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Course Profiles Catholic District School Board Writing Partnership Course Profile Dramatic Arts Grade 10 Open for teachers by teachers This sample course of study was prepared for teachers to use in meeting local classroom needs, as appropriate. This is not a mandated approach to the teaching of the course. It may be used in its entirety, in part, or adapted. April 2000 Course Profiles are professional development materials designed to help teachers implement the new Grade 10 secondary school curriculum. These materials were created by writing partnerships of school boards and subject associations. The development of these resources was funded by the Ontario Ministry of Education. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes. Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education or by the Partnership of School Boards that supported the production of the document. © Queen’s Printer for Ontario, 2000 Acknowledgments Catholic District School Board Writing Teams – Drama Lead Board Windsor Essex Catholic District School Board Barry Elliott, Manager Course Profile Writing Team Barbara Carlton Mike Gloster Catherine Jeffrey James Mulveney Central Catholic Curriculum Cooperative Institute for Catholic Education Page 2 Dramatic Arts - Open Course Overview Dramatic Arts, Grade 10, Open Identifying Information School District: Windsor Essex District Catholic School Board Ministry Course Code: ADA2O Secondary Policy Document: Ontario Curriculum: The Ontario Curriculum, Grades 9 and 10, The Arts Publication Date: 1999 Credit Value: 1 Course Title: Dramatic Arts Grade: 10 Course Type: Open Department: The Arts Course Developers: Barbara Carlton, Mike Gloster, Catherine Jeffrey, James Mulveney Development Date: September 1999 Description/Rationale This course requires students to actively explore dramatic forms and techniques, using their own ideas and concerns as well as sources selected from a wide range of authors, genres, and cultures. Student learning will include identifying and using the principles of space, time, voice, and movement in creating, sustaining, and communicating authentic roles within drama. Through the students’ exploration of the development of the theatre, they will come to an understanding of how theatre reflects their personal life experiences. By the end of the course, the students will have the opportunity to experience the many varied aspects of production and presentation. Students will assume responsibility for decisions made in the creation and presentation of the drama, and will analyse and reflect on the experience. How This Course Supports The Ontario Catholic School Graduate Expectations Dramatic Arts and our Catholic faith are both significant journeys in life. They are interconnected by the processes that both our faith development and a dramatic presentation entail. The unit planning involves most aspects of the OCSG expectations. The student will explore our faith traditions and discover the relationship dynamics within the dramatic experience. By the end of the course, the student will have a deeper understanding of the importance of being a Catholic leader, as well as an interdependent team member, in society today. Unit Titles (Time + Sequence) Unit 1 Unit 2 Unit 3 Unit 4 Unit 5 Page 3 Group Dynamics Developing Dramatic Technique Developing The Script Movement/Dance/Ritual Theatre Complete 10 hours 18.75 hours 18.75 hours 18.75 hours 43.75 hours Dramatic Arts - Open Unit Descriptions The following units have these expectations in common. Overall Expectations CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama. Specific Expectations CR1.04 - demonstrate an understanding of language that is free from bias and stereotyping; CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR1.07 - identify and use effective styles of collaboration work on a drama; AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of a drama. Unit 1: Group Dynamics Time: 10 hours Description Teachers begin this unit helping students become acquainted with their fellow students and their Godgiven talents. The teacher fosters an awareness of “Church” as one body in Christ. Just as each Catholic is a contributing member in their faith community, students begin to understand how their contribution in the Drama classroom contributes to their personal growth. In a teacher-centred activity, students are presented with the teacher’s guidelines for classroom management. Students also have the opportunity to examine the knowledge and skills they acquired in the Grade 9 drama course. Students who did not take Grade 9 drama will also actively take part in games and exercises to become familiar with the terminology necessary to communicate in the drama classroom. Through class discussion, reflection, and journal writing, students will be able to express their personal expectations of the course and to gain an understanding of the teacher’s expectations. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good. Integrates faith with life. Understands that one’s purpose or call in life comes from God, others, and creation through prayer and worship. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Presents information and ideas clearly and honestly and with sensitivity to others. Writes and speaks fluently one or both of Canada’s official languages. A Reflective and Creative Thinker Creates, adapts, and evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Page 4 Dramatic Arts - Open A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities, and contributions of self and others. Exercises Christian leadership in the achievement of individual and groups goals. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); CR1.02 - demonstrate an understanding of the element of risk in playing a role (e.g., adapting to challenges to personal and social beliefs); CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.07 - identify and use effective styles of collaboration in drama; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning; AN2.05 - demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork). Unit 2: Developing Dramatic Technique Time: 18.75 hours Description Exploration into improvisation, role play and voice will help develop skills necessary to continue in the dramatic process. Students apply the techniques learned in a variety of exercises and activities. An increased awareness of character emotion and intent will be demonstrated through physical and vocal exercises. The students begin to understand the importance of the voice and body as instruments of communication. The students are also given a brief history of the radio play as a dramatic genre, and have an opportunity to practise vocal skills and sound effect production in the presentation of a radio play. The fundamental skills explored in this unit are the prerequisite to the remainder of the course. Use of stories from scripture and having the students explore the foundation of their Catholic faith will be part of the process. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good. Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. Page 5 Dramatic Arts - Open A Reflective and Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. Makes decisions in light of gospel values with an informed moral conscience. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Applies effective communication, decision-making, problem-solving, time and resource management skills. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities, and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Caring Family Member Values and honours the important role of the family in society. A Responsible Citizen Accepts accountability for one’s own actions. Respects the environment and uses resources wisely. Strand(s): Theory, Creation, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use of various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.03 - create drama through research or the interpretation of a source; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community. Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in a expressive speech; TH3.02 - explain how dramatic forms may effectively communicate more than one perspective; CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation); CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR1.07 - identify and use effective styles of collaboration in drama; Page 6 Dramatic Arts - Open CR2.03 - explain reasons for presenting a particular type of drama (e.g., children’s theatre) to a particular audience; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning. Unit 3: Developing The Script Time: 18.75 hours Description In this unit, students are divided into groups and given scripts consisting of a series of fragmented monologues which they eventually memorize, prepare, rehearse, and present to the class. During the development of these scripts, students explore the dramatic devices necessary to interpret and develop their monologue. These devices include tableau, gesture, facial expression, stage business, give and take, and stage picture. The script selections should allow the students to examine the common insecurities faced by teens and the resulting problems that may result when young people become confused by stereotyping and bias. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective and Creative Thinker Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Applies effective communication, decision-making, problem solving, time and resource management skills. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities, and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Accepts accountability for one’s own actions. Page 7 Dramatic Arts - Open Strand(s): Creation, Theory, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.03 - create drama through research or the interpretation of a source; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.04 - demonstrate an understanding of how role taking and the processes of drama are connected to their lives Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation; TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.02 - demonstrate an understanding of the basic process of voice production; TH2.03 - demonstrate an understanding of the principles and elements of movement; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); TH3.05 - identify dramatic conflict or tension within a source; TH3.08 - identify sources of modern theatrical conventions such as the aside, monologue, or soliloquy, and cite examples (e.g., soliloquies in Shakespeare’s plays); CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation); CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.04 - demonstrate an understanding of language that is free from bias and stereotyping; CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama; AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed; AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN2.02 - explain connections between their own lives and the metaphor or theme in a drama; AN2.04 - analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama. Page 8 Dramatic Arts - Open Unit 4: Movement/Dance/Ritual Time: 18.75 hours Description This unit allows the students to explore the various forms of movement and their role in expressing ideas in drama. The teacher helps the students utilize movement, gesture, dance, and non-verbal communication to develop presentations in partnership and in small groups. They examine the historical origins of theatre and our Catholic faith tradition by researching ritual and its modern theatrical relevance. Presentations will include mirroring, simplified dance forms, thematic story-telling through creative movement, and group ritual. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective and Creative Thinker Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Applies effective communication, decision-making, problem-solving, time and resource management skills. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Accepts accountability for one’s own actions Strand(s): Creation, Theory, Analysis Overall Expectations THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); THV.03 - identify and describe various dramatic forms (e.g., ritual, storytelling, mime) and describe the historical origins of these forms; CRV.01 - use various ways to sustain a role within a drama; CRV.03 - create drama through research or the interpretation of a source; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community; ANV.03 - describe similarities in the dramatic arts of their own and other cultures in the global community. Page 9 Dramatic Arts - Open Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH1.02 - identify and explain methods of creating developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH2.03 - demonstrate an understanding of the principles and elements of movement; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); TH3.01 - demonstrate an understanding of criteria for selecting forms in the construction and communication of a drama; TH3.03 - demonstrate an understanding of historical and cultural origins of various dramatic forms (e.g., storytelling, pageantry, dance, mask making); TH3.07 - trace the use of the convention of the mask (e.g., from Greek drama to modern plays); CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation); CR1.02 - demonstrate an understanding of the elements of risk in playing a role (e.g., adapting to challenges to personal and social beliefs); CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR1.07 - identify and use effective styles of collaboration in drama; CR1.08 - identify and pursue appropriate questions in beginning to research a topic; CR1.09 - identify research methods appropriate to developing ideas and text for a drama; CR2.05-identify and explain the function of a variety of media (e.g., electronic music, lights, costumes, videotapes, slides) in presenting a drama; AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed; AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN1.06 - compare how vocal techniques, space, costume, movement, character, and conventions are used in the dramas of their own and other cultures; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning); AN2.02 - explain connections between their own lives and the metaphor or theme in a drama; AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of a drama; AN2.05 - demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork). Page 10 Dramatic Arts - Open Unit 5: Theatre Complete Time: 43.75 hours Description This summative unit allows the students to take a scripted piece through the entire process - from play selection to a polished level of performance. The teacher supplies the class with a number of one-act plays, which the students will use in the selection process, eventually picking three or four plays to take to final performance. The unit gives the class an appreciation of the creative process and the technical aspects necessary to bring a play to fruition. The students will gain an appreciation of the creative process and the technical aspects necessary to fully produce a play. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good. Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written material effectively. Presents information and ideas clearly and honestly and with sensitivity to others. Writes and speaks fluently one or both of Canada’s official languages. Uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life. A Reflective and Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situation and solve problems. Adopts a holistic approach to life by integrating learning from various subject areas and experience. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Acts morally and legally as a person formed in Catholic traditions. Accepts accountability for one’s own actions. Strand(s): Creation, Theory, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; Page 11 Dramatic Arts - Open CRV.03 - create drama through research or the interpretation of a source; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community. Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.03 - demonstrate an understanding of the principles and elements of movement; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); TH3.05 - identify dramatic conflict or tension within a source; CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation); CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.07 - identify and use effective styles of collaboration in drama; CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama; AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN1.04 - demonstrate an understanding of the function of the director, designer, stage manager, and technician in the production of a drama; AN1.07 - demonstrate an understanding of universal meaning in drama; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning); AN2.02 - explain connections between their own lives and the metaphor or theme in a drama; AN2.04 - analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama. Teaching/Learning Strategies Instructional strategies will include the following: Brainstorming – group generation of initial ideas expressed without criticism or analysis Collaborating – student work with other students in partnership Conferencing – student to student and teacher to student discussion in the classroom as well as parent conferencing Game Playing – all students in the class have an opportunity to interact with each other Page 12 Dramatic Arts - Open Learning Log/Reflection – students will have the opportunity to take time out to reflect on their thoughts and experiences for every class Performance/Presentation – students will present individually, in pairs, small group/large group, or as a class Teacher Modelling – the teacher will model activities as necessary to aid the students’ understanding of the activity, e.g., storytelling Critiquing – through teacher and audience observation, students will develop in their understanding of dramatic technique. Lecture – teacher-directed learning – teacher presentation of background information. Assessment/Evaluation Techniques The assessment plan will include the following: Personal Communication peer conferencing self-assessment student-teacher conferences roving conferences Paper and Pencil Tests quizzes Observation teacher formal/informal observation student observation Performance Assessment formal written assignments (writing in role/character development) presentation/performance role play/simulations Reflection learning log/response journal self-/peer assessment teacher assessment Assessment Tools checklists marking schemes rubrics anecdotal comments with suggestions for improvement Evaluation of Student Achievement Assessment and evaluation in the dramatic arts class is ongoing. Assessment is the process of gathering information from a variety of sources (including assignments, demonstrations, projects, performances, and tests) that accurately reflect how well a student is achieving the curriculum expectations in a course. As part of assessment, teachers provide students with descriptive feedback to guide their efforts. Evaluation refers to the process of judging the quality of student work on the basis of established criteria, and assigning a value to represent that quality. In Ontario secondary schools, the value assigned will be in the form of an achievement level and an associated percentage grade. The weighting system for marks, reflects the evaluation guidelines in The Ontario Curriculum, Grades 9 and 10, Program Planning and Assessment, 1999. Page 13 Dramatic Arts - Open A. ONGOING ASSESSMENT AND EVALUATION 70% B. FINAL EVALUATION 30% Dramatic Technique Knowledge/Understanding Thinking/Inquiry/Problem Solving Communication Application/Making Connections Formal Written Overview 20% 25% 25% 20% 30% 10% Presentation/Performance (based on Unit 5, Activity 3) Knowledge/Understanding Thinking/Inquiry/Problem Solving Communication Application/Making Connections 20% 20% 30% 30% Knowledge/Understanding Thinking/Inquiry/Problem Solving Communication Application/Making Connections Reflection/Journal Writing Knowledge/Understanding Thinking/Inquiry/Problem Solving Communication Application/Making Connections Group Dynamics Knowledge/Understanding Thinking/Inquiry/Problem Solving Communication Application/Making Connections Quizzes Knowledge/Understanding Thinking/Inquiry/Problem Solving Communication Application/Making Connections 20% 20% 30% 30% 10% 15% 30% 30% 25% 20% 25% 25% 25% 25% 10% 30% 30% 20% 20% Main Resources The following resources are required to support teaching and learning: Acting One. Robert Cohen, Mayfield Publishing Co. California, 1992. “Adolescent Fugue”, Ruth Jacobsen, Glimpses - A Full Evening of Theatre: Scenes, Dramatic Monologues & Short Playlets. Dramatic Publishing Co. (Woodstock, Illinois) - web site [email protected]. Annual Catalog of Plays, Musicals, & Theatrical Texts: 1999/2000. Pioneer Drama Service Inc. (Colorado, 1999) Basic Drama Projects. Fran Averett Tanner, Clark Publishing Co. (Idaho, 1966.) Catechism of the Catholic Church. Canadian Conference Of Catholic Bishops (Ottawa, 1992.) Creative Communication. Fran Averett Tanner, Clark Publishing Co. (Idaho, 1985.) Course Profile – Dramatic Arts Grade 9 Open, web site-www.curriculum.org CODE web site http://members.home.net/4drama Page 14 Dramatic Arts - Open Drama Games. Bernie Warren, Captus Press, (North York, 1996) Dramathemes – A Practical Guide For Teaching Drama. Larry Swartz, Pembroke Publishers Ltd. (Markham, 1988) Drama Structures. Cecily O’Neill and Alan Lambert, Centruey Hutchinson Ltd., (London, 1982) Educating the Soul. Larry Trafford, Institute for Catholic Education (Toronto, 1998) Eureka! Seven One-Act Plays For Secondary Schools. Jacquie Lewis and Diane Warren, Coteau Books, (Regina, 1990) Games for Actors and Non-Actors. Augusto Boal, Routledge, (London, 1992) IMPRO Improvisation and the Theatre. Keith Johnston, Routledge, (New York, 1979) Improvisation. Booth and Lundy, Harcourt Brace (Toronto, 1985) Improvisation for the Theatre. Voila Spolin, Northwestern University Press, (Illinois, 1963) Introducing Dance in Christian Worship. Ronald Gagne, Thomas Kane, and Robert VerEecke, The Pastoral Press, (Washington, 1984) Movement For The Actor. Lucille Rubin. Mysteries of Harris Burdick. Chris Van Allsburg, Houghton Mifflin Co. (Boston, 1984) Playwrights Union of Canada web site www.puc.ca Response Journal. Les Parsons, Pembroke Publishers Ltd. (Markham, 1990) Six Canadian Plays. Tony Hamill, ed. Playwrights Canada Press, (Toronto, 1992) Structuring Drama Work. Jonothan Neelands, Cambridge University Press, (New York, 1990) The Articulate Body: The Physical Training of the Actor. Anne Dennis. The Expressive Body: Physical Characterization for the Actor. David Albert. The Stanislavski System: The Professional Training Of An Actor. Sonia Moore, Penguin Books, (New York, 1965) The New Jerusalem Bible. Henry Wansbraugh, ed., Doubleday (New York, 1990) Theatre Games for Young Performers. Maria C. Novelly, Meriweather Publishing Ltd. (Colorado, 1985) Voice and the Actor. Cicely Berry, Virgin Books (London,1993) Youth Ministry: Drama and Comedy. Chuck Bolte and Paul McCusker, Group Books (Colorado, 1992) Additional Information Course Notes The structure of this course is set up as a progression from beginning dramatic techniques to a final polished product. Unit 1: Group Dynamics introduces the students to the importance of the co-operation necessary to progress within a drama. Unit 2: Developing Dramatic Technique explores the application of the dramatic skill essential to the creative growth of each student. Unit 3: Developing The Script introduces students to script and the teacher guides them with the skills for interpretation. Unit 4: Creative Movement and Ritual encompasses the application of specialized forms of dramatic presentation. With the knowledge and skills gained from the previous units of study, students are prepared to embark on developing Unit 5: Theatre Complete which puts to use all the skills developed throughout the course of study. Classes allow for warm-ups, reflection, presentation, and critique to assist students with their individual creative growth within the dramatic process. Page 15 Dramatic Arts - Open Games, role play, playbuilding, improvisation, and teacher-led exploration of dramatic concepts are some of the many tools for instruction. The Planning Notes in each unit are a helpful guide to the specifics of the unit. Extra challenges, homework, and research are also an integral part of the drama class. Classes should include a daily prayer or meditation to facilitate community building. Journal The journal will help to consolidate the learning for the students. It will be used as a vehicle for reflection, analysis and planning. It may be used on a daily basis or periodically throughout the unit to reinforce concepts taught. Formal Performance Formal performance is a requirement at the end of the Grade 10 course in the final unit ‘Theatre Complete’. It is, however, encouraged throughout the course so that students get a flavour for the audience’s role in drama. Units 2, 3, and 4 lead to products that could be shared with other classes. If the students are ready, a certain level of confidence and comfort can be gained in front of an audience. Guidance/Workplace The knowledge and skills acquired in the drama classroom will be transferred naturally to real-life situations and the world of work. The development of students, communication skills and the time spent in collaboration and co-operation will foster the development of their role within the faith community. Safety Because of the nature of the course, safety is always a concern. Proper warm-ups and cool-downs to prevent injuries during dance and movement activities, the safe use of building, lighting, and sound technologies in dramatic productions, and the safe storage, handling and disposal of toxic substances (e.g., paint) are relevant safety issues in this course. Teachers must reinforce with the students an awareness of the need for safety during activities and games. The course naturally lends itself to community building. This sense of community should be encouraged. The problem solving and group dynamic that are such an integral part of this course should be used as tools to enrich a sense of community and help prevent stereotyping and violence. Adult Students Through the study of drama, students of all ages will come to an awareness that learning is a lifelong process. The resources included in the profile are suitable for students of any age. Accommodations can easily be made to suit the needs of the unique teaching situations. Co-operative Education Students should be encouraged to discuss the many opportunities for careers in fields related to dramatic arts. When possible, include people involved in the arts in your community as a resource to both enrich your program and act as mentors for those students thinking of a career in theatre. Technology Depending on the availability within the school, students will have the opportunity to incorporate the use of computer-aided technology to assist them in the development and implementation of productions and performances (e.g., lighting design and implementation, sound re-enforcement). The Internet is a valuable tool for both the teacher and the students. Suggested web sites are included to assist in research. Page 16 Dramatic Arts - Open Glossary A Glossary is provided in Appendix A.1 Accommodations Teachers should be aware of the varying dramatic backgrounds of their students. Unit 1 is largely diagnostic, helping the teacher determine the ability of each student. Accommodations may have to be made for students with no or limited dramatic background, or students from Comprehensive Arts programs. Students with special needs will discover a variety of ways to demonstrate dramatic skill. Matching challenged students, ESL students and students who have never taken drama with students who can act as mentors, will produce a sense of community within the classroom. Assignments can be tailored to meet the needs of students with an Individual Education Plan. Teachers using the course profiles are expected to be acquainted with students’ Individual Education Plans (IEPs) and the unique learning characteristics of their individual students and to make the necessary accommodations. Resource Summary Drama teachers will