by one, step forward to deliver a single line, gesture, or sound that captures the core of a character or theme. The cumulative effect is a kinetic, sensory map of the play’s emotional landscape.

另一件利器是“本质机器”：学生围成圈，轮流上前说出或做出一个能捕捉角色或主题核心的台词、动作或声音。累积效果是一幅动态、感官的剧作情感地图。

Physicalise the language: in pairs, ask students to create a short movement sequence that expresses a key image or metaphor from the text (for example, ‘an insatiable thirst for power’). Linking kinesthetic experience to metaphor strengthens memory and interpretive depth.

将语言身体化：两人一组，要求学生创作简短的动作序列，表达文本中的关键意象或隐喻（如“贪得无厌的权力渴求”）。将动觉体验与隐喻相连，可强化记忆与诠释深度。

Document these workshops through reflective video diaries, not just written notes. Watching and annotating their own discoveries helps students internalise the creative process and produces rich material for the reflective commentaries required in the non-exam assessment.

通过反思视频日志而非仅用书面笔记记录这些工作坊。观看和注释自己的发现，有助于学生内化创作过程，并为非考试评估所需的反思评论提供丰富素材。

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4. Developing Performance Skills | 培养表演技能

Pre-U students need to move beyond naturalistic acting and explore a range of styles. Dedicate a series of lessons to specific practitioners: for instance, an Artaud workshop on physicalising emotional extremes, a Brecht session on gestus and alienation, and a Stanislavski deep-dive into emotional memory and given circumstances.

Pre-U 学生需超越自然主义表演，探索多种风格。需用系列课程专攻特定实践者：例如阿尔托工作坊（将极端情绪身体化）、布莱希特课程（姿态间离）、斯坦尼斯拉夫斯基深入探讨情绪记忆与规定情境。

Voice and movement training should be woven into every warm-up. Use Laban efforts to explore dynamics, Linklater voice exercises to free the natural instrument, and Viewpoints to develop spatial awareness and ensemble responsiveness. These techniques become a shared vocabulary the company can draw on when devising.

声音与动作训练应融入每次热身。用拉班力效探索动态，林克莱特声音练习释放自然嗓音，视点方法培养空间意识和集体反应力。这些技术成为剧团在原创时可用的共同语汇。

For scripted performance, encourage students to maintain a detailed ‘rehearsal log’ tracking decisions, obstacles, and breakthroughs. This log should also record direct feedback from teachers and peers, with the student’s own reflections on how they applied it. This habit aligns directly with the reflective commentary requirements.

剧本表演方面，鼓励学生坚持详尽的“排练日志”，记录决定、障碍和突破。日志还应记录教师和同伴的直接反馈，以及学生如何应用的自我反思。此习惯与反思评论要求直接对标。

Film final rehearsals and use a structured peer-assessment protocol: ‘I noticed… I valued… I wondered…’. This keeps feedback constructive and focused on the work rather than the individual. Students learn to give and receive criticism professionally, a vital lifelong skill.

录制最后排练并使用结构化的同伴评估协议：“我注意到……我欣赏……我想知道……”。这使反馈具有建设性且聚焦作品而非个人。学生学会专业地给予和接受批评，这是终身受用的关键技能。

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5. Directing and Design Concepts | 导演与设计理念

Pre-U demands that students think as directors and designers, not just performers. Run a ‘director’s pitch’ session early in the year, where individuals must present a coherent concept for a short extract, complete with mood boards, costume sketches, lighting plots, and soundscapes. This demystifies design elements and validates their creative agency.

Pre-U 要求学生以导演和设计师的身份思考，而非仅作为演员。学年初举办“导演竞标”会，个人必须为某一短段提出完整概念，包括情绪板、服装草图、灯光布图和音景。这揭开了设计要素的面纱，也肯定了学生的创作主导权。

Teach the language of semiotics explicitly: sign, signifier, signified. Analyse how costume colour, prop selection, and stage space communicate meaning. Use tables to map intended effect against potential audience reading, accepting that meaning is negotiated rather than fixed.

明确教授符号学语言：符号、能指、所指。分析服装颜色、道具选择和舞台空间如何传达意义。用表格将预期效果与可能的观众解读对应起来，接受意义是协商而非固定的。

Design Element | 设计元素	Intended Effect | 预期效果	Possible Audience Reading | 可能的观众解读
Red lighting wash	Danger, passion	Anger, love, or warning
Fragmented set pieces	Psychological disintegration	Chaos, modernity, or trauma

Lighting design can be introduced through a practical task: give groups a simple narrative (a discovery, a farewell) and only three torches with coloured gels. They must create a sequence that communicates the story arc using only light. This constraint fuels creativity and builds technical understanding.

灯光设计可通过实践任务引入：给各组一个简单叙事（发现、告别）和三个带彩色滤光片的手电，他们必须仅用灯光创造传达故事曲线的序列。限制激发创造力并建立技术理解。

For the written examination, practise ‘reverse design’: provide students with a detailed description of a hypothetical production’s design elements and ask them to deduce the directorial vision and justify which thematic interpretations it supports. This builds the analytical thinking needed for high-mark exam responses.

笔试准备中练习“逆向设计”：给学生一份假想制作设计元素的详细描述，让他们反推导演构想并论证其支持何种主题解读。这培养了高分答案所需的分析思维。

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6. Writing Reflective Commentaries | 撰写反思评论

The reflective commentary in the non-exam assessment can account for a significant portion of marks, yet it is often treated as an afterthought. Plan regular, scaffolded writing sessions early in the course, using sentence starters that embed analytical vocabulary: ‘Our intention was to…’, ‘By juxtaposing…’, ‘The effect on an audience might be…’.

非考试评估中的反思评论占据了可观分数，却常被视为事后的补充。应在课程早期安排有支架的定期写作课，使用内嵌分析词汇的句式开头：“我们的意图是……”“通过并列……”“对观众的效果可能是……”。

Model the process of selecting and annotating key moments from workshop footage. Show students a clip, stop it, and as a class, jointly construct a paragraph that moves from description to analysis to evaluation. This ‘live writing’ demystifies academic style.

示范挑选和注释工作坊视频关键片段的流程。播放片段后暂停，全班共同构建一段从描述到分析再到评估的段落。这种“现场写作”揭去了学术风格的神秘面纱。

Provide a clear structure that mirrors the examiner’s expectations: what you did, why you did it, how it was received or developed, and what you would refine. A simple graphic organiser with four boxes can help weaker writers organise thoughts before drafting.

提供反映考官期待的清晰结构：做了什么、为什么这样做、收效或发展如何、你会如何改进。一个简单的四格图表组织器可帮助写作能力较弱的学生在打草稿前理清思路。

Encourage honesty over perfection. A commentary that acknowledges a failed experiment and explains what was learned often scores higher than one that presents a flawless but hollow narrative. Integrate regular opportunities for students to read and critique each other’s commentary drafts.

鼓励诚实胜于完美。承认实验失败并解释学到何物的评论，得分往往高于呈现完美却空洞叙事的评论。创造定期机会让学生阅读并互评彼此的评论草稿。

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7. Integrating Theory and Practice | 理论与实践的整合

The most successful Pre-U candidates are those who can fluidly apply academic theory to their practical work. Create a ‘practitioner profile’ wall chart, summarising key ideas, exercises, and production aesthetics for each figure studied. During devising or script rehearsal, students should be able to point to the chart and say, ‘We are using Brecht’s idea of breaking the fourth wall here.’