find that there are a number of drama resources available to them in Ontario. There are qualified instructors in the Universities and Colleges of Education, in Drama in Education and Theatre in Education, as well as in our elementary and secondary schools. There is an active subject council, The Council of Drama in Education (CODE). Drama textbooks, resource books, and Canadian scripts are readily available. Teachers should also keep in mind the rich resource within our communities of amateur community theatre groups that can be used for field trips and guest lecturers. They could discuss the technical operational facets of running a theatre. Other resources used in the drama classroom will come from the students and the community in the form of newspapers, journals, biographies, and local issues. The Internet is a valuable tool for both the students and the teachers. OSS Policy Applications The foundation, the Grade 10 drama program is based on the expectations found in The Ontario Curriculum, Grades 9 and 10, The Arts, 1999. Specific elements in the OSS Policy documents for the disciplines of Dramatic Arts, Music, Art, and Dance will be used to create an environment in which students learn about artistic principles and elements that are common to all the arts. Classroom activities and teaching strategies will allow students to develop the life-long skills of goal-setting, selfmanagement, and communication that are necessary to their personal education and career plans (Choices into Action: Guidance and Career Education Program Policy for Ontario Elementary and Secondary Schools, 1999). The assessment and evaluation methods used in this course reflect the guidelines established in The Ontario Curriculum, Grades 9 and 10, Program Planning and Assessment, 1999. A final important component in the development of the Grade 10 Dramatic Arts Course Profile is the document created by the Institute of Catholic Education, Ontario Catholic School Graduate Expectations (1999). The expectations of this document are incorporated in this course profile to enhance the students’ awareness of their relationship with God, family, and community. Page 17 Dramatic Arts - Open Course Evaluation As for an overall evaluation of the course, teachers should allow for a review by the students of content and teaching/learning strategies during, and at the end of the course. Teachers need to maintain a reflective approach to the work during the school year in order to assess what units/activities worked/did not work, what content needs to be added/deleted, and what teaching/learning strategies need to be further developed or eliminated. Teachers should also assess and evaluate their course in consultation with their departmental colleagues. Page 18 Dramatic Arts - Open Appendix A.1 Glossary Audience Perspective Believability Blocking Brainstorming Chanting/Choral Speaking Characterization/Character Development Character Log Choreographer Concentration Critique Drama from Source Ensemble Floor Plan Focus Geography of movement Gesture Give and Take Given Circumstances Hot Seating Imagination Improvisation In Role Page 19 The audience’s point of view and how they may respond. The willing suspension of disbelief. The positioning of the actor in relation to the set and the audience. Movement of the actor(s) on stage from one place to another, e.g., movement from centre stage to downstage centre A creative thinking exercise in which quantity, not quality, is stressed. Participants generate ideas by free-associating in a nonjudgmental group exercise. The reading or reciting of a text by a group. This involves interpretation; experimentation with language, rhythm, volume, and pace; and rehearsal. The use of voice, movement, gesture, facial expression, and nonverbal communication along with other factors in order to portray a given character. Information written “in role” concerning any given character (e.g., interests, family background, feelings toward certain events, etc.). A person designated to create and co-ordinate movement and dance on stage. The ability for an actor to focus. The analysis and opinions given to a dramatic piece which will become a tool of enhancement for the performer in future performances. Creating a dramatic piece from literature, poetry, scripture, etc. Working together as one on a dramatic piece or a dance that reinforces the importance of the group. A drawing or a plan of the structure for an acting problem. Exclusive attention to one detail of a task. The floor area of the stage utilized by the performers on stage. Expressive bodily actions such as lifting an eyebrow, shrugging the shoulders, pointing, etc. Gestures should be definite and clear. Shifting of focus within a given scene. Who, What, Where, When and Why. Information utilized for development in a given situation. The student or teacher in role is interviewed by peers/teachers in order to clarify information about the role or about the drama at hand. The interviewing students may also be in role. Having an open mind and excellent observation skills necessary to facilitate in the development of any drama or given scene. Creating one’s own ideas of how things should be. A spontaneous or planned response to a dramatic situation. Participation in a role within the drama. Dramatic Arts - Open Interpretation Intuition Levels Masking Meditation Mime Minimal Script Mirroring Monologue Neutrality Non-directional Blocking Out of Role Points of Concentration Rapid Impression Writing Role Playing Rondo Roving Conferences Sidecoach Sightlines Sonata Page 20 Looking for a deeper meaning and understanding of a text or character. The “sixth sense”: anticipating what is to come. The use of positioning various performers on stage to depict certain relationships, mood, etc. (e.g., standing, sitting, kneeling, leaning, raised on a platform, etc.). Interference with the sightlines. An actor purposely covering so as to hide his/her actions. A type of relaxation exercise used to focus on a specific theme. Expression without dialogue. Small fragments of script. An exact duplication or response to the action(s) of another student. A character who is verbalizing feelings and thoughts on stage by themselves. Assuming a position void of movement or emotion. Self- blocking without outside direction. The teacher or students come out of the role they are portraying in a drama in order to discuss the progress of the drama, as well as what should be explored next (e.g., another interview, illustration of events through tableau, etc.). The teacher decides what specific areas students should work on in order to facilitate the growth and process of their drama or scene (e.g., character development, tempo-rhythm of the play). Focus is given to the creativity and flow of writing to explore as many ideas as possible. Adopting the point of view of a character in any imaginary situation to try to understand that character’s feelings and thought processes. A dance composed of seven sections or movements based on a recurring theme and three variations of the theme identified as ABACADA. A identifies the theme. B, C, and D identify the variations. As students are in the process of creating and rehearsing in groups, the teacher moves between them, monitoring the progress of the work, clarifying instructions, and offering instruction for improvement. An assist given by the teacher to students during the solving of a problem and to help them keep focus. The clarity of vision of an individual in the audience to every individual working on stage. A musical composition composed of three sections or movements. The structure is theme, variation of the theme and a return to the theme. It is identified as ABA. e.g., W.A. Mozart, Rondo Alla Turca From Sonata No. 11 in A Minor KV311, W.A. Mozart, Violin Concerto No. 4 in D Minor KV 218 Rondo Andante Dramatic Arts - Open Soundscape Space Object Stage Business Stage Picture Strike Sub-text Tableau Tempo/Rhythm Transitional Movement Vocal Quality/Expression Page 21 Voices or instruments used to create a mood or describe an environment. An imaginary object within an environment. Actions or behavior, usually created by the actor, used to clarify characterization or create atmosphere. The overall look on stage from the audience point of view. The removal of props, furniture, and sets on stage. Reading between the lines for deeper understanding. An individual or group picture representing a moment in time or a scene, abstract idea, or theme. The pacing or flow of a scene. The movement from one illustration of a particular theme, scene, or idea to another. The student’s proper use of articulation, projection, intonation, and tone of his/her voice in order to portray a given character. Dramatic Arts - Open Coded Expectations, Dramatic Arts, ADA2O Theory Overall Expectations THV.01 – demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.02 – demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); THV.03 – identify and describe various dramatic forms (e.g., ritual, storytelling, mime) and describe the historical origins of these forms. Specific Expectations Role TH1.01 – demonstrate an understanding of the theory of “willing suspension of disbelief ” both as performer and as audience; TH1.02 – identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 – demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH1.04 – demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action). Elements and Principles TH2.01 – demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH2.02 – demonstrate an understanding of the basic process of voice production; TH2.03 – demonstrate an understanding of the principles and elements of movement; TH2.04 – demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime). Dramatic Forms and Sources TH3.01 – demonstrate an understanding of criteria for selecting forms in the construction and communication of a drama; TH3.02 – explain how dramatic forms may effectively communicate more than one perspective; TH3.03 – demonstrate an understanding of historical and cultural origins of various dramatic forms (e.g., storytelling, pageantry, dance, mask making); Page 22 Dramatic Arts - Open TH3.04 – demonstrate an understanding of the conventions of a specific form or genre (e.g., conventions of mask, mime, puppetry); TH3.05 – identify dramatic conflict or tension within a source; TH3.06 – explain how the contributions of various production workers (e.g., director, designer, stage manager, technical operator) can affect formal expression in a dramatic presentation; TH3.07 – trace the use of the convention of the mask (e.g., from Greek drama to modern plays); TH3.08 – identify sources of modern theatrical conventions such as the aside, monologue, or soliloquy, and cite examples (e.g., soliloquies in Shakespeare’s plays); TH3.09 – demonstrate knowledge of dramatists’ use of form through reading and analysing excerpts from nineteenth- and twentieth-century plays. Creation Overall Expectations CRV.01 – use various ways to sustain a role within a drama; CRV.02 – demonstrate an understanding of group responsibility in the creation of a drama; CRV.03 – create drama through research or the interpretation of a source; CRV.04 – create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives. Specific Expectations Constructing CR1.01 – demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation); CR1.02 – demonstrate an understanding of the element of risk in playing a role (e.g., adapting to challenges to personal and social beliefs); CR1.03 – demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.04 – demonstrate an understanding of language that is free from bias and stereotyping; CR1.05 – identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.06 – demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; Page 23 Dramatic Arts - Open CR1.07 – identify and use effective styles of collaboration in drama; CR1.08 – identify and pursue appropriate questions in beginning to research a topic; CR1.09 – identify research methods appropriate to developing ideas and text for a drama. Communicating and Presenting CR2.01 – demonstrate an understanding of the effect of various forms in the interpretation and communication of a source or idea (e.g., puppetry, clowning); CR2.02 – demonstrate an understanding of the function of design, lighting, and sound in the communication of a drama; CR2.03 – explain reasons for presenting a particular type of drama (e.g., children’s theatre) to a particular audience; CR2.04 – demonstrate an understanding of audience perspective in the communication of a drama; CR2.05 – identify and explain the function of a variety of media (e.g., electronic music, lights, costumes, videotape, slides) in presenting a drama. Analysis Overall Expectations ANV.01 – generate and apply criteria to evaluate their own dramatic presentations; ANV.02 – use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community; ANV.03 – describe similarities in the dramatic arts of their own and other cultures in the global community; ANV.04 – demonstrate an understanding of how role taking and the processes of drama are connected to their lives. Specific Expectations Evaluation AN1.01 – describe the skills, theories, and concepts being demonstrated as a drama is developed; AN1.02 – demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN1.03 – use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN1.04 – demonstrate an understanding of the function of the director, designer, stage manager, and technician in the production of a drama; Page 24 Dramatic Arts - Open AN1.05 – identify and make connections with individual artists or groups involved in drama (e.g., professional theatre companies such as the Shaw Festival, Stratford Festival; local amateur theatre groups); AN1.06 – compare how vocal techniques, space, costume, movement, character, and conventions are used in the dramas of their own and other cultures; AN1.07 – demonstrate an understanding of universal meaning in drama. Reflection AN2.01 – identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning); AN2.02 – explain connections between their own lives and the metaphor or theme in a drama; AN2.03 – demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of a drama; AN2.04 – analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama; AN2.05 – demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork); AN2.06 – identify career and life skills learned in drama (e.g., public speaking, presentation skills, taking initiative and responsibility in a group). Page 25 Dramatic Arts - Open Ontario Catholic School Graduate Expectations The graduate is expected to be: A Discerning Believer Formed in the Catholic Faith Community who CGE1a -illustrates a basic understanding of the saving story of our Christian faith; CGE1b -participates in the sacramental life of the church and demonstrates an understanding of the centrality of the Eucharist to our Catholic story; CGE1c -actively reflects on God’s Word as communicated through the Hebrew and Christian scriptures; CGE1d -develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good; CGE1e -speaks the language of life... “recognizing that life is an unearned gift and that a person entrusted with life does not own it but that one is called to protect and cherish it.” (Witnesses to Faith) CGE1f -seeks intimacy with God and celebrates communion with God, others and creation through prayer and worship; CGE1g -understands that one’s purpose or call in life comes from God and strives to discern and live out this call throughout life’s journey; CGE1h -respects the faith traditions, world religions and the life-journeys of all people of good will; CGE1i -integrates faith with life; CGE1j -recognizes that “sin, human weakness, conflict and forgiveness are part of the human journey” and that the cross, the ultimate sign of forgiveness is at the heart of redemption. (Witnesses to Faith) An Effective Communicator who CGE2a -listens actively and critically to understand and learn in light of gospel values; CGE2b -reads, understands and uses written materials effectively; CGE2c -presents information and ideas clearly and honestly and with sensitivity to others; CGE2d -writes and speaks fluently one or both of Canada’s official languages; CGE2e -uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life. Page 26 Dramatic Arts - Open A Reflective and Creative Thinker who CGE3a -recognizes there is more grace in our world than sin and that hope is essential in facing all challenges; CGE3b -creates, adapts, evaluates new ideas in light of the common good; CGE3c -thinks reflectively and creatively to evaluate situations and solve problems; CGE3d -makes decisions in light of gospel values with an informed moral conscience; CGE3e -adopts a holistic approach to life by integrating learning from various subject areas and experience; CGE3f -examines, evaluates and applies knowledge of interdependent systems (physical, political, ethical, socio-economic and ecological) for the development of a just and compassionate society. A Self-Directed, Responsible, Life Long Learner who CGE4a -demonstrates a confident and positive sense of self and respect for the dignity and welfare of others; CGE4b -demonstrates flexibility and adaptability; CGE4c -takes initiative and demonstrates Christian leadership; CGE4d -responds to, manages and constructively influences change in a discerning manner; CGE4e -sets appropriate goals and priorities in school, work and personal life; CGE4f -applies effective communication, decision-making, problem-solving, time and resource management skills; CGE4g -examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities; CGE4h -participates in leisure and fitness activities for a balanced and healthy lifestyle. A Collaborative Contributor who CGE5a -works effectively as an interdependent team member; CGE5b -thinks critically about the meaning and purpose of work; CGE5c -develops one’s God-given potential and makes a meaningful contribution to society; CGE5d -finds meaning, dignity, fulfillment and vocation in work which contributes to the common good; Page 27 Dramatic Arts - Open CGE5e -respects the rights, responsibilities and contributions of self and others; CGE5f -exercises Christian leadership in the achievement of individual and group goals; CGE5g -achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others; CGE5h -applies skills for employability, self-employment and entrepreneurship relative to Christian vocation. A Caring Family Member who CGE6a -relates to family members in a loving, compassionate and respectful manner; CGE6b -recognizes human intimacy and sexuality as God given gifts, to be used as the creator intended; CGE6c -values and honours the important role of the family in society; CGE6d -values and nurtures opportunities for family prayer; CGE6e -ministers to the family, school, parish, and wider community through service. A Responsible Citizen who CGE7a -acts morally and legally as a person formed in Catholic traditions; CGE7b -accepts accountability for one’s own actions; CGE7c -seeks and grants forgiveness; CGE7d -promotes the sacredness of life; CGE7e -witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society; CGE7f -respects and affirms the diversity and interdependence of the world’s peoples and cultures; CGE7g -respects and understands the history, cultural heritage and pluralism of today’s contemporary society; CGE7h -exercises the rights and responsibilities of Canadian citizenship; CGE7i -respects the environment and uses resources wisely; CGE7j -contributes to the common good Page 28 Dramatic Arts - Open Unit 1: Group Dynamics Time: 10 hours Unit Developers: Barb Carlton, Mike Gloster, Cathy Jeffrey, Jim Mulveney Development Date: November 1999 Unit Description Teachers begin this unit by helping students become acquainted with their fellow students and their Godgiven talents. The teacher fosters an awareness of “Church” as one body in Christ. Just as each Catholic is a contributing member in their faith community, students begin to understand how their contribution in the Drama classroom contributes to their personal growth. In a teacher-centred activity, students are presented with the teacher’s guidelines for classroom management. Students will also have the opportunity to examine the knowledge and skills they acquired in the Grade 9 Dramatic Arts course. Students who did not take Grade 9 Dramatic Arts will also actively take part in games and exercises to become familiar with the terminology necessary to communicate in the drama classroom. Through class discussion, reflection, and journal writing, students will be able to express their personal expectations of the course and to gain an understanding of the teacher’s expectations. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good. Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Presents information and ideas clearly and honestly and with sensitivity to others. Writes and speaks fluently one or both of Canada’s official languages. A Reflective and Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities, and contributions of self and others. Exercises Christian leadership in the achievement of individual and groups goals. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Unit 1 - Page 1 Dramatic Arts - Open Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations. Specific Expectations TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); CR1.02 - demonstrate an understanding of the element or risk in playing a role (e.g., adapting to challenges to personal and social beliefs); CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.07 - identify and use effective styles of collaboration in drama; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning); AN2.05 - demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic art (e.g., creative thinking, problem solving, risk taking, teamwork). Activity Titles (Time + Sequence) Activity 1 Activity 2 Group Dynamics/ Getting to Know You Improvisation/Working In Role 300 minutes 300 minutes Prior Knowledge Required Students should enter the drama classroom with basic listening and co-operative skills, reflective journal writing practice and basic knowledge of oral presentation. Changes may need to be made to accommodate students with varying dramatic backgrounds. Some students may have taken the Grade 9 Dramatic Arts course. Refer to the Grade 9 Dramatic Arts Course Profile to examine the activities to which they have been exposed. Unit Planning Notes One of the main purposes in Unit 1 is to develop within the students an understanding of group responsibility in the creation of drama. The teacher’s main evaluation technique in this unit is examination of the student’s participation and their role in the group dynamic. See Appendix 1.2. The warm-ups, games, and activities in this first unit are largely diagnostic. The teacher determines, at this point, the prior knowledge, physical challenges, and the ability level of the students in the class. This will help teachers to plan their lessons and the accommodations that need to be made in order to meet the needs of their students. Establish routines as per Appendix 1.1 Post these guidelines so that they are always visible. Create an atmosphere that encourages students to take risks in a safe and comfortable environment Ensure that the students understand respect for everyone in the drama classroom including themselves. Ensure student safety. Review daily the dos and don’ts of physical activity. Be aware of the individual differences that may occur within the classroom, e.g., those who have or have not completed the Grade 9 Dramatic Arts or Comprehensive Arts course. Many of the warm-ups included in this first unit are a repeat from the Grade 9 Drama Course. See the Grade 9 Drama Profile for further references. Unit 1 - Page 2 Dramatic Arts - Open Emphasize to students that the co-operative activities will help them to create a functioning community true to our Catholic faith and to prepare them for their future career opportunities. The students need an area that is large enough and conducive to game-playing. The teacher needs to provide blindfolds, and any other equipment needed for game-playing. To assist in classroom management and encourage leadership emphasize Catholic values such as honesty, integrity, care, compassion, and understanding. Teaching/Learning Strategies Students participate in large/small group activities, collaboration, brainstorming, friendly competition, group presentations and reflective writing/ journal responses. Assessment and Evaluation In this unit students have the opportunity to demonstrate the development of their knowledge and understanding of the language of drama. Their role within the group dynamic and their ability to communicate and express ideas is observed. The application of the knowledge and skills learned are presented and evaluated by teacher observation of short assignments. In general, the teacher has the opportunity to evaluate the skill level of the students and to plan strategies for bringing all students to the level necessary to proceed with the rest of the course. Resources Course Profile - Dramatic Arts Grade 9 Open www.curriculum.org Canadian Conference of Catholic Bishops. Catechism Of The Catholic Church. Ottawa: Publications Service, 1994. Johnstone, Keith. Impro. Lundy, Charles and David Booth. Improvisation. Toronto: Harcourt Brace, 1985. Neelands, Jonothan. Structuring Drama Work, New York: Cambridge University Press, 1990. O’Neill, Cecilly and Allan Lambert. Drama Structures. London: Century Hutchinson Ltd., 1982. Swartz, Larry. Dramathemes - A Practical Guide For Teaching Drama. Markham, Ontario: 1988. Parsons, Les. Response Journal. Markham, Ontario: Pembroke Publishers Ltd., 1990. Spoilin, Viola. Theatre Games For The Classroom-A Teachers Handbook. Illinois: Northwestern University Press, 1986. Van Allsburg, Chris. Mysteries of Harris Burdick, Boston: Houghton Mifflin Co., 1984. Unit 1 - Page 3 Dramatic Arts - Open Activity 1: Group Dynamics/Getting To Know You Time: 300 minutes Description Teachers begin this unit by helping students become acquainted with their fellow students, their classroom, and their teacher. In a teacher-centred activity, students are presented with the teacher’s guidelines for classroom management. Students will also have the opportunity to examine the knowledge and skills they acquired in the Grade 9 Dramatic Arts course. Students who did not take Grade 9 Dramatic Arts will actively take part in games and exercises to become familiar with the terminology necessary to communicate in the drama classroom. Through class discussion, reflection, and journal writing, students will be able to express their personal expectations of the course and to gain an understanding of the teacher’s expectations. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good. Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Presents information and ideas clearly and honestly and with sensitivity to others. Write and speaks fluently one or both of Canada’s official languages. A Reflective and Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities, and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of drama; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations. Unit 1 - Page 4 Dramatic Arts - Open Specific Expectations TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); CR1.02 - demonstrate an understanding of the elements of risk in playing a role (e.g., adapting to challenges to personal and social beliefs; CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.07 - identify and use effective styles of collaboration in drama; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning); AN2.05 - demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork). Planning Notes One of the main purposes in Unit 1 is to develop within the students an understanding of group responsibility in the creation of drama. The teacher’s main evaluation criteria in this unit is to examine the student’s participation and role in the group dynamic. The warm-ups, games, and activities in this first unit are largely diagnostic. Teachers are able to assess the level of the students’ previous drama training, as well as any special needs, physical, or otherwise, that exist within the class. Establish routines as per Appendix 1.1. Post these guidelines so that they are always visible. Create an atmosphere that encourages students to take risks in a safe and comfortable environment Ensure that the students understand respect for everyone in the drama classroom including themselves. Ensure student safety. Review daily the dos and don’ts of physical activity. Be aware that some of the warm-up games need special attention to safety concerns. Be aware of the individual differences that may occur within the classroom.. Emphasize to students that the co-operative activities will help them to create a functioning community true to our Catholic faith and to prepare them for their future career opportunities. The students need an area that is large enough and conducive to game-playing. Teachers make have to make accommodations if their space is limited and their numbers are large. The teacher needs to provide blindfolds, and any other equipment needed for game-playing. Dramatic language introduced is italicized. Definitions are found in the glossary. See Appendix A.1. Prior Knowledge Required Students should enter the drama classroom with basic listening and co-operative skills, reflective journal writing practice and basic knowledge of oral presentation. Changes may need to be made to accommodate students with varying dramatic backgrounds. Some students may have taken the Grade 9 Dramatic Arts course. Check the Grade 9 Dramatic Arts Profile to examine the activities to which they have been exposed. Unit 1 - Page 5 Dramatic Arts - Open Teaching/Learning Strategies Introduction: Classroom Orientation 1. Students sit on the floor, facing the teacher, and are given the Guidelines for Classroom Management (Appendix 1.1). In discussion with the class, the teacher establishes the rationale behind this list of “dos and don’ts”. For some students, this may be their first experience in a drama class, and the special considerations regarding safety, co-operation, and trust need to be emphasized as early as possible to ensure the smooth and safe operation of the class. This guideline may be sent home with students to be read and signed by their parent/guardian. Thus it would become a “contract” between the teacher, the student, and the parent/guardian. 2. Students are given copies of the course syllabus. At this time the teacher shows them, by referring to the hand-out, the general content of the course, giving them an overview of the progression of skill development that awaits them as the course develops. The teacher generates a discussion of the students’ prior expectations of the course. This will give an opportunity for students of varying drama backgrounds to describe aspects of the course that they either anticipate or are apprehensive about. Main Exercise 1 There are many games included in this unit. The teacher uses these games to develop within the students an understanding of the importance of the group dynamic in the creation of drama. The teacher also uses the activities to diagnose the needs of their students and to identify their level of previous drama training. The activities should help the group develop the trust necessary to move forward in drama. As well, the basic language of drama will be introduced and reinforced. 1. Name Tag Students stand in a circle. The teacher alerts students to the fact that students in the class will be identifying themselves to the class and that they should attempt to remember as many names of classmates as possible. A student, designated by the teacher, begins the game by shouting out his/her own name and simultaneously pointing to another student. The student who was pointed at then calls out his/her own name, and points to another student in the class. This activity continues until each student has had a chance to say his/her name two or three times. At this point, the exercise changes, and the designated student, rather than call out his/her own name, claps once and quickly points to another student, shouting out that student’s name. 2. Zip, Zap, Zop The students again stand in a circle. A designated student begins the exercise by standing with two hands together, with palms facing one another. The student slides one hand away and points directly at another student in the circle, simultaneously saying “Zip”. The student who was pointed at continues the exercise by placing his/her hands together and then pointing at another student, this time saying, “Zap”. The student pointed at repeats the same pointing motion, this time saying “Zop” as he/she points. The exercise continues, more quickly as the students become proficient at it, with the sequence of the words always being, “Zip, Zap, Zop”. When a student fails to continue the game, either because of a slow response, or inaccurate response, that student is eliminated, and sits down. The game continues until only one student remains standing. Reflection 1: Journal Writing Note: Because this is the first journal response of the term, the teacher explains his/her expectations and standards for journal writing. The teacher directs the students to reflect upon the following topics and write a journal recording their responses: Were they nervous when they came to their first drama class of the term? What previous drama experience have they had, including classroom instruction? What personal qualities do they possess that make them suitable for participating in this class? What drama skills do they hope to acquire during the term? What are their reasons for selecting drama as a part of their schedule for this term? Unit 1 - Page 6 Dramatic Arts - Open Warm-up 2 The teacher will lead the students in a variety of games to create a positive group dynamic. The teacher should decide how many of these games to use within their own time limitation. Accommodations may have to be made when teachers have limited space and large groups of students. 1. Where Do I Belong The students are divided into two groups. The teacher calls out the following: Get in a straight line according to i) your first name alphabetically ii) your last name alphabetically iii) your street name alphabetically iv) your street number, smallest to largest v) your age, youngest to oldest The teacher may further this activity by giving points for each finish to the winning group and a prize to the most points overall. 2. Blob Tag The teacher instructs the students to get into pairs. The partners hold hands. One partnership is designated “IT”. The object of the game if for the “IT” pair, without separating, to tag other pairs. The tagged pairs join the “IT” pair, and the original partnership grows, becoming the “Blob”. The Blob continues tagging pairs until it has consumed the entire class. 3. Atom The teacher instructs the students to move about the classroom in a variety of ways. Some examples are to move in slow motion, hopping on one leg, in the smallest position, skipping, etc. Once students are all moving, the teacher shouts “Atom” and then add a number to it as in “Atom 4”. The number indicates to the students how to form their groups. When “Atom 4” is shouted, the number 4 indicates that each group must have 4 students in it. Once the students can readily develop their groups, the teacher adds the following variation. The teacher explains to the students that now when they form their groups, it will be with a theme in mind. For example, the teacher shouts “Atom 4 - furnishing a house.” The groups, in addition to forming a group, have to develop a picture related to the theme supplied by the teacher (e.g., a sofa, backyard playground, a stereo system, a kitchen table, etc.). Each member becomes part of the picture. 4. Who Started The Motion The teacher instructs the students to stand in a circle. One player is sent from the room while another player is selected to be the leader who starts a motion that is duplicated by the group. The outside player is called back, stands in the centre of the circle, and tries to discover the leader, that person who is leading the other players through different motions. The leader may change motions at any time, sometimes even when the centre player is looking directly at the leader. When the centre player discovers the leader, two other players are chosen to take their places. 5. Magician The teacher divides the class into groups of seven or eight, and each group forms a circle. The teacher gives everyone a slip of paper. One slip in each group has an X marked on it. The person who receives the X-marked slip is the “magician” who makes students “disappear” by winking at them. The teacher instructs the students that if they are winked at, they must count silently to ten before announcing, “I’m invisible.” If someone else in the group thinks the he or she knows who the “magician” is, then that person makes an accusation. If correct, the game is over, and the slips are drawn again. If wrong, the accuser must withdraw from the game The teacher repeats the game, joining the two circles together. He/she should make sure that now there is only one piece of paper marked “X”. Unit 1 - Page 7 Dramatic Arts - Open Main Exercise 2 The teacher leads the students through the following activities to encourage the students to take risk and develop physical trust. Once again, the teacher decides how many of these activities to include. The concepts to be introduced/reinforced are the importance of risk-taking and trust. Safety is an important consideration during these activities. Be sure that the students are aware of safety concerns. Always demonstrate “risky” activities, using a responsible, experienced student as a partner. 1. I’ll Catch You! Choose a partner, and call yourselves A and B. B stands about 45 cm behind A. A leans backwards keeping his/her knees straight. B catches and supports A by putting both hands on A’s shoulders. This is repeated several times until A’s confidence is built up. A then moves a little further away and repeats the “fall”. The experience is usually heightened if A closes his/her eyes. Change roles. 2. Balancing Act Choose a partner and stand facing each other. Your toes can be touching or not. Hold hands and lean backwards as far as you can. The idea is for each of you to balance the weight of the other, so that neither of you falls over. Close your eyes when you both feel balanced. 3. Russian Doll Get into small circles of about five or six people, and choose one person to stand in the centre. He/she closes his/her eyes and leans back in the same way as in I’ll Catch You. The person is caught, supported and passes around the group, gently and slowly. Try to make this person “roll” around the circle smoothly. All students take turns being in the centre. 4. Trust Lifts The teacher forms groups of eight or nine people. One student lies on the floor on his/her back, with eyes closed. The rest of the students station themselves on either side of this person and place their hands underneath his/her body. The students gently raise him/her in a rocking to and fro movement, as high as possible. Then they lower the person the same way. The students change around so that everyone can experience the trust lift. Discussion/Reflection 2 The teacher assigns a written journal response to the following questions. The students reflect upon the day’s activities and write in their journals. Discussion as a large group follows. Why is a sense of trust in others essential for effective dramatic expression? Why is a great deal of time being spent on developing trust and movement activities? Why are we spending a great deal of time on movement games and trust activities? How do they enrich the dramatic experience? How can these activities help you outside the drama classroom, e.g., in other classes, in the world of work, in your faith development, etc. Assessment/Evaluation Techniques Informal teacher observation of the group dynamic and of individual student ability level will be largely diagnostic. Accommodations for each teaching/learning situations will have to be made. Teachers can use Appendix 1.2 to help evaluate the students’ grasp of the importance of group collaboration and trust in the creation of drama. Through the students’ journals (Appendix 1.3), the teacher can evaluate the level of previous drama training for each student. Accommodations Where special needs are obvious, provide peer assistance for each activity, including journal writing if necessary. Use language which is appropriate to the level of the groups’ understanding. Unit 1 - Page 8 Dramatic Arts - Open Reinforce with both facial and hand gestures to assist both ESL students and students with learning challenges. Model each activity by doing a dry run. Allow extra response time for students with special needs including ESL students. Resources Course Profile - Dramatic Arts Grade 9 Open - www.curriculum.org Johnstone, Keith. Impro - Improvisation and the Theatre. New York: Routledge, 1992. Lundy, Charles and David Booth. Improvisation. Toronto: Harcourt Brace, 1985. Neelands, Jonothan. Structuring Drama Work. New York: Cambridge University Press, 1990. O’Neill, Cecily and Allan Lambert. Drama Structures. London: Century Hutchinson Ltd., 1982. Parsons, Les. Response Journal. Markham, Ontario: Pembroke Publishers Ltd., 1990. Spolin, Viola. Theatre Games For The Classroom - A Teachers Handbook. Illinois: Northwestern University Press, 1986. Swartz, Larry. Dramathemes - A Practical Guide For Teaching Drama. Markham, Ontario: 1988. Van Allsburg, Chris. Mysteries of Harris Burdick. Boston: Houghton Co., 1984. Appendices Appendix 1.1 – Guidelines for Classroom Management Appendix 1.2 – Checklist for Daily Drama Participation Appendix 1.3 – Checklist for Journal Evaluation Activity 2: Improvisation/Working In Role Time: 300 minutes Description The students in this part of the unit begin to enrich their dramatic skill. Improvisation, tableaux, and role play are added to the students repertoire, and they learn the distinction between acting in role and out of role. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good. Integrates faith with life An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Presents information and ideas clearly and honestly and with sensitivity to others. Writes and speaks fluently one or both of Canada’s official language A Reflective And Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. Unit 1 - Page 9 Dramatic Arts - Open A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. A Collaborative Contributor Works effectively as an interdependent team member. Exercises Christian leadership in the achievement of individual and group goals. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations. Specific Expectations TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); CR1.02 - demonstrate an understanding of the element of risk in playing a role (e.g., adapting to challenges to personal and social beliefs); CR1.05 - identify various solution to the problem of conflict in group situations and compare their effectiveness; CR1.07 - identify and use effective styles of collaboration in drama; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out or role, questioning); AN2.05 - demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork). Planning Notes The teacher will need pictures to develop the role play in Main Exercise 4. The books Mysteries of Harris Burdick and Drama Themes have been suggested as sources. Any pictures leading to openended questions would be suitable for the activity (e.g., newspaper clippings). This may be the students’ first experience with improvisation and role play. Create an atmosphere that encourages students to take risks. Respect for others is important. In the formation of groups, teachers should consider the differences in the students’ drama backgrounds, as determined in the earlier activities from this unit. Prior Knowledge Required An understanding of the collaborative and co-operative skill required in successful drama work. Trust in their fellow class members and a willingness to take a risk. Unit 1 - Page 10 Dramatic Arts - Open Teaching/Learning Strategies Warm-up 1(a): Developing Intuition The teacher instructs the students to pair off and face each other in a standing position. The teacher tells them to move and the students react accordingly (e.g., knee to knee, or back to back). The teacher calls “change” and the students find a new partner. This is repeated numerous times at an increased rate. The teacher varies the activity by asking students to connect different body parts (e.g., knee to elbow, hand to back, etc.). The game is repeated with a new twist. The students react to commands given by teacher, but must not use the two body parts that are called. For example, on the command “ knee to knee” the students now use any two body parts except the knees (e.g., hand to hand). If the command mentions two different body parts (e.g., knee to toe), students must respond by using two other differing body parts, completely different from the command given (e.g., elbow to shoulder). The teacher calls “Change” the students find a new partner, and the exercise is repeated. The students and the teacher discuss the task they just completed. The students are asked to make pointform notes on the discussion as a basis for a journal to be written later in the period. They decide which of the two activities was the easiest and the reasons for the difference in difficulty. Students are asked which one obstacle delayed the completion of the second part of the activity, and which of the two exercises felt more comfortable, with a natural flow to it. Warm-up 1(b): This Is My Ear The students are asked to choose a partner. The object of this game is for one partner to point to one part of his/her body and identify it (e.g., “This is my eye”). The partner responds by pointing to a different part of his/her body and identifying it. The teacher calls “Change”, and the students select a new partner. This game continues as rapidly as possible. Next, one partner points to one part of his/her body and calls it an incorrect name. For example, the student may say, “ This is my ear” while pointing to his/her nose. The partner then may respond by pointing to his/her hand and saying, “This is my nose.” The first student may respond by pointing to his/her knee, saying, “This is my hand.” The student always responds by calling out the body part that his/her partner has pointed to, but always points to a part of the body other than that which he/she has called out. Students perform the task as rapidly as they can and see how far they can go without disruption. The teacher calls “Change” and students choose a new partner. The teacher guides the students in a discussion (with note taking) of the activity. They evaluate which of the preceding activities was more difficult to respond to and why. They are asked to consider why analytical thinking, as opposed to reacting intuitively, interferes with the speed and efficiency of their work. Warm-up 1(c): Hunter/Hunted The teacher seats students in a large circle. Two students volunteer to enter the circle and are blindfolded. One is designated the hunter and the other is designated the hunted. The two students are separated and disoriented by being spun slowly by two other volunteers. The second pair of volunteers rejoin the circle, and the game begins. The object of the game is for the hunter to try to tag the hunted. The hunted student tries to avoid being tagged at all costs. Caution the students to move slowly and deliberately in order to respond intuitively and to avoid the risk of injury. The role of the circle is to provide a barrier to eliminate any chance of injury and to gently re-direct the hunter/hunted back into the circle. Once the hunted has been tagged, two new volunteers enter the circle and the game is continued until all students have been involved. Newspaper on the floor can help to create the sound needed by the hunter. In a teacher-led discussion, the students explain the different strategies they used when they were: (i) the “hunter” and (ii) the “hunted”. Unit 1 - Page 11 Dramatic Arts - Open Main Exercise 1: Confrontation a. Students choose a partner and call themselves A and B. The teacher calls out an environment (e.g., the classroom), and instructs the students to begin a conversation with the words, “ No you didn’t.” Without preparing, student A begins a conversation by saying, “No you didn’t,” and B replies, “Yes I did.” The students continue the conversation and quickly develop it into a natural argument. They should not continue at a “ No you didn’t,” “Yes I did” level.” They should develop the scene naturally. b. The teacher calls, “Freeze” and suggests a new environment in which the argument could take place. The students repeat the exercise, alternating the opening lines from student A to student B. The teacher suggests many different environments for the arguments such as a store, a theatre, the dinner table, or a school bus. c. The teacher select a new situation for developing the argument, incorporating one of the following instructions: argue with eyes closed argue without words, using gesture only (mime) argue while clasping each other’s wrists without letting go argue while sitting on your hands argue in a very quiet voice, whispering The students are allowed approximately one minute to develop each argument. Extension 1: Given Circumstances The student pairs now select an environment of their choice and develop an improvisation containing the following information: Who, What, Where, When, and Why. They are given two to five minutes to prepare. Once preparation is completed, the teacher will conduct a group rehearsal. The teacher instructs all of the groups to begin rehearsing at the same time. The length of the scenes will all vary, and thus the rehearsal ends when the last group is finished. The teacher assigns each group a number. The students remain in their location and the teacher calls out a randomly selected number. When a group’s number is called, the students in that group immediately begin their improvisation. The teacher allows the scene to develop, and does not let the scene end until a new number is called and a new scene is begun by the group with that new number. Applause for all groups is given when all improvisations are completed. Discussion/Journal 1 The students now reflect upon the previous warm-ups and exercise, and write a journal expressing their observations and feelings about the following areas: Did you feel more comfortable in the large group or small group activities? Why? Why is the sixth sense, intuition, so important in both pure and planned improvisations? Why is improvisation a valuable tool to the actor? What skills are developed in improvisation? How can these skills help develop self-esteem? Do you need self-esteem in order to recognize your God-given talents? Why or why not? Warm-up 2 a. Walk and Freeze The teacher instructs the students to walk around the room freely, going in any direction they wish in a quiet, relaxed manner. When the teacher calls “ freeze”, the students freeze in their positions. This process is repeated two or three times. After the final “freeze” the teacher tells one half of the class to sit down while the other half continues in the “Walk and Freeze” activity. The teacher designates one of the seated students to be the “caller”. That student, rather than calling out “freeze”, calls out an emotion (e.g., fear, joy, anxiety) to the students walking around. The students then freeze using their body to demonstrate the emotion called. After several emotions have been called out, have the groups reverse roles, and repeat the exercise. Unit 1 - Page 12 Dramatic Arts - Open b. Calling the Tableau The teacher divides students into large groups of eight or more. Each member of the group takes on a number, for example, one to eight. The students are told that when the teacher calls out one of their numbers, the student with that number becomes the leader. Once the leader is designated, the students move randomly and quickly in their work space, with each group operating in their own area. At any time, the leader calls out a word and all students in that group must freeze, forming a tableau that illustrates the word. For example, if a leader calls, “school”, group members quickly take on a position that displays their reaction to the word “school”. It is not important that their positions be directly related to another. The tableau is held for about five seconds. The leader then releases everyone, and the students again move until another word is called out. This activity is repeated several times, with a new word each time. The teacher changes group leaders by calling out a new number, until every student has the opportunity to be the leader. The teacher encourages students to experiment with a variety of body positions, levels, facial expressions, and gestures. Main Exercise 2: The Disappearance of Harris Burdick The following activities are examples of drama from source. The activities and questions listed relate to a picture found in the text Mysteries of Harris Burdick. Teachers can build this drama using any suitable picture. Photos from newspapers and magazines are also valuable resources. a. The lesson begins with the teacher asking the class to consider why someone would need the help of a detective. After this brainstorming activity, the teacher explains that this drama is going to involve a group of detectives trying to solve a mystery. The teacher in-role introduces himself/herself as the Chief of the Police. The “Chief” welcomes students to this emergency session and tells them that they were specifically chosen to help solve this case because of their talents and qualifications. The following case is described: “A man named Harris Burdick disappeared some time ago. His family is concerned about the bizarre disappearance. Apparently Harris’ life was peaceful and he never seemed to have any enemies. The only information that headquarters has is a photograph that was sent to the Police Station. This photograph is under tight security at the moment, but I hope to share it with you at our next meeting. I realize you have many questions and I will try to provide some answers. I’m afraid, however, that the information we have is rather limited, which is why we’re depending on your expertise.” Photographs to support this activity are found in the Mysteries Of Harris Burdick. Teachers can use any variety of visual resources. This session continues with the group questioning the “Chief” and listening carefully to his/her answers. The teacher in-role tells the students that Burdick was a photographer who had won many prizes; he was a quiet family man; his family was on vacation at the time of his disappearance; he had held many jobs in the past, and he had been alone in the house at the time of his disappearance. The teacher out of role brings the students out of their roles and as a class they discuss all the facts that were learned about Harris Burdick. The teacher then forms small groups of “detectives” and, on large sheets of paper, each group prepares a list of questions that they would like to have answered to assist in their investigation. The teacher in-role then listens as each group presents their list of questions. These questions and the responses of the teacher in-role are recorded by a student secretary to assist in the future investigation. Below are examples of the types of questions that could be asked: How was the photograph sent to headquarters? Has there been any contact with his family? Is there a possibility that this is a publicity stunt? What other jobs has he had in the past? What prizes has he won? Is his life in danger? Unit 1 - Page 13 Dramatic Arts - Open Did he have any enemies? Could Harris Burdick have sent the picture to the detectives? Extension 2 a. The teacher in-role and the “detectives” review the questions from the first detective meeting, and the students begin to form a number of hypotheses about Burdick’s disappearance. The teacher, the “Chief of Police”, thanks the detectives for their inquiry and work to date. He/she comments that the “ detectives” might be wondering why they were chosen for the case. He/she tells them that police files indicate that somewhere in the past, some of them may have been involved with Harris Burdick. Therefore, these “detectives” may be able to give insights into the man’s past and perhaps supply clues about his disappearance. If those “ detectives” shared some of the information with their colleagues, they perhaps could solve the mystery. Also, these “ detectives” may have some information about the photo, which until now has been kept private. The teacher takes the picture from a sealed envelope. The “Chief/teacher” asks students to assume the roles