最成功的 Pre-U 考生能流畅地将学术理论应用于实践。创建“实践者档案”墙图，概括每个研究人物的核心理念、练习和生产美学。原创或剧本排练时，学生应能指着图表说：“我们在这儿用了布莱希特打破第四堵墙的理念。”

Design theory-in-action challenges: in response to a given extract, groups must devise two different stagings, each clearly influenced by a different practitioner. The contrast makes theoretical differences tangible and memorable. Follow with a written justification that uses specific terminology.

设计“理论在行动”挑战：针对给定选段，各组必须原创两个不同排演版本，各受不同实践者影响。对比使理论差异变得具体可记。事后撰写使用特定术语的书面论证。

Incorporate regular ‘theory minutes’ at the start of lessons: a one-minute student presentation on a key concept (e.g., catharsis, verfremdungseffekt, subtext), followed by a brief pair discussion on how it could be applied to the current project. This keeps theory alive and immediately relevant.

在课堂开始时纳入常规“理论一分钟”：学生用一分钟介绍一个关键概念（如卡塔西斯、间离效果、潜台词），然后简短配对讨论其如何应用于当前项目。这让理论保持鲜活并直接相关。

When watching live theatre, provide students with a note-taking framework that explicitly asks them to identify where they observed practitioner influences or theoretical principles in action. This builds a bank of examples for the exam and enriches their own creative palette.

观看现场戏剧时，向学生提供明确的笔记框架，要求他们指认何处观察到实践者影响或理论原理。这为考试积累了案例库，也丰富了他们自己的创作调色板。

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8. Assessment Preparation Strategies | 评估准备策略

Exam technique must be taught explicitly and practised incrementally. Start with single paragraph responses focusing on one assessment objective, then gradually build to full essays. Use colour-coding: highlight where AO1 (knowledge) appears in green, AO2 (analysis) in blue, and AO3 (evaluation) in pink. This visual audit helps students balance their responses.

考试技巧必须明确教授并逐步练习。从针对一个评估目标的单段落回答开始，逐渐到完整论文。使用颜色编码：用绿色高亮 AO1（知识）出现处，蓝色 AO2（分析），粉色 AO3（评估）。这种视觉审计有助于学生平衡答案。

For the live theatre evaluation section, create a ‘theatre diary’ template that students must complete immediately after seeing a production. Key sections: plot synopsis, two standout performance moments with detailed description of vocal and physical skills, and an evaluation of how two design elements contributed to the total effect.

对于现场戏剧评价部分，创建“戏剧日记”模板，学生在观剧后必须立即填写。关键部分：情节概要、两个突出表演时刻（详细描述声音与肢体技能）、以及对两个设计元素如何贡献于总体效果的评估。

Practice paper walks: dissect sample questions as a class, highlighting command words (‘analyse’, ‘evaluate’, ‘discuss’), and then brainstorm what a top-band response must contain. This demystifies the examiner’s expectations and builds confidence. Reserve at least one full mock under exact timed conditions.

练习试卷剖析：全班一同解剖样题，突出指令词（“分析”“评估”“讨论”），然后头脑风暴顶级答案必须包含的内容。这揭开了考官期待的面纱并建立信心。至少保留一次严格限时的完整模拟考。

Integrate self-quizzing on theatrical terminology, practitioner names, and set text quotes using digital flashcard apps. Regular, low-stakes retrieval practice dramatically improves long-term retention and frees up cognitive space for higher-order thinking during exams.

利用电子闪卡应用，在戏剧术语、实践者姓名和固定文本引文方面进行自测。定期、低压的提取练习能极大地提高长期记忆，释放心智空间用于考试中的高阶思维。

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9. Sample Lesson Plan: Introduction to a Set Text | 示范教案：引入固定文本

Lesson Title: The World of the Play – Context and First Impressions (90 mins)
Objectives: Students will identify three key contextual factors influencing the play; physically explore a key theme through still images.
Starter (10 mins): Silent gallery walk of images (photos, paintings, artefacts) from the play’s period. Students place Post-it notes with questions or observations.
Main (60 mins): 1) Teacher-led ‘context carousel’ – four stations (political, social, theatrical, biographical) with source material. Groups spend 8 mins per station, collecting insights in a graphic organiser. 2) Groups then select three insights and create a series of three frozen images (tableaux) that represent the play’s central conflicts as informed by context. Present to class. Class interprets each image, linking back to context.
Plenary (15 mins): Think-pair-share: ‘How might the original audience have responded differently to us?’ Selected students share. Exit ticket: one sentence predicting the play’s most important theme, based on today’s discoveries.