of former acquaintances of Burdick and to create “information” about Burdick’s life that may have a bearing on his present situation. In response to the “Chief’s” questioning, several “detectives” are given a chance to report on their knowledge of situations from Burdick’s past which may explain his disappearance. The “Chief of Police” thanks the detectives for this input and suggests that this new information may create some additional questions in their minds. The students in role as detectives, now work in small groups brainstorming a list of further questions that they now want answered. The teacher in role, now asks the class to provide a list of six persons (his wife, his partner at work, a next-door neighbour, his son, his publisher, his father, etc.) to whom they may now want to speak, in order to acquire new information about Burdick. The teacher out of role asks for six student volunteers to assume the role of these six persons. These volunteers are told not to discuss their roles. One by one, they are questioned by the “detectives”. Each of the six subjects’ interviews lasts approximately two minutes. The detectives are then given the opportunity to wander about the room and interview one or more of the six characters to clarify any details. They also further build Burdick’s story, perhaps making connections between the various stories revealed in the questioning. Finally, the “detectives” work together in groups of four or five. These groups share any information that was acquired in the interviews and together they build a story explaining Burdick’s disappearance that will be shared at the next meeting. b. The teacher out of role asks the students to return to their “detective” groups. He/she explains that in order to piece together Burdick’s story, he/she would like to see some scenes from Harris’ life that might explain his disappearance. These scenes are to be presented as a series of three or four tableaux. Each tableau represents a picture that could be further used as a clue to Harris Burdick’s disappearance. The students are given time to prepare their tableaux stories. Then, at another meeting of all “detectives”, each group shares its work, presenting their tableaux as further “picture” clues. After each group presents its work, the “detectives” discuss any connections between earlier evidence and the “picture” clues just presented. Then all the “detectives” discuss any amendments or corrections needed to the stories. Together, the class then creates a single Harris Burdick story, one which explains his disappearance. In a final discussion, the students consider whether all of their original questions have been answered. c. The teacher out of role divides the class into small groups, giving each group a picture that could in some way be related to the Harris Burdick story. (Pictures can be found in Harris Burdock or teachers can use their own resources that would support this work.) Each group then creates a scenario that incorporates the picture into the Burdick story. Their creation should explain what had happened before the picture, during the picture, and after the picture, and should be consistent with the class’ earlier conclusions about what had happened to Harris Burdick. Unit 1 - Page 14 Dramatic Arts - Open Reflection 2: Journal Writing The teacher directs the students to reflect upon the following questions and to write a journal describing their experience in this activity: What elements of being a detective did you enjoy? What dramatic skills did you acquire from participating in this drama? Be specific. How could you apply these skills acquired in future drama work and in your own life? Warm-up 3 The teacher instructs the students to move randomly throughout the room. Teacher calls out “knee to knee.” Students move to the closest person and shake knees while saying, “Hi, I’m Barney.” The students then continue moving about the room as the teacher calls out various body parts to shake with. The goal of the students is to greet as many different people as possible. Main Exercise 3 : Getting to Know You The teacher has students answer the following questions in their journal: What is your favorite hobby? What is your pet peeve? What is your favorite movie/TV show? Who is your favorite actor/ actress? Why do you like Drama? What do you think is going to be the “craze” or “fad” in the year 2050? What is your biggest dream? What is your biggest fear? What is your most memorable moment as a child? If you could change something about the world today, what would that change be? Once students have answered all the above questions in their journals, the teacher directs them to form groups of four. The students share their answers with their group. They will be presenting this information (the information about themselves) in a creative way to the class as a way of “getting to know” each other further. The student groups choose a creative format to present their information. It may take the following forms. They can: write a poem, song or rap to be chorally read or performed; create a game show; create a newscast; choose another activity Students refer to their answers to the questions in their journal work. These answers are the basis for the group’s presentation/script. Information about each student must be used. The teacher suggests to students that they incorporate at least five of the ten answers from each student in their presentation. Once students have completed their planning and have spent time practising, they present their activity to the class. Reflection Journal 3 The teacher directs students to reflect on the previous activity and to write a journal response that responds to the following questions: Why is it important to do an activity such as this one in order to prepare for future drama work? What talents and gifts do you possess that will contribute to future drama work? Why is it important to recognize your God-given gifts and talents? What successes did you encounter in this group activity? Explain your contribution to this success. Unit 1 - Page 15 Dramatic Arts - Open How is your contribution to your faith community (church, neighborhood, etc.) similar to your contribution in the Drama classroom? How are they different? What difficulties did you encounter in this group activity? How were these problems solved? Extension 3: Terminology Review Because this is the final period of this activity, the teacher takes the opportunity to reinforce the drama terms that have been taught and reviewed during Activity 1. A Glossary (Appendix A.1) of all terms that will be taught during the course is handed out to the students. The teacher reads aloud the definitions of the terms dealt with in this unit, and then gives them time to silently read those items. The teacher then asks students to put the list away, and conducts a brief oral quiz, testing their knowledge of the terms. The students are then reminded to keep the list for the rest of the course and that additions will often be made to it. Assessment/Evaluation Techniques Through reflection and journal writing, students evaluate their ability to collaborate with a group in the creation of a drama. Through informal observation and the use of Appendix 1.3 (Journal Evaluation), the teacher evaluates the students’ mastery of the diverse skills necessary to create and sustain a role in drama. Informal observation and the participation by the teacher in-role, allow the teacher to evaluate the student’s grasp of the conventions of role playing. Using Appendix 1.2 (Checklist for Daily Drama Participation), the teacher measures the student’s ability to fulfill group responsibilities Accommodations Provide peer assistance for students with special needs during warm-up, main activities, as well as journal writing. Adapt the number of activities and their level of difficulty according to the student’s IEP. Arrange for remedial opportunities with staff from Special Education Department for students with special needs. This remediation may be needed to reinforce new vocabulary. Resources Course Profile - Dramatic Arts Grade 9 Open www.curriculum.org Dramathemes-A Practical Guide For Teaching Drama. Larry Swartz, Pembroke Publishers Ltd. (Markham, 1988) Drama Structures. Cecily O’Neill and Allan Lambert, Century Hutchinson Ltd., (London, 1982) Improvisation. Booth and Lundy, Harcourt Brace, (Toronto, 1985) Mysteries of Harris Burdick. Chris Van Allsburg, Houghton Mifflin Co., (Boston, 1984) Response Journal. Les Parsons, Pembroke Publishers Ltd., (Markham, 1990) Structuring Drama Work. Jonothan Neelands, Cambridge University Press, (New York, 1990) Theater Games For The Classroom - A Teachers Handbook. Viola Spoilin, Northwestern University Press, (Illinois, 1986.) IMPRO Improvisation and the Theatre. Keith Johnstone, Routledge, (New York, 1979) Appendices Appendix A.1 – Glossary Appendix 1.1 – Guidelines for Classroom Management Appendix 1.2 – Checklist for Daily/Unit Drama Participation Appendix 1.3 – Checklist for Daily/Unit Journal Evaluation Unit 1 - Page 16 Dramatic Arts - Open Appendix 1.1 Guidelines for Classroom Management To ensure the safety of all students and to create an atmosphere in which learning drama will be a positive, enjoyable experience, all students are required to observe the following guidelines: 1. Listen carefully to instructions given. 2. Students will never be asked to do anything impossible. All that is asked is an honest effort. 3. Never leave the classroom without teacher permission. 4. No gum, candy, snacks, or food are allowed in the classroom. 5. No physical contact with other students is allowed without teacher permission. Safety is always the first consideration in any activity. 6. Each day, students are expected to arrive in class on time, with notebooks and pens. 7. Students must treat one another with respect at all times, and must be supportive of all drama work. 8. Students are expected to be in drama class every day, as the success of our work depends upon everyone’s presence. Drama is a group activity, in which the contribution of every student is important. 9. Students must understand that in order to be successful in any drama work, they must have a playful attitude and a strong work ethic. 10. Students must understand that constructive criticism is essential to the creative dramatic growth of ach student. Note: l. The teacher may add any personal rule governing student behavior in the class. 2. The teacher may turn this “Guideline” into a contract to be sent home to be read and signed by the students’ parents/guardians. Unit 1 - Page 17 Dramatic Arts - Open Appendix 1.2 Checklist for Daily/Unit Drama Participation Name: Skill Is on time for class Rarely Sometimes Often Always Is focussed in large group Participates Enthusiastically Offers ideas Takes risks Stays on task Listens to others Resolves conflicts Assumes leadership Specific criteria Student Average: /4 Teacher Comment: Unit 1 - Page 18 Dramatic Arts - Open Appendix 1.3 Sample Checklist for Daily/Unit Journal Evaluation Name: Criteria Are dates entered? Are responses formulated and well-considered? Is factual information included, drawing examples from class or daily life? Is the writing legible? Rarely Sometimes Often Always Are entries complete? Specific criteria 1 Specific criteria 2 Specific criteria 3 Student Average: /4 Teacher Comment: Unit 1 - Page 19 Dramatic Arts - Open Unit 2: Developing Dramatic Technique Time: 18.75 hours Unit Developers: Barb Carlton, Mike Gloster, Cathy Jeffrey, James Mulveney Development Date: December 1999 Unit Description Exploration into improvisation, role play, and voice help develop the skills necessary to continue in the dramatic process. Students apply the techniques learned in a variety of exercises and activities. An increased awareness of character emotion and intent are explored through physical and vocal exercises. The students begin to understand the importance of the voice and the body as instruments of communication. The students are also given a brief history of the radio play as a dramatic genre, and have an opportunity to practise vocal skills and sound effect production in the presentation of a radio play. The fundamental skills explored in this unit are the prerequisite to the remainder of the course. Using stories from scripture and having the students explore the foundation of their Catholic faith will be part of the process. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good. Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective and Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. Makes decisions in light of gospel values with an informed moral conscience. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Applies effective communication, decision-making, problem-solving, time and resource management skills. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Caring Family Member Values and honours the important role of the family in society. Unit 2 - Page 1 Dramatic Arts - Open A Responsible Citizen Accepts accountability for one’s own actions. Respects the environment and uses resources wisely. Strand(s): Theory, Creation, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.03 - create drama through research or the interpretation of a source; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community. Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH1.02 - identify and explain methods of creating and developing roles within a drama that; accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observations, research, improvisation); TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intentions in a expressive speech; TH3.02 - explain how dramatic forms may effectively communicate more than one perspective; CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation); CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR1.07 - identify and use effective styles of collaboration in drama; CR2.03 - explain reasons for presenting a particular type of drama (e.g., children’s theatre) to a particular audience; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning. Activity Titles (Time + Sequence) Activity 1 Activity 2 Unit 2 - Page 2 Improvisation/Working in Role Developing Voice: Radio Plays 525 minutes 600 minutes Dramatic Arts - Open Prior Knowledge Required Students should have a basic understanding of working in role, improvisation and the techniques of voice production. Accommodations may be necessary for students with no theatre background. They should have a concrete understanding of the importance of co-operative and collaborative skills. They should have a concrete understanding of the importance of personal reflection and the importance of keeping a journal. Unit Planning Notes Be aware of individual differences within the classroom and provide accommodations where necessary. There are a wide variety of warm-up and exploratory activities. The teacher can select those appropriate to their class and arrange the activities in any order. The exercises are not just theatre experiences but a means of communicating and responding to their fellow players. It is the process that is the key to development and growth. Teachers provide examples of authentic radio plays to introduce the students to the genre. The Internet and the public library are valuable resources for examples of scripts and authentic radio plays for listening and performing. Teachers provide sound effect CD/tapes for student use. Students of dramatic arts should be encouraged to apply skills gained at school and acquire insight into theatre practice by volunteering as production assistants at a professional theatre or community drama centre. Teaching/Learning Strategies The students engage in whole-class, small group, and individual exercises to further develop their dramatic skill. Students develop the skills needed to critique both their own work and the work of others. Reflective writing is reinforced as an effective tool for personal growth both in and out of role. Working to meet definite criteria for evaluation is introduced. A final group performance is the culmination of the unit. Assessment and Evaluation The teacher assesses and evaluates the students’ understanding of the elements and principles of dramatic expression. As well, the teacher and the students use informal observation to assess the students’ understanding of the principles of voice production and of the elements of movement. Through journal writing, the students are able to reflect upon their understanding of the group responsibility in the creation of drama. During the unit, the teacher will make use of informal observation, student journals, and Appendix 2.2 to measure the degree to which students have met the unit’s expectations. Student presentations will also be evaluated by peers in group discussions. Resources Print Berry, Cicely. Voice and the Actor. London: Virgin Publishing Ltd., 1993. Lundy, Charles and David Booth. Improvisation. Toronto: Harcourt Brace, 1985. Novelly, Maria. Theatre Games For Young Performers. Colorado: Meriwether Publishing Ltd., 1985. Spoilin, Voila. Theatre Games for the Classroom - A Teacher’s Handbook. Illinois: Northwestern University Press, 1986. Unit 2 - Page 3 Dramatic Arts - Open Tanner, Fran Averett. Basic Drama Projects. Idaho: Clark Publishing Co., 1966. Tanner, Fran Averett. Creative Communication. Idaho: Clark Publishing Co., 1985. Public Library - examples of Radio Plays for student listening Radio Personalities – find local personalities to discuss radio today Web Sites Radio scripts Audio Theater Mind Movies Radio Drama AudioTheater.com CBC Radio One http://radio.cbc.ca/index. html Niftic Old Time Radio and Such niftic.com/otr/ Old Time Radio scifiguy.com Radio Classics radioclassics.com Radio Fiends radiofiends.com/index.shtml History of Radio Early Radio History ipass.net/ Radio Days: A Soundbite History otr.com/ Radio’s Golden Age radioguide.com./sdrad/mag19/goldyear.html International Radio Drama www.irdp.co.uk/radiodrama.htm. Radio Studios CBC Radio Drama Studio http://www.radio.cbc.ca/facilities/drama.html Unit 2 - Page 4 Dramatic Arts - Open Activity 1: Improvisation/Working in Role Time: 525 minutes Description In this activity the students become actively involved in the exploration of Given Circumstances (where, who, what, when, and why). These pronouns become the basis for the games. They are representative of setting, character, and stage action. The students also work on developing their interaction with others, their observation skills, their physical and vocal expression, and their emotional awareness and responsiveness. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Actively reflects on God’s Work as communicated through the Hebrew and Christian scriptures. Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective and Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. Makes decisions in light of gospel values with an informed moral conscience. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Applies effective communication, decision-making, problem-solving, time and resource management skills. A Collaborative Contributor Respects the rights, responsibilities, and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; ANV.02 - use of vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community. Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; Unit 2 - Page 5 Dramatic Arts - Open TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR1.07 - identify and use effective styles of collaboration in drama; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning). Planning Notes The teacher provides chart paper and markers for planning and design The students use journals and writing implements. Encourage risk taking and the development of trust. Stress safety at all times. See the glossary for a definition of Given Circumstances. Prior Knowledge Required Students should have an understanding of the basic elements of drama and an awareness of the need for co-operation of the entire group. The element of risk taking is essential. Teaching/Learning Strategies Warm-up 1a: Awareness of Space Students pair off and assign themselves A or B. They stand facing each other and raise their left hands high in the air directly in front of them. They spread their fingers apart to expose the palm of the hand. They place their left hand behind them, directly between the shoulder blades with the palm of their hand facing out. They take their right hand and raise it high in the air in front of them with their first finger pointing towards the ceiling. At this point the teacher stresses safety. Students must be aware at all times not only of their own space/immediate area but the space beside and behind them as well. The teacher encourages the students to use their intuition and their peripheral vision to assure the utmost safety. The students bow graciously towards each other and the teacher says “Begin”. Using the finger of their right hands as though they were fencing foils, the students “fence”. The object of the game is to see how many times they can use their pointed finger to tag their partner’s left hand (the one behind their back) in one minute. When they have completed the activity, they repeat the exercise using the opposite hands. Warm-Up 1b: Creating an Environment The teacher assigns each pair of students the number 1, 2, or 3. Groups with the number 1 form a group. The same is done for those with the numbers 2 and 3. Through the use of movement and dialogue, students in these groups create the following: a beach a desert island an airport a sports stadium a hospital Encourage the students to be creative. A “freeze” is called and the students are instructed to create a new environment. The exercise is repeated rapidly with as much exploration as possible. Unit 2 - Page 6 Dramatic Arts - Open Warm-up 1c: First Line/Last Line The students choose a partner and find a space standing and facing each other. They become either A or B. The teacher provides them with an opening line and directs A or B to begin the scene. Some suggested lines are: Is he still breathing? Why don’t you get your hair cut? Now we’re done for. I forgot to bring it with me. Has it got two heads or is that three? They’re a menace; it’s time someone did something about them The students develop the improvisation with their partner. The teacher at any time shouts “freeze”, introduces a new line, and a new scene is begun. The teacher can also call, “Freeze. Find a new partner.” This is done, a new line is introduced, and the partnerships develop their improvisations. The changes should be done rapidly and randomly to allow the students to develop and interact with as many students as possible. Main Exercise 1: Where - Setting and Environment The teacher leads a discussion using the following questions: “How do you know where you are? Is it true that you always know where you are? How do you know when you are in an unfamiliar place? How do you know that you are in a specific place, for example the kitchen? What if there were no food cooking? If every room in your house were moved around would you still know what room it was? How? Would you know a kitchen if it had no stove or fridge in it?” The discussion leads to the conclusion that we know where we are by the objects around us. The teacher then uses the board and draws a basic floor plan. Using the model of the kitchen from the previous discussion, the students are asked to identify objects that would be in that room. The teacher lists all of the suggestions on the board. The students are then asked where they would place these objects in the kitchen and a floor plan is drawn on the board. The teacher plots the objects onto the floor plan. The initial floor plan is now complete. The teacher hands out chart paper and a marker to each group (the largest paper available is important for completion of the exercise). Each group decides on a location other than a kitchen and designs a floor plan as per the discussion above. They first design it on a small sheet of paper using a pencil. The teacher moves from group to group to assure understanding and attention to detail. When the students have completed their design, they conference with the teacher. When the design has been approved by the teacher, they transfer it to the chart paper using the marker. The teacher then defines the term space object. Using the kitchen model from the board, the teacher demonstrate or mimes the use of the objects in the area (e.g., opening the refrigerator and placing the item on the counter). The students find an area in the classroom and physically walk through the area, using the floor plan as reference, and make contact with every object that they have on the floor plan. They must make contact with every item that is a space object. They then create a situation to improvise, and plan an improvisation incorporating their floor plan. The class gathers in the performance area and a group is selected to perform. The only physical objects in the performance area are chairs. The floor plan is placed in full view of the audience and actors. The actors use the floor plan for reference during the improvisation as much as they like. The players do not need to memorize the floor plan. This is deliberate and relieves the players from memorization, allowing them to relax. Remember, they are to make contact with every space object during the improvisation. Discussion/Reflection 1 The teacher presents the students with the following topics for discussion and reflection: Did you keep your focus? What allowed you to do so? Are the hands the only way of touching objects? What other possibilities could their be? How might floor plans be used in developing drama? Why does the development of the where enrich the believability of the scene? Unit 2 - Page 7 Dramatic Arts - Open Warm-up 2a: Persuasion Randomly assign each student a number 1, 2, 3, etc. Number 1 will work with number 2; number 3 will work with number 4, and so on. Students find their partner and stand facing each other. They then assign themselves the letter A or B. Teacher calls either letter and instructs them to begin an improvisation. Persuade your parent to change the channel to a show that you want to watch. Persuade your brother/sister to lend you the thing he/she treasures most. Persuade your parent to increase your allowance in order to cope with inflation. Persuade the bus driver to let you on the bus even though you have no money. The teacher can make up as many scenarios as he/she likes. When finished, the students find a new partner and begin another improvisation Warm-Up 2b: A Day in the Life The students form partnerships once again and one person in the partnership assumes the role of a student/teenager in the following situations. They are to develop dialogue with their partner who is: a parent at breakfast a teacher who wants to see your work your friend who wants to make plans with you for tonight a priest who has been missing you at Church on Sunday The teacher has the students switch roles and repeat the activity, taking on a new role. One person in the partnership assumes the role of a mother/father: with a close friend who has come to see you with a salesperson who has overcharged you with a co-worker while working The teacher has students reverse roles and repeat the activity. The teacher at any time may randomly choose groups for performance before the class. Main Exercise 2: Who and What (Character/Relationship and Action) The teacher leads a discussion on the following: Who - Do you usually know the person in the same room with you? Would you know a stranger from your brother? How would they treat you differently? Can you tell the difference between two friends and two strangers and two people who have just met? What do friends do that strangers don’t? How do two people who have just met react differently? People show us who they are not by what they say about themselves, but through their behavior. To communicate identities to the audience, you must show Who through relationships with your fellow players. What - Why do you usually go into a kitchen? Why do you go into a bedroom or a living room? We usually have a need for being where we are and for doing what we do, handling certain objects and for going into certain rooms. What develops the interaction of the characters, by developing the character with their setting. The teacher divides the class into two groups, A and B, and they sit opposite each other with a common playing area between them. One student is selected from group A to pick an activity from cards provided by the teacher. The student silently reads the activity and returns it to the teacher. He/She moves to the playing area and performs the activity (planting a garden, washing the car, etc.). When the activity becomes apparent to the other students in the group, they enter the playing area one at a time and add to the activity. For example, the first student rakes leaves, the second student hoes, the third student plants seeds, and so on, until all of the players from the team have entered the playing area. When complete, the exercise is repeated alternating the group and the activity. As each new activity is developed the teacher side coaches. “Show what you are doing, don’t tell us... Give yourself time to see what is going on... Take a risk. Don’t be afraid to make mistakes.” Unit 2 - Page 8 Dramatic Arts - Open Extension 2 The teacher divides the class into smaller groups and repeats the above exercise substituting an occupation (Who) for the activity (What). For example, the first player enters as a doctor washing his hands. The second player enters as a nurse and helps him put his gloves on. The next enters as patient and so on. Once again, the teacher side coaches, “ Show us who you are. Don’t tell us.” Combining Who, What, and Where - The above is repeated with a slight variation. The first player enters and begins an activity and the second enters and establishes a relationship to the first. Player 1 must accept and relate to any incoming player. For example: A man hangs a picture, a woman enters saying that she would like it hung lower. Player A accepts her as his wife and continues. The other players enter as children, relatives, etc. This gives rise to an event (Where) arising from character relationship (Who and What). Discussion2 Who were the players or characters in the scene? What were the relationships? How did these relationships allow the scene to develop? How is role playing different from acting? Why do actors spend time learning to role-play? Why is important to show rather than tell when doing these who and what exercises? Warm-Up 3: Keeper of the Keys The students sit in a circle. A volunteer assumes the role of the keeper and sits in the middle of the circle with their eyes closed. They are guarding the keys to the universe. The keys are at arms length in front of them. The other students in the circle randomly try to steal the keys without being detected. If the keeper detects any noise, he/she points in the direction that it came from. If they catch someone trying to steal the keys, the thief returns to his/her position. If they make a wrong accusation more than three times, they forfeit the right to be keeper and a new one is appointed. When someone is successful in taking the keys, they assume the role of keeper. The game is repeated. Main Exercise 3: Exchanging Where Divide the class into groups of three or four. Each group decides on a Where, Who, and What. They draw a floor plan of the Where and include the Who and the What in an information box on the floor plan itself. They also include the time of day, the weather, and any other environmental information they wish to include. The floor plans are collected. They are then redistributed to the groups. No group is to receive their own plan. They have three to five minutes to plan a scene utilizing all of the information given on the sheet. They must come in physical contact with all of the objects that are on the sheet. The students assume the role of audience and one group is selected to begin. The floor plan is brought up with them and situated where all of the group members can make reference to it. They do not need to memorize the floor plan but its utilization must be clear to the audience. Discussion 3: The designers of each floor plan are asked to comment on the presentation. The teacher questions, “Did the players follow the floor plan that was designed? Was it clear? Did they show or tell the plan? Was the information given in the box utilized? What did the players do to demonstrate the information?” Warm-up 4: Conflict a. The teacher instructs the students to choose a partner and find a place in the room. Decide who is partner A and B. Partner A sits down facing B who is standing. Son/Daughter(sitting): Mom/Dad, can I have the car tonight? It’s really important. Parent(standing): I need the car tonight. The teacher directs a discussion on how physical positioning (standing and sitting or any variation of level) affects the drama. Unit 2 - Page 9 Dramatic Arts - Open The exercise is repeated alternating players and physical positions with the teacher providing the following scenarios: Customer: I want to return this defective toaster Clerk: This store has a no returns policy. Student: I can’t write the test after class because I’m on the basketball team. Teacher: You must write the test. Your education is more important than basketball. Boss: You have to work overtime tonight. It’s an emergency. Worker: I have to go home. It’s my daughter’s birthday. Landlord: Pay the rent. You’re two months behind. Tenant: I won’t pay the rent until you repair the kitchen sink. Priest: It is important that you come to Church on Sunday. The congregation is depending on you. Parishioner: This Sunday is the playoffs. It’s a crucial game. I have to be there. The exercise is repeated only this time the teacher randomly calls upon a group and that group develops the situation. The other groups remain in their designated areas and await their turn. The teacher instructs the students that during the scene they are to exchange physical positions within the context of the dialogue. The scene ends only when the next group is called. b. An extension of this exercise is to have the students pick up the scene where the last group left off. They develop the same situation further using the last line as a starting point. The group are called upon randomly and non-sequentially. Groups may be called upon more than once. Main Exercise 4: Non-Directional Blocking/Give and Take with Direction a. The teacher introduces the concept of the Give and Take situation. One group of four students is assigned for demonstration. The group is divided into partnerships. The setting of a restaurant is chosen by the teacher. Two tables are set up. Partners A sit at one table and Partners B sit at the other. Each group is assigned the role of parent and child or best friends. The groups are given an opening line. Group A Parent: I have something I need to speak to you about. Group B Friend: Why did you have to say that about me? Group A begins the conversation. As the scene develops “Switch” is called. Group B begins their conversation. Group A does not stop. They continue their dialogue very quietly as Group B develops theirs. They do not mime the conversation. They continue to develop it, only their volume in barely audible. As the scene progresses “Switch” is called. Group B gives the conversation back to Group A. They continue to develop their dialogue quietly as the focus is shifted to Group A. The focus is shifted by the return to natural conversation in mid sentence. A switch is repeated a number of times so that the students get a flavour for the Give and Take necessary in drama. b. Within their groups, students decide on a new Where (location) for the scene. They establish the Who and What in each partnership. When direction is given, students begin the scenes simultaneously as a class (all groups in the class are acting). They are to make no contact with their partner group. The teacher calls “group A”. At that point in time, all the group A’s take the scene. Group B continues, giving the scene, as per the above example. The exercise is alternated for a short period of time. The teacher calls “Freeze”. Groups are selected at random by the teacher and the exercise is repeated, this time performing for the class. The other students do not form a formal audience. They merely adjust their positions within their own playing space for viewing. The teacher leads the following discussion: How does the use of Give and Take aid in the development of a natural scene? In large group settings what does it allow the actor to do? Did the situation affect the sharing (blocking) at all? Why? Was Unit 2 - Page 10 Dramatic Arts - Open the blocking natural or staged? In relation to the audience what does the term Non-directional blocking mean? Why is it important for you to see the stage (share the stage picture) from the audience point of view? Extension 4a: Using Give The exercise is repeated as above, but the teacher does not direct them when to change. The students listen and instinctively pick-up on the Give from their partner group. The key for the students is to listen. Extension 4b: Using Take Repeated as above but students now try to Take the scene from each other. This may seem chaotic at times but will become spontaneous as the students use any means at their disposal to take the focus. Extension 4c: Players Choice The groups and partnerships, without direction, Give and Take as the situation develops within the role play. *These extensions can be done as a large group or students can perform them and the students viewing can get an audiences perspective on how Give and Take works. Journal/Reflection 4 What were some of the problems you encountered in giving the focus? When were you able to give the focus? Did you have a problem taking the focus? Why? Why not? Were you able to share the stage picture with your audience? How did give and take affect character development within the role play? Warm-up 5 A discussion from the previous day is led by the teacher to insure a clear understanding of the idea of shifting the focus or giving and taking a scene. Main Exercise 5: Sharing the Stage Picture As a class they decide on a Where. The large group then divide into groups of six or eight and decide on a Who and What. One group is chosen for demonstration and the remaining groups assume the role of the audience. The group chosen begins to develop their scenes giving and taking the focus from each other. The teacher encourages the students to share the stage picture with the audience. The teacher may want to direct the shift of focus in the early stages of development eventually allowing the students to shift the focus on their own. “Freeze” is called. The teacher discusses the idea of convergence, division, and as you were. When “converge” is called the sub teams must interact with each other. When “divide” is called the sub teams split and the students find a new partner to continue the scene with. When “as you were” is called you will find your original partner and continue the relationship originally established in the beginning. Once there is a clear understanding of the concept the teacher directs the students through the role-play. Extension 5 The above exercise is repeated. The groups are divided unevenly meaning that one of the sub-groups will contain only one person. The challenge is for the single person to shift the focus without having anyone to converse with. Once the students are somewhat comfortable with this, the sub-groupings may become larger. For example the actors can be gathering around an accident scene or at a family picnic. The teacher is to constantly side-coach the students to share the stage picture to attain a natural non-directed blocking of the scene. Warm-up 6 The teacher discusses the idea that the actor must have a reason for entering and exiting a scene. What is the actor trying to communicate? There should be a sharp focus for a brief moment. This clarifies many details and relationships for the audience about the context of a play. Unit 2 - Page 11 Dramatic Arts - Open Main Exercise 6: Entrances and Exits The teacher forms groups of five or more and the students decide on a Where that will necessitate many entrances and exits. A good example is a party or a waiting room. They then sub-divide and establish the Who and What. Every player must enter and exit the scene at least once, more if the scene will allow it. The players may also couple up for the entrances and exits. The students choose which way they will enter and exit. They may dance in, fall in, walk in, etc. They are to take the focus briefly when entering and exiting. A group is selected and the remaining groups form the formal audience. The exercise is repeated for all of the groups. Extension 6 The exercise is repeated but this time the emphasis is reversed. The players on stage must change their focus and adjust their blocking so that the audience will have an awareness of an actor as he/she exits or enters. The focus is taken by the actor and given by the remaining players using focus and blocking. Journal 6 The students write in their journals on the following. This may be evaluated as a test or simply as a journal entry. Why is the shifting of focus key in the development of the Given Circumstances? What is meant by the term blocking? What is the importance of non-directional blocking and how does it help the audiences understanding? What is meant by sharing the stage picture? Why is this important to the audience? Assessment/Evaluation Techniques The students’ ability to identify and employ methods of creating and sustaining roles, (specifically through the use of the Given Circumstances of a character and of a dramatic situation) is assessed through informal teacher observation. Both teacher and peer evaluation measures the student’s understanding and application of the principle of “willing suspension of disbelief”. The students’ understanding of the vocabulary of dramatic arts as a tool for discussing and critiquing their performances and the performances of others is evaluated by the students and their peers through discussion and reflection. The teacher evaluates all areas in this activity through informal observation and through reading of student journals. Accommodations Provide extra instruction for students with no prior theatre experience, e.g., working in role, improvisation, etc. Adapt the number of required activities according to the ability of the group. Arrange peer assistance for students with special needs during warm-up activities, main exercises, and journal writing. Pair students together so that one students’ strengths can help compensate for another students’ area of challenge. Consult with Special Education staff concerning students with special needs. Unit 2 - Page 12 Dramatic Arts - Open Resources Berry, Cicely. Voice and the Actor. London: Virgin Publishing Ltd., 1993. Lundy, Charles and David Booth. Improvisation. Toronto: Harcourt Brace, 1985. Spoilin, Voila. Theatre Games for the Classroom - A Teacher’s Handbook. Illinois: Northwestern University Press, 1986. Appendices Appendix 1.2 – Checklist for Daily Drama Participation Appendix 1.3 – Checklist for Journal Evaluation Activity 2: Developing Voice: Radio Plays Time: 600 minutes Description In this part of the unit students concentrate on the use of their voice as a dramatic tool. A short radio play or a portion of a radio play is work-shopped, developed, and presented for evaluation. An examination of the role that radio has played in our lives historically and theatrically is briefly examined. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Actively reflects on God’s Word as communicated through the Hebrew and Christian scriptures. Integrates faith with life. An Effective Communicator Reads, understands, and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. Makes decisions in light of gospel values with an informed moral conscience. A Self-Directed, Responsible, Life Long Learner Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Applies effective communication, decision-making, problem-solving, time and resource management skills. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities, and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. A Responsible Citizen Accepts accountability for one’s own actions. Respects the environment and uses resources wisely. Unit 2 - Page 13 Dramatic Arts - Open Strand(s): Theory, Creation, Analysis Overall Expectations THV.02 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.03 - identify and describe various dramatic forms (e.g., ritual, storytelling, mime) and describe the historical original of these forms; CRV.02 - demonstrate an understanding of group responsibility in the creation of drama; CRV.03 - create drama through research or the interpretation of a source; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community. Specific Expectations TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH2.02 - demonstrate an understanding of the basic process of voice production; TH3.03 - demonstrate an understanding of historical and cultural origins of various dramatic forms (e.g., storytelling, pageantry, dance, mask making); TH3.05 - identify dramatic conflict or tension within a source; CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation); CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR1.07 - identify and use effective styles of collaboration in drama; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN2.05 - demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork). Planning Notes Resources can be used in a variety of ways. The teacher can decide to divide up one large script or choose short scripts. Presentation should be approximately five minutes in length. Teachers should concentrate on encouraging the students to use the voice and sound effects as dramatic tools. Background information, listening to radio theatre and play selection is be dealt with briefly. Spend most of the instructional time developing vocal technique. Several suggestions for radio plays have been listed in Resources. Teachers provide examples of authentic radio plays to introduce the students to the genre. The Internet and the public library are valuable resources for examples of script and authentic radio plays for listening. Teachers provide sound-effect CD/tapes, tape recorders, and microphones for student use. There are several suggestions for warm-ups and activities to enhance the rehearsal schedule. Each teaching situation will be different. Unit 2 - Page 14 Dramatic Arts - Open An extension of this unit would be for the students to write their own radio plays using a specific source, e.g., stories from scripture. Objects to help with sound effects, e.g., rhythm instruments, whistles, bells, bubble paper, etc., are collected by the students. Try to connect with local community resources (radio stations) for support and insight into radio as a current technology. Prior Knowledge Required The discipline and skill necessary to work successfully within a group. Effective listening skills Teaching/Learning Strategies Warm-up 1: Radio The teacher leads the students through this first warm-up to introduce them to the concept of using only the voice as their instrument of communication. They must be able to select those vocal techniques which will help the audience to experience a story “through their ears”. The focus of this warm-up is to show the “Who” of the story by voice and sound alone. The teacher tells the students to create a character and to write a list of the characteristics that they will try to convey about their character (e.g., age, weight, temperament, appearance). In groups of three or more, using the character that each student has created, the students improvise a scene by using voice and sound effects alone. The other students, while listening to the presentation, make their own list of characteristics of the character as the action progresses. When the action is over, the students in the audience and the actors compare their lists. The teacher leads a discussion into the effectiveness of their presentations. What vocal techniques were used by the students to present an effective characterization? The warm-up can be furthered by changing the focus to “Where”. Here the individual characteristics will be less important and background sound will be more elaborate. Main Exercise 1: Listening to a Radio Play The teacher has the students listen to an example of a real radio play. Plays can be obtained from most public libraries. The Internet is also a valuable resource. Plays can be downloaded for listening. Examples of resources and e-mail addresses to assist teachers in finding suitable plays for listening can be found in Resources. Teachers should find resources of an appropriate length. The students are listening, at this point only, to become familiar with the genre of radio theatre. The importance of radio theatre in the entertainment industry of the 1930s and 1940s is discussed. The historical relevance of radio is discussed as well. See Appendix 2 – A Look At Radio Broadcasting for background information. Students can also go to the Internet sites suggested to examine radio theatre today. Reflection/ Journal 1: The Effectiveness of the Genre The following topics may be dealt with as discussions or as written journal entries. The radio is the source from which most people heard about such historical events as the crash of the Hindenburg zeppelin, the Japanese attack on Pearl Harbor, the landing of Allied troops at Normandy during World War II, and, more recently, the Three Mile Island nuclear accident and the space shuttle Challenger disaster. The students probably have a list of more current events that were first learned about in a radio broadcast. The teacher asks the students to consider the following questions either in discussion or journal writing: a. How does the medium of radio differ from television as our source of information. Where is it more effective or less effective? Why is radio still the first place that most people hear about important world events? Unit 2 - Page 15 Dramatic Arts - Open b. How do actors develop their characters in radio? How is the story developed and enriched by sound? What unique techniques are employed in radio that are different than those employed in theatre? c. In radio, the audience has to create its own image of what is happening. Do you enjoy this aspect of radio? In having to use your own imagination, is the work more personally satisfying? How would you compare this to reading as a medium for information gathering and as a tool for enjoyment? Warm-up 2: Soundscapes The teacher directs the students in the creation of an environment using sound. The teacher forms teams of four to six players. Group members agree upon a Where (e.g., a railroad station, jungle, harbor, etc.) and develop the soundscape of their environment. Because there is no on stage action, players may stand out of sight of the audience, or the audience may close their eyes or turn their backs. The teacher may also have the groups tape their soundscapes and present the taped version to the group/audience. The students should use more than their voices in the creation of sound. Discuss the creation of possible sound effects. Encourage variety. If a microphone is available, have the students experiment with more subtle sound effects. Main Exercise 2: Introduction to Script In groups the students are given a script or part of a script to present in the form of a radio play/broadcast. (See Planning Notes and Resources for suggestions.) Resources can be used in a variety of ways. The teacher can divide one large script and have the different groups tell their part of the story, or choose short scripts. The presentation should be approximately five minutes in length. Note: The concentration is on encouraging the students to effectively use voice and sound as dramatic tools. Avoid overwhelming the students with scripts that are too long. The time restrictions of the course only allow for developing a short scene well. Once the teacher assigns groups and gives them their scripts, the groups begin their first read-through. They are reading at this point only for meaning. The decision of who will play which roles is determined after the first read-through. The groups are designed so that each student takes on more than one speaking role and is also responsible for part of the soundscape of the drama. Reflection/Journal 2: My Role in the Drama The teacher instructs the students to do some rapid impression writing about their role in the radio play. They write their first thoughts on the character that they will be playing and how the group will effectively organize their time. Some thoughts for consideration are: Describe your character (e.g., age, physical appearance, relationship with the others in the play, etc.). How will you develop the character? What sounds, other than voice, are necessary in the development of your script? How might you create these sounds? How will you present this? Would you like to perform live or would your group like to tape the presentation? What advantage do you see in your choice of format? Will it be difficult handling more that one role? What plans need to be made to insure that each role is developed effectively? Warm-up 3: Enriching the Voice Rehearsal of the radio play lasts two or three days. The following warm-ups and activities will help the students in developing the techniques needed to enrich their Radio Plays. Teachers can use them to suit their individual teaching situations. An actor’s voice is basic to his/her craft. The following warm-ups will help the students with articulation, inflection, pitch, pronunciation, tempo/rate, and volume. a. Students breathe in slowly and then breathe out slowly. They place their hands around their rib cages and feel how air fills their lungs and pushes out the rib cage. Repeat the exercise. They count aloud by two’s, by five’s, and by tens. Unit 2 - Page 16 Dramatic Arts - Open b. c. d. e. They start softly and become loud. Then they start loudly and become soft. They count like a drill sergeant, like a romantic, like a child. They count happily, sadly, angrily, like they are bored. They sing their numbers like an opera singer, like a rock star, like a record playing at the wrong speed. Note: Occasionally, have the students try to breathe in and talk at the same time. It’s impossible and reinforces the importance of proper breathing techniques. Students repeat the sequence, “ah, oh, ooh, eeh” two to three times. They should extend their jaws, making their mouths like a rubber band that stretches with each sound. At least two fingers’ worth of distance should be between the upper and lower teeth. Students then add consonants at the beginning or end of the vowel sounds, e.g., fah, foh, fooh, feeh. Students repeat a short, difficult tongue-twister six times. Sample tongue-twisters: selfish shellfish rubber baby buggy bumpers red leather, yellow leather knapsack straps specific Pacific unique New York Burgess’s Fish Shop Sauce Men munch much mush black bug’s blood Rush the washing, Russell! good blood, bad blood toy boat, fruit float fresh fried fish pre-shrunk shirts Students repeat longer tongue-twisters two or three times. Slippery southern snakes slide swiftly down ski slopes Wee Willy whistles to wise Wilbur Whale A real red rooster roosts in the rain Beautiful brooks babble between blossoming banks. Ten terrified tomcats tottering in the tops of three tall trees The sixth sheik’s sixth sheep is sick Colour Your Nursery Rhyme The teacher writes a nursery rhyme on the board (e.g., “ Mary Had A Little Lamb”). The teacher reads the nursery rhyme in a variety of ways, and the students repeat and imitate the teacher, each time, in chorus. Sample ways of reading include: with suspense angrily sadly incredulously suspiciously nervously in a depressed manner happily like a TV newscaster Unit 2 - Page 17 Dramatic Arts - Open like an advertisement as a rock song in an operatic voice very softly very loudly Variation: Have the students work on one of the variety of ways that the nursery rhyme can be said and present it to the class. f. Soundtrack The students establish the soundscape of an improvised scene. The teacher organizes groups of six or more students and they agree upon the “Where”, “Who” and “What” of the scene. Half of the group plan an improvised scene on stage, while the other half of the group watch the improvisation and then create the sound effects needed. When the sound has been prepared, the on-stage actors start their dialogue and the sound effects support the action on stage (e.g., doors shut or creak, a car starts and stops, brakes screech, people walk, run, knock on doors, winds blow, coffee cups or glasses clink). The list is endless and includes whatever is needed to reinforce the stage