课名：戏剧的世界——语境与第一印象（90分钟）
目标：学生将识别影响该剧的三个关键语境因素；通过静态画面身体化探索一个核心主题。
引入（10分钟）：该剧时代的图片（照片、画作、文物）无声画廊漫步。学生粘贴带问题或观察的便利贴。
主体（60分钟）：1）教师引导的“语境旋转站”——四个站点（政治、社会、戏剧、传记），配备原始资料。每组每站停留8分钟，在图表组织器中收集见解。2）小组随后选择三个见解，创作三个表现剧本核心冲突的定格影像（造型），依据语境信息。向全班呈现。全班解读每个影像，联系回语境。
收束（15分钟）：思考-结对-分享：“原初观众的回应可能与我们有何不同？”选择学生分享。出口票：基于今天的发现，用一句话预测该剧最重要的主题。

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10. Sample Lesson Plan: Devising Workshop | 示范教案：创意工作坊

Lesson Title: Devising from a Stimulus – Abstraction and Metaphor (90 mins)
Objectives: Develop physical theatre skills; apply abstract representation of a conceptual stimulus.
Starter (15 mins): Physical warm-up focusing on Laban’s eight efforts. Follow with a ‘stimulus immersion’: project a powerful image (e.g., a surrealist painting) without comment; in silence, students individually write ten words the image evokes.
Main (60 mins): 1) Circle share words; as a class, select a collective title that captures the essence. 2) In small groups, create a four-movement physical sequence that moves from literal representation to abstract expression of the image’s emotion. 3) Add sound: each group chooses three non-verbal sounds or one repeated phrase to layer over their movement. 4) Performance of sequences with peer feedback using a ‘two stars and a wish’ model (two strengths, one area for development).
Plenary (15 mins): Brief reflective writing: ‘What did abstracting the stimulus reveal that literal representation did not?’ Volunteers share. Preview next lesson: adding design elements (light, soundscape) to deepen the devised piece.

课名：从刺激到原创——抽象与隐喻（90分钟）
目标：培养肢体剧技巧；运用对概念刺激的抽象表现。
引入（15分钟）：聚焦拉班八大力效的肢体热身。之后是“刺激沉浸”：投影一幅有力的图像（如超现实主义画作）不置评；在沉默中，学生各自写下该图像唤起的十个词汇。
主体（60分钟）：1）圆圈分享词汇；全班选择一个捕捉本质的集体标题。2）分小组，创作一个从文字表现到抽象表达图像情绪的四动作肢体序列。3）加入声音：每组选择三个非语言声音或一个重复短语，覆叠于动作之上。4）表演序列，并用“两个星星和一个愿望”模型（两个优点，一个发展点）进行同伴反馈。
收束（15分钟）：简短反思写作：“刺激的抽象化揭示了什么文字表现所不能？”志愿者分享。预告下节课：添加设计元素（灯光、音景）以深化原创作品。

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11. Inclusive and Differentiated Teaching | 全纳与差异化教学

Drama classrooms naturally accommodate diverse learners, but intentional differentiation is essential at Pre-U level. Provide multiple entry points: for a student who struggles with reading, use an audiobook recording of the set text alongside the printed script; for a kinesthetic learner, allow physical notation of blocking (e.g., using plastic figures on a miniature stage) before translating it into written annotations.