action. All students should experience both the on stage acting and the creation of the sound effects. This warm-up can be done twice to accommodate this. This can be run as a whole class activity or the teacher can instruct the students to plan the work in smaller groups and then present it to the class. g. Using A Chorus As a class, the group decides on the “Who”, “What” and “Where” of a new scene. The teacher divides the class into two groups. One group takes the role of the on-stage actors and the other is the chorus. One student takes on the role of the chorus conductor. The choral group stands or sits to one side of the acting area. They agree on the various sound effects needed for the scene and they divide themselves into sections – like an orchestra. Each of these sections create a different sort of audible support. For example, the “orchestra” for a scene set in a forest might include sections that provide the sound of birds, wind, wild animals, and echoes, as well as hummers, singers, or whistlers to establish the mood. Before beginning, the conductor is given time to practise with the “orchestra”, cuing sections by pointing to them, and heightening or lowering the intensity of sounds by raising and lowering his/her arms. While the conductor is working with the chorus, the on- stage group develops their improvisation. When ready, the action begins on stage, and the conductor leads the choral group in supplying the background effects. The conductor is the connection between the on stage players and the choral group. Well-known children’s stories can be the basis for the drama in this activity. Stories from scripture (e.g., Noah’s Ark, The Ten Commandments, The Israelites escaping from slavery/splitting of the Red Sea, etc.) lend themselves naturally to this work. Having the actual text and including a narrator is another way of handling the scenes. This warm-up should be done several times to give the students the opportunity to take on the various roles – acting, sound effects, and conductor. Note: Some basic background information on vocal productions can be found in Basic Drama Projects. The teacher needs to be aware of how much background the students already have on voice production. Students with no drama background may need some beginning exercises. Main Exercise 3: Working With Script: Rehearsal The students will need two or three days to work on polishing their work. If students are taping their performances, accommodations must be made so that the students have the necessary equipment. Students should be given points of concentration for each rehearsal period. Some examples are: a. Concentrate on the soundscape of your play. Without script, what is it that the audience hears? How do you use sound effects? Do the sounds coincide with the dialogue or are they isolated? Unit 2 - Page 18 Dramatic Arts - Open Does the soundscape exist in isolation, that is, without the characters dialogue? Does it set the mood and develop the story? Think of movie soundtracks and their effects on the dramas. Do you use music or any commercially prepared sound effects? Why is sound such a powerful vehicle in drama? Add to the soundscape of your work. b. Examine the characters and their relationships in your play. How do they speak to one another? Are their attitudes and relationships clear by the voice that they have been given? Work on developing believable characters and relationships. c. Students individually examine their scripts and define what primary emotion their character is feeling. Does that emotion change during the play? Is the intensity always the same? How will the audience know the changes in intensity (e.g., hatred to anger to rage)? Pinpoint the turning/changing points. How will you accomplish these changes? In acting groups, students work on the emotional believability of their character. d. Tempo/Rate - The teacher instructs the groups to concentrate on the tempo/rate of their work. Does the rate express the emotion of the characters. A slow rate usually suggests sorrow, deliberation, reverence, doubt. A fast rate usually suggests excitement, anger, nervousness, happiness. The rate is affected by the pauses between words and the length that is attached to vowel sounds. The students need to examine the rate at which their own characters speak and the tempo of the interaction between characters. What does it add to the drama? Extension/Reflection 3: Readiness for Performance During the rehearsal process, the following reflection/journals may be assigned as the teacher feels they apply to the day’s activities. a. The teacher gives the students the evaluation outline and discusses the criteria. See Appendix 2.2: Radio Play Evaluation. The students write in their journals, reflecting on their group’s readiness and their level of success in matching their expectations. b. The students reflect upon one or more of the following questions, and write their response in a journal. How is re-enacting an improvised scene similar to re-enacting a historical event of the Bible? How does dramatically “exploring” an event from scripture help in your understanding of that event? Why is it necessary to explore the roots (e.g., Hebrew scripture) of one’s faith? How is this similar to an actor exploring the background (the “who”) of the character they are portraying? Warm-up 4: Final Rehearsal In their acting groups, the teacher instructs the students to run a final rehearsal. The teacher once again has the students examine the evaluation outline and its criteria. Main Exercise 4: Presentation Presentations of the Radio Plays begins. Presentation styles may vary as some students may have prerecorded their performances. The teacher evaluates the performances using Appendix 2.1 Reflection 4 - Self Evaluation The teacher instructs the individual students to write about their role in the drama. Using the following points, students are asked to reflect on their successes during the assignment. My role in the group dynamic Development of my character My additions to the soundscape Unit 2 - Page 19 Dramatic Arts - Open Assessment/Evaluation Techniques The students’ understanding of the elements and principles of dramatic expression (e.g., voice and movement) is assessed through class discussion and roving conferences. Teacher observation and reading of student journals evaluates the students’ understanding of the radio play as a valid dramatic form. The teacher and the students use Appendix 2.2 as a means of evaluating the students’ ability to meet group responsibilities while creating a drama. By informal observation and roving conferences, the teacher assess the students’ understanding of the diverse career and life skills (particularly in the communication industry) that can be acquired through a study of dramatic arts. The students’ understanding of the control of volume, tone, pace, and intention in expressive speech is assessed by teacher and peer conferencing, and evaluated by the teacher through Appendix 2.2. Accommodations Provide extra instruction for students with no prior theatre experience, e.g., working in role, improvisation and techniques in voice production Adapt the number of required activities according to the ability of the group. Arrange peer assistance for students with special needs for warm-up activities, main exercises, as well as journal writing. Pair students together so that one students’ strengths can help compensate for another students’ area of challenge. Students with learning challenges and ESL students may require their own copy of taped radio theatre allowing them individual instruction and remediation with the staff of the Special Education Department or a peer tutor. Resources Lundy, Charles and David Booth. Interpretation. Toronto: Academic Press Canada, 1983. Novelly, Maria. Theatre Games For Young Performers. Colorado: Meriwether Publishing Ltd., 1985. Public Library – examples of Radio Plays for student listening Radio Personalities – find local personalities to discuss radio today Spolin, Voila. Theater Games For The Classroom - A Teacher’s Handbook. Evanston: Northwestern University Press, 1986. Tanner, Fran Averett. Basic Drama Projects. Idaho: Clark Publishing Co., 1966. Tanner, Fran Averett. Creative Communication. Idaho: Clark Publishing Co., 1985. Web Sites - Radio scripts Audio Theater Mind Movies Radio Drama AudioTheater.com CBC Radio One http://radio.cbc.ca/index. html Niftic Old Time Radio and Such niftic.com/otr/ Old Time Radio scifiguy.com Radio Classics radioclassics.com Radio Fiends radiofiends.com/index.shtml Unit 2 - Page 20 Dramatic Arts - Open Web Sites - History of Radio Early Radio History ipass.net/ Radio Days: A Soundbite History otr.com/ Radio’s Golden Age radioguide.com./sdrad/mag19/goldyear.html Web Sites - Radio Studios CBC Radio Drama Studio http://www.radio.cbc.ca/facilities/drama.html Appendices Appendix 2.1 – A Look At Radio Appendix 2.2 - Radio Plays Evaluation Appendix 2a - Radio Plays Evaluation Rubric Unit 2 - Page 21 Dramatic Arts - Open Appendix 2.1 A Look At Radio In its heyday, the 30s and 40s, AM radio was as popular as TV is today. Most homes had large, furnituresized radio consoles. It was around these radios that families met to be entertained by such classics such as The Lone Ranger, Burns & Allen, or The Shadow Prior to World War II, radio was the chief source of entertainment in Canada and the United States. Broadcasting for entertainment became so popular that advertiser’s competed for radio spots knowing its value in reaching a huge number of listeners. It was also the way that people heard news from around the world. The radio was the place that most people heard about such historical events as the crash of the Hindenburg zeppelin, the Japanese attack on Pearl Harbour, and the landing of Allied troops at Normandy during World War II. After World War II television rapidly began to replace radio as the chief source of home entertainment. Many millions of families could afford to buy television sets. The size of the television audience attracted huge financial support from advertisers and the focus on radio changed forever. Original radio drama thrived in Canada because the government supported public radio through the Canadian Broadcasting Corporation. Canadian radio drama experienced a golden age of literary and dramatic expression in the 1940s, 50s, and 60s. The National Endowments for the Arts and Humanities and listener subscriptions and charitable foundations keep radio drama alive today. *****Some award winning examples of Canadian Radio Drama****** Mourning Dove Searching Paradise The Diamond Lane Somebody Talking To You “There was no TV to dull the imagination in those days. There was so much more participation. It was larger than life. Today we get so much visual that we don’t have to use our minds. Radio is infinite. It’s whatever you want to bring to it.” Rod Page (a San Diego radio personality) Unit 2 - Page 22 Dramatic Arts - Open Appendix 2.2 Radio Plays Evaluation Group: Criteria a. Concentration during performance Level 1 2 3 4 2 3 4 b. Interpretation of character Level 1 c. Voice - Articulation, Characterization/Emotion, Projection Level 1 2 3 4 d. Soundscape - Enrichment of the Drama Level 1 2 3 4 e. Group Dynamic - Use of rehearsal time Level 1 2 3 4 Teacher Comment Level /4 Unit 2 - Page 23 Dramatic Arts - Open Appendix 2a Radio Plays Evaluation Rubric Criteria Concentration Level 1234 Characterization/ Interpretation Level 1234 Voice-Projection, Articulation Characterization/ Emotion Level 1234 Contribution Role in Group Dynamics Level 1 50-59% - demonstrates a limited ability to stay focussed and not break character during performance Level 2 60-69% - demonstrates a moderate ability to stay focussed and not break character during performance Level 4 80-100% - demonstrates a thorough ability to stay focussed and not break character during performance - understands and portrays the character with moderate effectiveness Level 3 70-79% - demonstrates a considerable ability to stay focussed and not break character during performance - understands and portrays the character with considerable effectiveness - understanding and portrays the character with limited effectiveness - uses voice with limited effectiveness - uses voice with moderate effectiveness - uses voice with considerable effectiveness - uses voice with thorough effectiveness - is reliable, supportive, and co-operative with limited effectiveness - is reliable, supportive, and co-operative with moderate effectiveness - is reliable, supportive, and co-operative with considerable effectiveness - is reliable, supportive, and co-operative with thorough effectiveness - understands and portrays the character with thorough effectiveness Level 1234 Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity. Unit 2 - Page 24 Dramatic Arts - Open Unit 3: Developing the Script Time: 18.75 hours Unit Developers: Barb Carlton, Mike Gloster, Cathy Jeffrey, James Mulveney Development Date: November 1999 Unit Description In this unit, students are divided into groups and given scripts consisting of a series of fragmented monologues, which they eventually memorize, prepare, rehearse, and present to the class. During the development of these scripts, students explore the dramatic devices necessary to interpret and develop their monologues. These devices include tableau, gesture, facial expression, stage business, give and take, and stage picture. The script selections should allow the students to examine the common insecurities faced by teens and the resulting problems that may result when young people become confused by stereotyping and bias. In addition, students begin to understand how Christ was faced with issues of stereotyping, and how He handled those problems. Students can apply His message of “equality for all” in the drama classroom and in their own lives. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective and Creative Thinker Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Applies effective communication, decision-making, problem-solving, time and resource management skills. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities, and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Unit 3 - Page 1 Dramatic Arts - Open Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.03 - create drama through research or the interpretation of a source; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.04 - demonstrate an understanding of how role taking and the processes of drama are connected to their lives. Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH2.02 - demonstrate an understanding of the basic process of voice production; TH2.03 - demonstrate an understanding of the principles and elements of movement; TH3.05 - identify dramatic conflict or tension within a source; TH3.08 - identify sources of modern theatrical conventions such as the aside, monologue, or soliloquy, and cite examples (e.g., soliloquies in Shakespeare’s plays); CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation); CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.04 - demonstrate an understanding of language that is free from bias and stereotyping CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama; AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed; AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN2.02 - explain connections between their own lives and the metaphor or theme in a drama; AN2.04 - analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama. Activity Titles (Time + Sequence) Activity 1 Activity 2 Unit 3 - Page 2 Interpreting the Script Rehearsal and Final Product 600 minutes 525 minutes Dramatic Arts - Open Unit Planning Notes The teacher must be aware of individual differences within the classroom and provide accommodations when necessary, e.g., adaptations to script, doubling of roles, multiple roles. The teacher should reinforce the idea that the process and the collaborative work are as important, as the final product. Utilize the video camera as a teaching and conferencing tool when possible during the rehearsal process. Emphasize the role that critique plays in the development of a piece. Constructive criticism by the teacher, their peers and themselves is an integral part of their development and growth both as an actor and as a student. The teacher must give the students a rehearsal schedule at the beginning. The students should know well in advance the due dates for memorization, dress rehearsal, and final product. Provide a list of written/journal assignments that are going to be formally evaluated. Early in the unit, make students are to be made aware of the criteria for evaluation, as set out in Appendix 3.3 (Developing the Script: Group Evaluation) and Appendix 3.4 (Developing the Script: Monologue Evaluation). Students of dramatic arts should be encouraged to apply skills gained at school and acquire insight into theatre practice by volunteering as a production assistant at a professional theatre or community drama centre. Prior Knowledge Required The group work skills developed throughout the course. The ability to use critique in a positive, constructive tool for dramatic growth Comprehensive knowledge of and experience with various basic dramatic skills Techniques of good characterization (voice, gestures, movements, facial expressions, etc.) Teaching/Learning Strategies The teacher will direct lessons on dramatic technique. The students will participate in a variety of warmup and development activities in small and large groups. The students will present a monologue in the framework of a one-act play. This play is the focus of the unit and with it the teacher enriches their dramatic skill through conferencing, mentoring and evaluation. Assessment and Evaluation The students and the teacher are able to assess and evaluate the students’ knowledge and understanding of the use of dramatic conventions in the creating and sustaining of a role within a drama. Also, their understanding of their role within a group and of the connection between drama and their personal faith journey is assessed. Students are assessed and evaluated by journals, self-assessment, and group assessment of small presentations. As well, the teacher can use personal observation of the group dynamic, the Rehearsal Evaluation Sheet and the Final Presentation Evaluation/Rubric to assess the students’ progress. Accommodations It is suggested that groups be formed according to the script, with three girls and two boys. If the numbers do not fit the teaching situation, role doubling may be necessary. The teacher may decide to use monologues from various sources and develop them similar to the format of a fugue. Suggestions for this are discussed in Appendix 3.5 – Adaptation Instructions. Unit 3 - Page 3 Dramatic Arts - Open Resources Bolte, Chuck and Paul McCusker. Youth Ministry: Drama and Comedy. Colorado: Group Books, 1992. Cohen, Robert. Acting One. California: Mayfield Publishing Company, 1992. Jacobsen, Ruth. “The Adolescent Fugue.” Glimpses - A Full Evening Of Theatre: Scenes, Dramatic Monologues & Short Playlets. Illinois: Dramatic Publishing Co. Web site [email protected] Moore, Sonia. The Stanislavski System: The Professional Training Of An Actor. New York: Penguin Books, 1965. Wansbraugh, Ed. The New Jerusalem Bible. New York: Doubleday, 1990. Appendices Appendix 3.1 – Famous Pairs Appendix 3.2 – Beyond The Written Word Appendix 3.3 – Developing the Script - Group Evaluation Checklist Appendix 3.4 – Developing the Script - Monologue Evaluation Checklist Appendix 3.5 – Adaptation Instructions Rubric 3a – Developing the Script - Group Performance Evaluation Rubric 3b – Developing the Script - Monologue Evaluation Checklist Activity 1: Interpreting The Script Time: 600 minutes Description In this part of the unit, the teacher introduces students to scripted material. The techniques utilized to create character are reviewed and reinforced by the teacher. The teacher directs the students in activities that develop dramatic technique. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity. A Reflective And Creative Thinker Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Applies effective communication, decision making, problem solving, time and resource management skills. Unit 3 - Page 4 Dramatic Arts - Open A Collaborative Contributor Works effectively as an interdependent team member. Develops one’s God-given potential and makes a meaningful contribution to society. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use of various ways to sustain a role within a drama; CRV.03 - create drama through research or the interpretation of a source; ANV.01 - generate and apply criteria to valuate their own dramatic presentations. Specific Expectations TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH3.05 - identify dramatic conflict or tension within a source; TH3.08 - identify sources of modern theatrical conventions such as the aside, monologue, or soliloquy, and cite examples (e.g., soliloquies in Shakespeare’s plays); CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama; AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed; AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning); AN2.02 - explain connections between their own lives and the metaphor or theme in a drama. Planning Notes Ensure that when students work in pairs that students with special needs are given appropriate partners. Emphasize the importance of non-verbal communication in the development of character. Prepare enough copies of Appendices 3.4 and 3.5, as well as copies of the script. Prior Knowledge Required The co-operation skills developed throughout the course An understanding of the use of tableau as a dramatic technique Techniques of good characterization The writing and reflective skills needed for insightful journal writing Unit 3 - Page 5 Dramatic Arts - Open Teaching/Learning Strategies Warm up 1 The teacher hands out a card to each student. On these cards a name (e.g., Romeo) has been printed. Once the students read the name, they must find a student whose card bears a corresponding name. For example, the student whose card has the name Romeo, must find the student who has a card with Juliet’s name on it. See Appendix 3.1 for suggested partner combinations. When the students have formed their partnerships, they are given a minimal script (See Appendix 3.2 – No. 1) which they are to interpret, memorize and present. The goal of the teacher and students is to explore a variety of ways that words and script can be interpreted. Students develop their interpretation using body language and facial expressions which portray a character and a situation. To enrich the visual image, the students may begin and end their scenes in tableau. These tableaus should further the audience’s understanding of the scene. After the scenes have been presented, the teacher reinforces the idea that script can be interpreted in a variety of ways. The teacher explains that an actor and a director can interpret a role in their own way. For example, the part of Romeo, in Shakespeare’s Romeo and Juliet, had one interpretation when Shakespeare wrote the play; however, each time a different actor takes on the role, a new Romeo is created. Main Exercise 1: Introduction To The Script The teacher gives each student a copy of “The Adolescent Fugue” by Ruth Jacobson, and time is given for silent reading of the script. The students are given some insight into the term fugue. It is a musical term describing a style or form in which a theme is stated and restated in varying forms to reinforce the same theme. Ideas coming from different directions, all expressing the struggle of youth, is the way the characters are written in “The Adolescent Fugue”. The playwright uses this title to metaphorically show the struggle of youth. The teacher then forms acting groups. There should be five students in each group and the teacher should try to match the script by having three girls and two boys in each group. Accommodations for the groupings have been made in the introduction. The teacher instructs the students, within their groups, to take on the role of one of the characters. As a group, with each person reading their own part, the students read the script aloud. Discussion 1 Once the students have read the script together, they share with the others in their group their first insights into the character that they are portraying. Some thoughts to consider are: Does your character fit the “stereotypical role” of what people think of as a teenager? Describe your character’s mannerisms, voice, dress, posture, dress, etc. Does your character get along well at school? at home? with his/her friends? Reflection/Journal 1: First Impressions The teacher instructs the students to do some rapid impression writing, that is, to write continuously for five to eight minutes about their characters. They do not need to care about writing style. They should just record as many first impressions as possible about their characters and about the script. Their writing should reveal what they visualized during the first reading. Unit 3 - Page 6 Dramatic Arts - Open Warm-up 2 The teacher instructs the students to form a line based upon the order of the day that they were born. The first person in the line is the person born closest to the beginning of the year, and the last person is the person born closest to the end of the year. The students do this without talking or mouthing any words. By using movement and gesture, they are to communicate their date of birth and their place in the line. Once they have formed the line, the teacher has the students call out their date of birth to insure correctness. The teacher then organizes the students into pairs, beginning with the first two students in line. The teacher has the students refer to Appendix 3.2 – Beyond The Written Word - No. 2 and they begin work on the second script. In a short time they are ready to present their interpretation of the script. The teacher encourages the students to concentrate on the presentation of the word. It is not just important what is said, but how is it said. The students present these scenes and once again the teacher leads a reflection/discussion of the various interpretations. Main Exercise 2: Analysing The Script a. The teacher instructs the students to get into their acting groups again and to re-read the script, “The Adolescent Fugue” by Ruth Jacobson. Once they have read the script, the groups discuss the author’s style. One member of each group takes on the role of secretary and takes notes. The notes created by the groups will be shared with the whole class later. Some thoughts for consideration and discussion are: (i) The author’s production notes and introductory instructions (pages 8 and 9). Jacobson gives definite instructions on lighting, music, props, setting, etc. What are they? (ii) The format. There are five separate monologues being presented within the format of a play. The characters never interact on stage but the audience sees their co-relation. How is this effective? Why does the staging of more than one monologue at a time enrich the product? What do the characters add to one another? (iii) The cast. Jacobson gives her interpretation of the characters’ psyche. Can you enhance or further this description? b. Once the students have completed their discussion on the author’s style, the teacher has the groups share their thoughts and conclusions. The teacher assists, by creating a group note on the blackboard or chart paper and assisting the students with some conclusions on the effectiveness of the playwright’s style. It is pointed out that many playwrights, such as Tennessee Williams and Arthur Miller take great care in giving production notes, while other writers leave interpretation to the actors. William Shakespeare did not write production notes. Perhaps this was not a convention at the time. His work, however, may have varying interpretations because of this absence of production notes. When the production notes are specific, the actor’s interpretation remains closer to the author’s purpose than when no instruction is given. The teacher and students discuss the positive/negative aspects of the author including detailed production notes. Extension 2 The teacher instructs the students to return to their groups, and while reading the script together once again, to think about the appropriate stage business for their character. Students are told that a polished, memorized product will be evaluated. The teacher stresses that working daily with their script will ensure readiness for performance. The teacher then gives due dates for memorization, dress rehearsal, and for the final performance. A schedule for dress rehearsal and final production is drawn up. The teacher also gives the students the criteria by which they will be evaluated. See Appendices 3.3 and 3.4. Unit 3 - Page 7 Dramatic Arts - Open Warm-up 3 The teacher pairs the students. They are directed by the teacher to once again refer to Appendix 3.2 and interpret script No. 3 this time assuming the role of the character that they play in “The Adolescent Fugue”. Following their presentation, the teacher leads the students in a discussion of what was learned about the various characters from “The Adolescent Fugue” by seeing them in other roles. Main Exercise 3 The teacher asks the students to form groups according to the character that they are playing in “The Adolescent Fugue”. For example, all of the Becky Jo’s form one group. The students now read only the parts of the play that their character speaks. The students take turns reading the script so that the reader changes with each new paragraph. The groups then discuss any new insights into their character. It is the teacher’s hope that seeing the character in isolation will help to further the students’ understanding of the character. Warm-up 4 The teacher leads a discussion on the following: Are any characters in the play stereotypical of what people think of as teenagers? Describe how they fit into these roles. How did people see Christ? Refer to Matthew 13: 55 “Isn’t this the carpenter’s son?” How was Christ stereotyped by many people of his day? Is he stereotyped today? Why is there such a difference between the image that is often seen by the world and a true insight into who a person really is? Using their character from “The Adolescent Fugue” and the person of Christ, discuss why this happens. Following the discussion the teacher instructs the students to choose a line(s) from the play that is the most stereotypical of their character. They now, using their own interpretation of who their characters really are, record in their journal the words that the characters would say if they were to really tell us who they are. At their most exposed, what do they feel? The students write “in role”, expressing the characters’ frustration with the fact that no one really understands them. Main Exercise 4 The students are directed by the teacher to work in their acting groups for “The Adolescent Fugue”. On the first run-through, students concentrate on planning the tableaux that will begin and end each of their section of their monologue. The teacher directs the students in the techniques they will have to consider when blocking their scenes and developing the ever-changing stage picture. The students need to be reminded of the dramatic skills introduced in Unit 2: Developing Dramatic Technique. The teacher reviews the following concepts: Simple Floor Designs; Give and Take; Tableau; Focus and Stage Business to be certain that the students have a grasp of the ideas. The students return to their groups and come to a consensus about where each character will be on the stage and what the stage picture will be at the start of the play. It is important to note that each actor has a separate acting space and, although they may come downstage during their monologue, they must always return to their own acting space before they freeze. In the introduction to the play, Jacobson gives definite notes on the play’s setting. It is at the teacher’s discretion whether the students must remain true to these notes or not. Students may need to add to the props suggested, to develop their own unique character. With an awareness of their positioning on stage, the students now begin to individually plan the blocking for their character. Unit 3 - Page 8 Dramatic Arts - Open Journal 4: Planning The Stage Picture The teacher instructs the students to write a plan of their characters’ tableaux. Each time their characters speak, they come out of tableau. After they finish speaking, they return to tableau. Each time their characters speak, they must present a new stage picture that further enhances their character from the audience’s perspective. The character is developed in tableau as well as through the spoken word. The teacher tells the students that they are enriching the audience’s understanding with their changing visual images. A key consideration when planning these tableaux is the ease with which they can be held comfortably on stage. The stage business and props being used in each part of the scene must also be considered. Students must physically be giving the scene to the next actor when they finish their tableaus. The teacher encourages the students to write notes on their scripts. Planning may also be done by students in their journals. Warm-up 5: Playing With Movement and Dialogue The teacher instructs the students to develop groups according to the character that they play in “The Adolescent Fugue”. As an example, all of the Becky Jo’s will be in one group. As a group, they choose one line of the script, that requires either strong movement or weak movement for presentation. Once they have decided upon the line of script for interpretation, each member of the group tries to develop this bit of script in a slightly different way. The groups concentrate on presenting a variety of interpretations. Groups present their work in the same fashion as “The Adolescent Fugue” with all the actors on the stage, coming out of tableau for their lines and returning to tableau when they are finished. After presentation, the class determines which interpretation was most effective and why. Main Exercise 5: Developing The Stage Picture The teacher reinforces the concepts taught and reviewed in Main Exercise 4 and instructs the students that their focus during rehearsal today is on stage picture. They are not simply reading the script; they are planning their own stage picture. The students, using their script planning done in Journal 4, go through their evolving picture of the play, examining the stage picture from the audiences’ perspective. The students need to be reminded that they need to be flexible in their planning, and that the scene must always be given to the actor who is speaking. The whole picture is important. Creating levels is another important consideration in the development of an effective stage picture. Teacher conferencing throughout the rehearsal process gives the students feedback on their stage picture from the audience’s perspective. Examining other groups can help them understand the techniques of staging. Students must be well on their way with memorization at this point. The due date for memorization must be reinforced at this time. The teacher may choose to make memorization a part of the process mark. Reflection/Journal 5: Where Do You Fit In? Students write in their journal considering the following: i) In your group, do you do your share of the work? Take part in making group decisions? Help to keep the project moving? Do your best work? Use your time wisely? ii) Give examples of what you have contributed to the process? iii) Suggest ways to improve the process? Assessment/Evaluation Techniques 1. Through observation and roving conferences, the teacher is able to assess and evaluate the students’ understanding of the following: a. The elements and principles of dramatic expression b. The function of conventions such as writers stage notes in the effective production of drama. c. Terminology such as stage business and give and take. Unit 3 - Page 9 Dramatic Arts - Open d. Research and acting in role as methods of creating a character. e. The importance of planning a drama with the audience’s perspective in mind. 2. Teacher reading of student journals helps evaluate the students’ understanding of how role taking and the processes of drama are connected to their lives. Accommodations To facilitate the participation of students with special needs, accommodations can be made to the script if necessary. Arrange for assistance with reading and writing assignments according to the student’s IEP. Provide teacher or peer assistance with both reading and writing activities. Consult with Special Education staff for suggestions to assist students with short- and long-term memory difficulties. Resources Bolte, Chuck and Paul McCusker. Youth Ministry: Drama and Comedy. Colorado: Group Books, 1992. Cohen, Robert. Acting One. California: Mayfield Publishing Company, 1992. Jacobsen, Ruth. “The Adolescent Fugue.” Glimpses - A Full Evening Of Theatre: Scenes, Dramatic Monologues & Short Playlets. Illinois: Dramatic Publishing Co. Web site – [email protected] Moore, Sonia. The Stanislavski System: The Professional Training Of An Actor. New York: Penguin Books, 1965. Wansbraugh, Henry, ed. The New Jerusalem Bible. New York: Doubleday, 1990. Appendices Appendix 3.1 – Famous Pairs Appendix 3.2 – Beyond The Written Word Appendix 3.3 – Developing the Script - Group Evaluation Checklist Appendix 3.4 – Developing the Script - Monologue Evaluation Checklist Appendix 3.5 – Adaptation Instructions Rubric 3a – Developing the Script - Group Performance Evaluation Rubric 3b – Developing the Script - Monologue Evaluation Activity 2: Rehearsal and Final Product Time: 525 minutes Description In this part of the unit, the students bring their work to fruition. A polished, memorized performance is the end product. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. Unit 3 - Page 10 Dramatic Arts - Open A Reflective And Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Responds to, manages, and constructively influences change in a discerning manner. Applies effective communication, decision-making, problem-solving, time and resource management skills. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities, and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.03 - create drama through research or the interpretation of a source; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.04 - demonstrate an understanding of how role taking and the processes of drama are connected to their lives. Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observations, research, improvisation); TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.02 - demonstrate an understanding of the basic process of voice production; TH2.03 - demonstrate an understanding of the principles and elements of movement; TH3.05 - identify dramatic conflict or tension within a source; CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation); CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; Unit 3 - Page 11 Dramatic Arts - Open CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama; AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed; AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN2.02 - explain connections between their own lives and the metaphor or theme in a drama; AN2.04 - analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama. Planning Notes Teachers should ensure that all groups have the required props and costumes and that they are ready for performance. Give each group time in the acting area/stage to properly block their performance. The teacher circulates frequently to the groups making suggestions with dramatic technique, costuming, lighting, and reminding them of the evaluation criteria and time restrictions. Prior Knowledge Required The student needs to demonstrate the dramatic skills necessary to move the drama forward into presentation. An understanding of the role that character development plays in the successful production of theatre. Teaching/Learning Strategies Warm-up 1 Rehearsal and Final Product last approximately seven days. Since each teaching situation is different, appropriate warm-ups will be listed and teachers can use them to suit the needs of their students. a. Circle Chant/Step In – Step Out The teacher directs the students into groups, either their acting groups or character groups. The teacher may choose to make this a whole class activity. The students form a circle. Within that circle, one student thinks of one of their character’s lines and says it in an expressive way. (e.g., using gesture, various intonations, pitches, volumes, etc.) The students repeats the line over and over while the rest of the students in the circle repeat the line using the same gesture, volume, movement, etc. In essence, the whole group is chanting the one line and moving in the circle imitating the movement and vocalization of the leader. The teacher calls, “Step Out”. The student who began the chanting steps out of the circle and observes the rest of the group chanting and moving. The teacher then calls “Step In” and the student steps back into the circle. A new student leader is chosen and the process begins again. Upon completion of this activity, the teacher leads a discussion using the following questions. i) How did you feel observing “yourself” when you stepped out of the circle? ii) How did you feel when you were “mimicking” another character? Did you feel your gestures, voice, etc. were accurate? iii) Did you gain any new insights about your character or about other characters by doing this activity? b. Bus Stop Character The teacher can arrange the groups randomly or according to acting and character groups. The teacher instructs the first group to go to the acting area. The rest of the class becomes the audience. Unit 3 - Page 12 Dramatic Arts - Open When ready, the group is instructed to do an improvisation of their character from “The Adolescent Fugue” waiting for a bus. They can all begin at once or they can enter the scene in a staggered fashion. Remind them of the following rules of Improvisation. Keep it simple. Give and Take. All characters cannot talk at once. Remind the students to utilize what they learned in the Give and Take Warm-up. A beginning, middle, and end are needed. Don’t drag on the improvisation so that it goes nowhere. Be true to your objective and be believable. Remain in character at all times. Don’t deny. If a character says, “ I wish it weren’t raining. It wouldn’t be so terrible waiting for the bus.” The other characters need to go along with this statement rather than saying something like, “What are you talking about? It’s not raining!” Doing this takes away the believability of the scene immediately. Once the groups have completed the activity, the teacher reinforces some of the observations made during the warm-up. The following are topics for discussion. How did your character react in a different atmosphere? Do you have any new insights into your character? Describe the interaction between the characters. Was it true to script? How can you use connections discovered between the characters to enrich your presentation? Did you learn anything new about your character by observing the other improvisations? Discuss the variation in character interpretation. How do they account for such variation? The teacher can vary this warm-up by changing the setting or changing the groupings. c. Experimenting With Verbal Rhythms The teacher explains the concept of Tempo-Rhythm to the students and the students consider the following: Tempo-Rhythm is an important consideration in the execution of physical action. Life has a tempo (speed) and rhythm (varying intensity). We go to work and come home in different temporhythms. There are different tempo-rhythms inside us when we listen to music and when we listen to a fire siren. Every action on stage must be executed with the tempo-rhythm required in life. Tempo-rhythm must correspond to the given circumstances. An actor cannot act sluggishly when energy is necessary. The truthfulness of actions will be lost, even when they are logical, if they are too slow or too fast. There is an individual right rhythm in every person. An actor must find it for the character he portrays. Rhythm is a bridge between the inner experience and its physical expression. The wrong tempo-rhythm in one actor unbalances the other actors, and the audience then does not believe in what they say or do. Using these concepts, the students work in pairs, and deliver part of their monologue with an accelerating movement of their hand, such as pointing or slamming their fist on a table. They then deliver the same lines with a decelerating movement, such as sitting in a chair, crossing the room and turning or touching their partner. The partners discuss the variations and their effectiveness. Students are asked to plot out a series of actions that co-ordinate with their script, such as crossing the stage, walking around a sofa, picking up a book and tossing it aside, sitting down, smiling, tossing their head, and crossing their legs. They rehearse the script very carefully so that they can time the action to specific words. They create a pattern of accelerating and decelerating movements and verbal tempos with two or three punctuation points. The monologue climaxes at the end with the crossing of the legs becoming a significant action in concluding their line of thought. Unit 3 - Page 13 Dramatic Arts - Open Main Exercise 1: Rehearsal The rehearsal process last for approximately four days. The teacher gives the actors a “point of concentration” to help them organize and focus their rehearsal time. The following are suggestions. 1. Organize a rehearsal schedule for the next three days. Write out what your group will concentrate on. Break the schedule up into 20-minute sections. 2. Have another group watch your performance and critique it. Ask them to make specific suggestions on areas that you can improve, e.g., voice, stage business, stage picture, character development, etc. 3. Meet with the teacher. Ask for areas to develop and enrich. Extension/Reflection 1 Because of the flexibility of rehearsal, suggestions are given for written responses during the process of rehearsal. Teachers can use these at their own discretion. a. Examine the growth of your character. How have they changed from your first writing? What did you not understand the first time you read the script about who your character really is? How is your character different from what many people may think of them? How are you different from the image you portray to your classmates everyday? b. Choose the line(s) from your script that: will make the audience laugh speaks most clearly of who your character really is speaks most clearly of how other people see your character that need to be emphasized for the audience to understand your situation Discuss how your characters voice changes throughout the performance. What does the audience learn from “how” things are said? Be specific. c. Use your imagination to write about what happens to your character after the conclusion of the script. Do they come to any personal realizations? Does their relationship with others change? What happens to your character in a month? A year? In ten years? d. Discuss your growth in drama. What are your strengths? What are your weaknesses? Outline the characteristics of the ideal drama student? How do you compare yourself to this vision? e. What extensions can you make with the growth that you have achieved in drama to other areas in your life, e.g., other subject areas, communication skills, future world of work skills, etc.? Main Exercise 2: The Final Product This part of the unit includes one dress rehearsal and final performance. Both are evaluated by the teacher using Appendices 3.3 and 3.4. and the Rubrics that support the evaluation sheets. There should be a development of product between the dress rehearsal and the final performance. This should be indicated in the teacher comments on the evaluation sheet. In this last section, the concentration is on the enrichment and refinement of the piece. The amount of time spent on dress rehearsal and final performance will vary with each teaching situation. As an example, one day can be spent on the dress rehearsal, two days can be spent refining the work, and then one day is spent on final performance. In most situations, this part of the unit will last approximately four days. The student groups are given a performance time for dress rehearsal. All the groups watch each other’s performances and take an active role in critiquing of the work. All groups are then given time to return to their groups and, using the teachers written evaluation and the comments made to them by their peers, work on the suggestions given. A final performance time is given (usually a day or two later) and the groups perform for the final evaluation. a. Dress Rehearsal The teacher/director evaluates the performances using the criteria developed in Appendices 3.3 and 3.4. The audience, the other students, are also asked to critique the work. The actors are allowed to ask for suggestions and clarifications. Unit 3 - Page 14 Dramatic Arts - Open b. Rehearsal When all groups have performed, they return to rehearsal. The teacher works with each group individually before final performance and using the rehearsal evaluation given to the group, directs them in the necessary changes. c. Final Presentation Students are given time for set up and a schedule for performance is arranged by the teacher. The teacher gives a written evaluation to both the group and to the individual performer. Reflection 2: Self-Evaluation The teacher instructs the students to examine their final product, both their personal monologue and the group performance. They are to write a full-page “Self-Evaluation”, using the criteria given in Appendices 3.3 and 3.4. Assessment/Evaluation The teacher uses informal observation, Appendix 3.3, and Rubric 3a to evaluate the students’ understanding of group responsibility in the creation of a drama. Appendix 3.4 and Rubric 3b, along with informal observation and conferencing, are the methods of evaluating the students’ understanding of how the conventions of role playing and character interpretation can be used as ways to create character. Students use reflections and journal writing to assess their understanding of the connections between dramatic situations and their personal spiritual growth. The teacher evaluates the journals for their completeness. Students act as an audience for their peers’ presentations, using Appendix 3.3 as a way of developing criteria for evaluation and applying them to the performance of others. Through informal observation, the teacher assesses the students’ grasp of the willing suspension of disbelief. Accommodations Students with an IEP should be placed with groups of students who will facilitate participation. Arrange for a ‘study buddy’ to assist with the final presentations. Adapt evaluation expectations according to student IEP. Provide teacher assistance with self-evaluation. Resources Bolte, Chuck and Paul McCusker. Youth Ministry: Drama and Comedy. Colorado: Group Books, 1992. Cohen, Robert. Acting One. California: Mayfield Publishing Company, 1992. Jacobsen, Ruth. “The Adolescent Fugue.” Glimpses - A Full Evening Of Theatre: Scenes, Dramatic Monologues & Short Playlets. Illinois: Dramatic Publishing Co. Web site [email protected] Moore, Sonia. The Stanislavski System: The Professional Training Of An Actor. New York: Penguin Books, 1965. Wansbraugh, Henry, ed. The New Jerusalem Bible. New York: Doubleday, 1990. Appendices Appendix 3.3 Developing The Script - Group Evaluation Checklist Appendix 3.4 Developing The Script - Monologue Evaluation Checklist Appendix 3a Rubric: Developing The Script - Group Performance Evaluation Appendix 3b Rubric: Developing The Script - Monologue Evaluation Unit 3 - Page 15 Dramatic Arts - Open Appendix 3.1 Famous Pairs Beauty & The Beast Romeo & Juliet Bonnie & Clyde Sonny & Cher Bert & Ernie Siskel & Ebert Orville Wright & Wilbur Wright Thelma & Louise Hillary & Bill Fred & Wilma Barney & Betty Charles & Diana Anthony & Cleopatra JFK & Jackie John Smith & Pochohontas Ren & Stimpy Regis & Kathie Lee Donnie & Marie Pierre & Maggie Unit 3 - Page 16 Dramatic Arts - Open Appendix 3.2 Beyond The Written Word 1. Open it up Do you think I should Yes Right now Yes All Right Don’t you want to I’m not sure Maybe I should No I’ll do it I don’t mind Then open it All right Come on I can’t 2. Look Where Over there Where There Oh, yes I didn’t expect that Didn’t you Well anyway there it is But did you expect it What difference does that make There it is Yes Expect it or not Yes 3. You’re calling me a liar No, I’m not calling you that Then what are you calling me I’m not calling you anything I’m a nobody. Is that what you are saying Yes...No...I don’t know what I’m saying Unit 3 - Page 17 Dramatic Arts - Open Appendix 3.3 Developing The Script – Group Evaluation Checklist Group Members Dress Rehearsal Final Production Criteria Stage Picture Level 1 2 3 4 Tempo/Rhythm Level 1 2 3 4 Overall Effectiveness Level 1 2 3 4 Group Dynamic Level 1 2 3 4 2 3 4 Check One Productivity/Use of Rehearsal Time Level 1 Teacher Suggestion/Comment Unit 3 - Page 18 Dramatic Arts - Open Appendix 3a Developing The Script - Group Performance Evaluation Rubric Criteria Level 2 Level 3 Level 4 60-69% 70-79% 80-100% Stage Picture - uses the basic - uses the basic - uses the basic principles of principles of principles of staging with staging with staging with Level moderate considerable thorough 1234 effectiveness effectiveness effectiveness Tempo/Rhythm - creates - creates - creates believable timing believable timing believable timing that enriches the that enriches the that enriches the Level drama with drama with drama with 1234 moderate considerable thorough effectiveness effectiveness effectiveness Performance - vocally and - vocally and - vocally and Quality/ physically physically physically connected to other connected to other connected to other Effectiveness characters and to characters and to characters and to the theme with the theme with the theme with Level moderate considerable thorough 1234 effectiveness effectiveness effectiveness Group Dynamic - is reliable, - is reliable, - is reliable, supportive, and supportive, and supportive, and co-operative with co-operative with co-operative with Level moderate considerable thorough 1234 effectiveness effectiveness effectiveness Productivity and - is productive - is productive - is productive Rehearsal and uses rehearsal and uses rehearsal and uses rehearsal time with time with time with Level moderate considerable thorough 1234 effectiveness effectiveness effectiveness Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity. Unit 3 - Page 19 Level 1 50-59% - uses the basic principles of staging with limited effectiveness - creates believable timing that enriches the drama with limited effectiveness - vocally and physically connected to other characters and to the theme with limited effectiveness - is reliable, supportive, and co-operative with limited effectiveness - is productive and uses rehearsal time with limited effectiveness Dramatic Arts - Open Appendix 3.4 Developing The Script - Monologue Evaluation Checklist Name: Dress Rehearsal Final Performance Check One Criteria a. Memorization Level 1 2 3 4 b. Characterization/Interpretation Level 1 2 3 4 c. Tableau/Concentration during the other monologues Level 1 2 3 4 d. Stage Business Level 4 1 2 3 e. Voice-Projection, Articulation, Characterization/Emotion Level 1 2 3 f. Contribution-Role in the Group Dynamic Level 1 2 3 4 4 Teacher Suggestion/Comments Unit 3 - Page 20 Dramatic Arts - Open Appendix 3b Developing The Script - Monologue Evaluation Rubric Criteria Memorization Level 1234 Characterization/ Interpretation Level 1234 Tableau Level 1234 Concentration Level 1234 Stage Business Level 1234 Level 1 50-59% - has learned lines with limited effectiveness Level 2 60-69% - has learned lines with moderate effectiveness Level 3 70-79% - has learned lines with considerable effectiveness Level 4 80-100% - has learned lines with thorough effectiveness - understands and portrays the character with limited effectiveness - uses tableau with limited effectiveness - understands and portrays the character with moderate effectiveness - uses tableau with moderate effectiveness - understands and portrays the character with considerable effectiveness - uses tableau with considerable effectiveness - understands and portrays the character with thorough effectiveness - uses tableau with thorough effectiveness - demonstrates a limited ability to stay focussed and not break character during performance - demonstrates a moderate ability to stay focussed and not break character during performance - demonstrates a thorough ability to stay focussed and not break character during performance - uses stage business and movement to enrich the character with limited effectiveness - uses voice with limited effectiveness - uses stage business and movement to enrich the character with moderate effectiveness - uses voice with moderate effectiveness - demonstrates a considerable ability to stay focussed and not break character during performance - uses stage business and movement to enrich the character with considerable effectiveness - uses voice with considerable effectiveness - uses stage business and movement to enrich the character with thorough effectiveness - uses voice with thorough effectiveness Voice-Projection, Articulation Characterization/ Emotion Level 1234 Contribution - is reliable, - is reliable, - is reliable, - is reliable, Role in Group supportive, and supportive, and supportive, and supportive, and Dynamics co-operative with co-operative with co-operative with co-operative with limited moderate considerable thorough Level effectiveness effectiveness effectiveness effectiveness 1234 Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity. Unit 3 - Page 21 Dramatic Arts - Open Appendix 3.5 Adaptation Instructions “The Adolescent Fugue” is a series of fragmented monologues developed into a one-act play. The characters although they never interact and remain in their own acting area, are connected by the struggle that they all face with adolescence. It is the re-occurring struggle, stated in the many faces of youth, that tie the characters together. Any monologue dealing with the struggle of adolescence could be used and designed to fit the format. Using the structure of “The Adolescent Fugue”, students could even write their own monologues. Keep the following in mind when developing work similar to “The Adolescent Fugue”. 