戏剧课堂天然容纳多元学习者，但在 Pre-U 阶段有意识的差异化至关重要。提供多入口：对阅读困难的学生，在使用纸质剧本的同时提供有声书；对动觉学习者，允许先用实体方法标注走位（如用塑料人偶在微缩舞台上比划），再转化为书面注释。

For the highly able, stretch sideways rather than just upwards: challenge them to articulate how two different practitioners might stage the same moment, or to design a concept that subverts a traditional interpretation. This deepens rather than accelerates. Use a ‘challenge menu’ that students can self-select from.

对于能力极高的学生，要横向拉伸而非一味拔高：挑战他们阐明两位不同实践者会如何排演同一时刻，或设计一个颠覆传统诠释的概念。这是深化而非加速。使用“挑战菜单”供学生自选。

Support students with anxiety or sensory sensitivities by offering choice in performance roles. A student may excel as a designer, dramaturg, or assistant director while still meeting assessment criteria. Pre-U’s flexibility allows for genuine inclusion without diluting rigour.

支持有焦虑或感官敏感的学生，允许他们选择表演角色。学生可以担任设计师、戏剧构作或助理导演，仍能满足评估标准。Pre-U 的灵活度允许真正包容而不牺牲严谨。

Scaffold written work using paragraph frames that gradually withdraw support. Start with full sentence stems, move to keywords only, and finally to independent structure. Regularly check in through short, ungraded writing that focuses on thought processes rather than neatness.

使用逐渐撤除帮扶的段落框架来支架书面工作。从完整的句子主干起步，到仅有关键词，最后到独立结构。通过短小、不打分的写作定期检查，聚焦思维过程而非工整度。

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12. Feedback and Continuous Improvement | 反馈与持续改进

Effective feedback in Drama is immediate, specific, and actionable. Adopt a ‘not yet’ grading philosophy: instead of a terminal mark on a practice exam essay, highlight criteria that are in progress and provide a focused target. For performance work, use video timestamped feedback: record a run, then comment directly in a shared document at precise timecodes, linking observation to assessment objectives.

戏剧学科中有效的反馈应是即时、具体且可操作的。采取“尚未”评分理念：在练习论文上不给出最终分数，而是高亮进展中的标准并提供集中目标。对于表演作业，使用视频时间戳反馈：录下一轮排练，然后在共享文档中对精确时间点直接评论，将观察联系到评估目标。

Implement a ‘next step’ ritual: at the end of each workshop, students write one thing they will do differently next time based on feedback received. This concrete commitment, revisited at the start of the next session, builds agency and accelerates progress far more effectively than generic improvement pledges.

实施“下一步”仪式：每次工作坊结束时，学生基于收到的反馈写下下次他们将会改变的一件事。这种具体的承诺在下节课开始时回顾，能建立自主性并比空泛的改进宣言更有效地加速进展。

Maintain an evolving ‘model bank’: collect strong examples of student work—a director’s concept, a reflective commentary excerpt, a set design rationale—anonymise them, and use them as aspirational benchmarks. Discuss not just what makes them successful but how they got there. This transparency demystifies excellence.

维护不断丰富的“模范库”：收集学生优秀作品的范例——导演构思、反思评论摘录、舞美设计理由——匿名处理后用作志向基准。不仅要讨论它们何以成功，也要讨论是如何做到的。这种透明度揭开了卓越的神秘面纱。

Finally, model your own reflective practice as a teacher. Share with students a time a lesson did not go as planned, and explain how you analysed the issue and what you changed. This shows that learning is a continuous cycle for everyone in the room and builds a culture of honest, fearless growth.

最后，教师要以身作则地展示自己的反思实践。与学生分享某次课未按计划推进的经历，解释你如何分析问题并做出了什么改变。这表明教室里每个人的学习都是一个持续循环，建立起诚实、无畏成长的文化。

Published by TutorHao | Drama Revision Series | aleveler.com

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