1. Ensure that all monologues point to one theme or a variation of that theme. 2. Divide the monologues into six to ten sections. Characters expose only part of their monologue and then freeze. It is the give and take between the characters that develops theme and characterization. See the excerpt from the script as an example of the format. 3. Remind the students that although they can mention other characters in their monologue, they never actually interact with them on stage. Teach the group the concept of dramatic irony and its effect on the drama. 4. Five monologues should be staged together. Excerpt from “The Adolescent Fugue” by Ruth Jacobson Cloris. God, look at me! Becky. I tell my mother everyone has new clothes... Cloris. I’m an object of ridicule, a freak! Becky. ...or at least only a year old... Cloris. People look at me and say, how could any human being be so big and do this to herself? Becky. …but no one wears clothes that old... except maybe my grandmother. Les. Take my girl friend, for instance – Pamela. She’s really great-looking and wears nice clothes and has this mole on her cheek that really turns me on. But she doesn’t have anything between her ears! She’s a vacuum-head, y’know? Chordrice. I know who I would rather think of... Les Douglas! He is the biggest fox in my whole school!... Unit 3 - Page 22 Dramatic Arts - Open Unit 4: Movement/Dance/Ritual Time: 18.75 hours Unit Developers: Barbara Carlton, Mike Gloster, Cathy Jeffrey, James Mulveney Development Date: October 1999 Unit Description This unit allows the students to explore the various forms of movement and their role in expressing ideas in drama. The teacher helps the students utilize movement, gesture, dance, and non-verbal communication to develop presentations in partnership and in small groups. They examine the historical origins of theatre and our Catholic faith tradition by researching ritual and its modern theatrical relevance. On-going teacher conferencing/evaluation of presentations is essential. Presentations include mirroring, simplified dance forms, thematic story-telling through creative movement, and group ritual. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective and Creative Thinker Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Applies effective communication, decision-making, problem-solving, time and resource management skills. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Accepts accountability for one’s own actions Strand(s): Theory, Creation, Analysis Overall Expectations THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); THV.03 - identify and describe various dramatic forms (e.g., ritual, storytelling, mime) and describe the historical origins of these forms; CRV.01 - use various ways to sustain a role within a drama; CRV.03 - create drama through research or the interpretation of a source; Unit 4 - Page 1 Dramatic Arts - Open CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community; ANV.03 - describe similarities in the dramatic arts of their own and other cultures in the global community. Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH2.03 - demonstrate an understanding of the principles and elements of movement; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); TH3.01 - demonstrate an understanding of criteria for selecting forms in the construction and communication of a drama; TH3.03 - demonstrate an understanding of historical and cultural origins of various dramatic forms (e.g., storytelling, pageantry, dance, mask making); CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation; CR1.02 - demonstrate an understanding of the elements of risk in playing a role (e.g., adapting to challenges to personal and social beliefs; CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR1.07 - identify and use effective styles of collaboration in drama; CR1.08 - identify and pursue appropriate questions in beginning to research a topic; CR1.09 - identify research methods appropriate to developing ideas and text for a drama; CR2.05 - identify and explain the function of a variety of media (e.g., electronic music, lights, costumes, videotape, slides) in presenting a drama; AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed; AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN1.06 - compare how vocal techniques, space, costume, movement, character, and conventions are used in the dramas of their own and other cultures; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning; AN2.02 - explain connections between their own lives and the metaphor or theme in a drama; Unit 4 - Page 2 Dramatic Arts - Open AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of a drama; AN2.05 - demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork). Activity Titles (Time + Sequence) Activity 1 Activity 2 Activity 3 Introduction to Choreography Presentation to Form Ritual – Those Who Went Before 150 minutes 450 minutes 525 minutes Prior Knowledge Required An understanding of the collaborative and co-operative skills required in successful drama work The confidence to develop their creative visions. Trust in their fellow class members and a willingness to take a risk is essential. Experience with symbolic expression of theme. Unit Planning Notes The teacher encourages the students to integrate as many of the previously learned skills as possible. Teacher-directed reminders of the various techniques they could use to enhance their work is an ongoing process. Students must be given the freedom to develop an artistic creation, but are also reminded that freedom demands that they work responsibly and honestly. Students are to be evaluated throughout the rehearsal process. The teacher makes the students aware that rehearsal and refinement play an important role in performance. Self-evaluation is used to encourage them to reflect on their role within the group. The teacher must present a repertoire of music that will influence and encourage creative thought and movement. Instrumental music from movie soundtracks can work very well. A CD/tape player will be needed for most classes. Students will work in partnership, small groups, and large groups. The grouping of students can be teacher-mandated or self-selected, in which case, students are reminded that they are accountable for their choice of group members. Use side coaching to help them develop and further their skills. Teacher conferencing in the large group will help students organize themselves so that their creative vision can become a reality. See glossary for definition of terms such as rondo, sonata, tableau, etc. Check appendices for background information and resources. When dealing with aspects of the liturgy, such as the Eucharist, the teacher needs to be aware that there are two forms – Eastern and Roman – each with their own cultural differences. Accommodations may have to be made to include aspects of both forms into exercises. Because of discussion of the variations is so complex, a guest speaker, could help the students become familiar with some of the many variations. Similarly, teachers should be aware that some students may not be Catholic, or may not have had a strong Catholic influence in the home; as a result, extra time may be required for instructions. Teachers should encourage dramatic arts students to apply the skills gained in the classroom by volunteering at professional theatres or community drama centres. Unit 4 - Page 3 Dramatic Arts - Open Teaching/Learning Strategies In this unit students participate in small and large group movement and dance activities initially led by the teacher. Brainstorming, self- and peer evaluation/critique, and reflective writing are some of the tools used in the learning process. Assessment and Evaluation In this unit, students will have the opportunity to demonstrate their knowledge and understanding of the basic terminology and concepts of movement, dance, and ritual. They will also be able to use creative thinking skills, to communicate using dramatic forms, and to apply the creative process to achieve original expression. Tools for evaluating these skills include roving conferences, teacher observation and assessment, student self-evaluation, reflective journal writing, and teacher and student evaluation/critique of presentations. Resources Albert, David. The Expressive Body: Physical Characterization for the Actor. Community theatre and dance groups – used as an introduction to the genre and as a teaching support Dennis, Anne. The Articulate Body: The Physical Training of the Actor. Gagne, Ronald, Thomas Kane, and Robert VerEecke. Introducing Dance in Christian Worship. Washington: The Pastoral Press, 1984. Lundy, Charles and David Booth. Improvisation. Toronto: Harcourt Brace, 1985. Parsons Les. Response Journals. Markham: Pembroke Publishers Ltd., 1990. Rubin, Lucille. Movement for the Actor. School Library/Resource Centre – examples of pictures of rituals Swartz, Larry. Drama Themes. Markham: Pembroke Publishers Ltd., 1988. Appendices Appendix A.1 – Glossary Appendix 1.2 – Checklist For Daily Drama Participation Appendix 1.3 – Checklist For Journal Evaluation Appendix 4.1 – Theme-Variation-Theme Flowchart Appendix 4.2 – Whole Body Actions Appendix 4.3 – Presentation Form: Evaluation Sheet Appendix 4.4 – The Ritual Appendix 4.5 – Hunting The Bear Appendix 4.6 – Ritual Evaluation Appendix 4.7 – My Role In The Group/Self-Evaluation Appendix 4.8 – Saturday At Noon Appendix 4.9 – Rain Unit 4 - Page 4 Dramatic Arts - Open Activity 1: Introduction to Choreography Time: 150 minutes Description In the following activities, students have the opportunity to demonstrate expression and concentration through a variety of movements, both individually and in large group situations. The teacher will help them understand that listening and collaboration enhance the opportunity for creative expression when developing drama through movement. The students’ progress and readiness to advance into more advanced phases of movement are assessed through teacher observation and conferencing. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Integrates faith with life. An Effective Communicator Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective And Creative Thinker Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities and contributions of self and others. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Overall Expectations THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community. Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH2.03 - demonstrate an understanding of the principles and elements of movement; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); TH3.05 - identify dramatic conflict or tension within a source; Unit 4 - Page 5 Dramatic Arts - Open CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR1.07 - identify and use effective styles of collaboration in drama; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning); AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of drama. Planning Notes Encourage students to work with as many other students as possible in the early process. Encourage risk-taking while working with others, in both rehearsal and performance. Create a mood and an atmosphere of relaxation by using appropriate music and lighting. Have an awareness of each student and their physical comfort during activities. Accommodations may be necessary Be prepared to lead the students in stretching activities before any vigorous movement exercises. Try to use the resources of local theatre and dance groups in preparing for the movement activities. Be prepared to make accommodations for students with physical disabilities. Prior Knowledge Required An awareness of the physical surroundings of the drama classroom and the safety factors that are involved. A positive attitude. Teaching/Learning Strategies Warm-up 1 The teacher leads the students through the following activities. These activities are necessary and important for the students to understand the dynamics of movement. The teacher can use instrumental music to accompany all of the following movement exercises. a. Stretching Students are directed to start out by stretching their whole body in every direction, using their arms, head, legs, fingers, and toes. They move around the room, and if they come into contact with someone else who is stretching, they should try stretching with them. Students should be made aware of the kinds of stretching that are possible when working with a partner or two. Students then attempt stretching without using their arms. The teacher may have students attempt stretches that either require them to change their body level from high to low, or that are done on one foot. The teacher makes students aware of the changes that stretching causes to their entire body. b. Swinging A swing is a loose, easy, relaxed movement that starts with energy, continues because of the momentum of the body, and ends with energy. A swing must have a free flowing ease about it which corresponds to the breathing cycle of inhalation (energy) and exhalation(relaxation of muscles). Students are asked to find a space on the floor, and, while standing, they are directed by the teacher to try swinging various parts of their body separately: head, shoulders, arms, wrists, upper body, and legs. Students should attempt to swing using their whole body, ensuring that their head moves with their body. If the head cannot move with the rest of the body, it is probably because there is a strain on the neck. Use extremes of range. Start small and low. Swing to full extension, then reverse the Unit 4 - Page 6 Dramatic Arts - Open order. The teacher should try to make sure that the movement is full and expansive, not tight and cramped. The teacher should also notice if their rhythm is different from that of others. c. Bouncing Bounces, which can be jumps or gentle bobbing, are easy up and down movements done by any part or all of the body. Bounces must be done without great effort and without a great range of movement. Pay special attention to how the feet are being used. The students land on the toes for an instant, then onto the ball of the foot, then the heel, and finish with a bending of the knee. It is very important for the teacher to direct the students to follow this technique, especially if working on concrete floors. The teacher engages the students in the following movement exercise. They try bouncing in place, and then move around the room. Their bounce shouldn’t change when moving forward or backward and the flow of energy must be free and easy. The teacher has the students try bobbing the head or shoulders and see whether they can bounce while crouching, when sitting on the floor, or when lying down. If the student’s body does not “flop” while bouncing, then the teacher knows the student is tense and should work with them to help them relax the muscles in order to produce easy, gentle movements. Students should work with different people in the class and attempt to adjust to one another’s rhythm. d. Striking A striking movement uses any part of the body and is a short, sharp, clearly defined action that is the opposite of a stretching, languid movement. Striking motions require organization of the body and a fair amount of controlled tension. Striking is often a difficult kind of movement because it requires a definite commitment; you are either doing the movement or you are not. There is no half-way. The teacher directs the students to perform this type of movement in various positions: standing, sitting, kneeling, back-to-back, front-to-front, side-to-side and with various parts of the body: arms, legs, hands, etc. The teacher will remind students to keep the movement short, sharp, and crisp. The teacher has the students work with other students, and with large groups. They are then asked to describe how their performance changed when they did the striking exercises with others. e. Shaking Shaking, or vibratory movements, are the hardest to do because they require the greatest muscle control. Shaking movements resemble shivering because they are tiny, quick, and constant. Students will be directed by the teacher to shake in various positions, starting with isolated movements of the arm, leg, or face. If the movements are not extremely rapid, you know that you are not vibrating or shaking. When students learn to shake properly, they will find it can be very useful in getting rid of fatigue that has accumulated in parts of their body that have been worked very hard. For example, if students have been standing for a long time, their feet will probably feel tired. The teacher directs the students to lie down on their backs, put their legs in the air and shake out their ankles as hard as they can. They stop and then repeat. They should not let the legs drop to the floor when they have finished shaking them out. Then the students bend their knees and place the soles of their feet on the floor. If they have really shaken their ankles, their feet will feel much less tired when they stand up. f. Collapsing Collapsing or falling needs to be practised slowly, and from low levels, until students are relaxed and know what they are doing. The teacher instructs them that when they fall, they must land on the padded parts of their body, such as their buttocks or the side of the upper arm. Students should round their backs to absorb the shock of falling and to protect the spine. The teacher guides the students through the following exercise. Students start their collapse from a sitting position. They try it again from a kneeling position and when they feel comfortable doing those activities, they attempt collapsing from a standing position to see how and what they can do. Unit 4 - Page 7 Dramatic Arts - Open When students are very sure of themselves, they can collapse after jumps and turns from high speeds. The teacher reminds them to avoid landing on the knee, wrist, elbow, shoulder, or tail bone, and that the head is always the LAST thing to settle into place. If students try collapsing forward, they must use their hands and the bottom side of the forearm, keeping the fingers together and forward, to absorb the shock. Collapses can be partial (going from standing to crouching, using just the upper body) or total (from standing to lying). The teacher has the students work with partners to see what kinds of partial and total collapses they can think up to do together. g. Using space The teacher directs the students to find a space on the floor. Students are directed to begin to move on their backs or stomachs without using their legs. Next they move without using their arms and then they try moving without using legs or arms. Students then sit down with their knees up, and move without using their hands. At this point the teacher has the students attempt a number variations of “using space”. These movements include walking on their knees, moving backwards around the room, spinning like a top, and walking around holding onto their ankles. The teacher divides the students into small groups. The groups tie themselves into a “knot” and move about the room. They roll around the room in a “closed” position. As they roll, they “open” the position, then “close” it, open-close, and so on. The teacher next constructs an obstacle course out of risers, boxes, chairs – whatever is available – and the students (individually) move through it. Students then choose a partner and move through the obstacle course with their bodies joined at various places – elbows, feet, head, shoulders, for example. They then move around the room with variations in speed, level, and quality of movement (tense or relaxed, for example). The teacher then asks the students to move as though they are in various environments (deserts, space, haunted houses, underwater), and to join up with others who are moving in similar ways. When they have finished, the students tell the other students with whom they were moving where they felt they were. Main Exercise 1: The Magic Hand a. Students find their own space in the room and assume a standing position. They focus their attention on the teacher at the front of the room. The teacher extends his/her hand and the students move their bodies in the direction that is indicated: forward, backward, left or right. This will establish what is known as the Geography of the movement. The students remain focussed on the teacher’s hand and respond instinctively to the next series of more subtle hand movements. The teacher’s hand can slowly open and close, stretch, curve, wave, etc. The student physicalizes their interpretation of the hand movement, not by mirroring but rather by physical interpretation, using whole body movement. The teacher and students explore a wide variety of gestures. These responses will establish the Interpretation of the movement. b. Students will form one large group and stand in close proximity to one another. They cluster and assume a neutral position, facing the teacher. Slow, expressive music is played and the students respond to the hand gestures and movements of the teacher. They will move about the room, as a group, responding instinctively to the suggested directions. c. The teacher encourages individual students to volunteer to lead the group and lead the class through short improvised sequences. d. The teacher divides the class into two groups, Group A and Group B. Group A becomes the audience and Group B, the ensemble. The groups sit facing each other with a common ground between them to allow for the Geography of the movement. A volunteer from Group A is asked to become the choreographer and lead Group B through an improvised dance assuming the role previously taken by the teacher. The choreographer is asked to stand behind the audience (Group A) to lead the ensemble (Group B). The ensemble stands. Slow, expressive music is played and the choreographer leads the Unit 4 - Page 8 Dramatic Arts - Open ensemble in movement. The teacher, at his/her discretion, calls “freeze”, creating a tableau and allowing an opportunity for a new choreographer. The new volunteer choreographer begins at the point of “freeze” and develops a new dance until instructed “to freeze” once again. Once each member of the group has had an opportunity to choreograph, the roles are reversed. Group A then becomes the ensemble. Each group is afforded the opportunity to choreograph and to experience and appreciate the work from an audience perspective. Reflection 1: Journal The students respond to the following questions: Discuss how you felt during the initial warm up activities, e.g., stretching, swinging, etc. Did you feel more comfortable participating individually or with the ensemble? Why? What is the role of the choreographer in the creation of the dance? What is the role of the ensemble in the creation of the dance? Warm-up 2: Erase-a-Face Students are directed by the teacher to select a partner of the opposite sex, if possible. Partners face one another and assume a neutral face. One partner (A) holds his/her hand next to the other’s face (B) and slowly draws his/her hand across B’s face, without touching it. Partner A calls out an emotion (e.g., fear, neutrality, happiness, anger, neutrality, frustration, neutrality, etc.) Each time he/she draws the hand across B’s face, partner B must follow A’s instructions by showing that emotion on his/her face. The teacher has the students switch roles and has student B lead the instructions while student A follows. The teacher and the partner (student) observe how quickly the students can create and erase their faces. There should be a distinct difference between the emotions expressed and neutrality. Main Exercise 2: Introduction to Hand Dance a. The students remain in pairs. The teacher instructs the students to kneel side by side in a relaxed position. It is important for them to be in the lowest and most comfortable position for this activity. Because comfort is crucial to the success of this activity, the teacher should be mindful of accommodating each student’s individual needs. The students, in pairs, assign themselves letter A or B. For this beginning activity, A places his/her right hand on top of partner B’s left hand. The teacher designates who will lead the movement and begins to play music that the students will start moving to. Only their arms and hands move at this point. It is important that the teacher side-coach the students to explore the space around them. Example: “Very slowly explore the space in front of you, higher,...low, lower,...explore the space behind you...to the right of you,...to the left of you...slowly. Allow yourselves to feel and explore the mood of the music...”. After about one minute of this activity, the teacher tells the students to switch leaders, and the activity continues for another minute. b. The teacher now teaches the concept of focus. Their eyes will follow their hands, leading to a more fluid, expressive dance. The students repeat the activity, but this time the hands lead the body to a complete (upright) kneeling position. The hands are no longer independent of the body as in the first exercise, but lead the body to a fuller, more complete movement. While focussing on their hands, the students allow their bodies to be completely led. It is important to continue side-coaching to assure that the students continually use the space around them and keep their focus. The teacher directs students to continually switch roles in leading the movement. c. Next, the teacher reinforces the concept of Neutrality. See the instructions in section (a) of Hand Dance. The students begin in the lowest position. This is the neutral position. They repeat the fullbody movement from section (b) and return to exactly the same initial neutral position. The neutral position signifies the beginning and the ending of the piece. d. The teacher divides these pairings into two large groups, Group A and Group B. Students in Group A assume the neutral position, while Group B becomes the audience. Group A repeats the previous Unit 4 - Page 9 Dramatic Arts - Open exercise (c) on Neutrality. This time, the teacher allows the student pairings to instinctively decide when to begin and when to end the movement. The ensemble dance will begin with the first movement from one pairing and end when the last pairing has finished and returned to the neutral position. All pairings remain in the neutral position until the final pairing has finished. Now the students switch roles, and the students who have acted as an audience have the opportunity to choreograph their own dance. Reflection 2: Discussion a. Generate a discussion with the students to identify the various types of movement and how they did or did not fit in with the music. b. Did the dance create a tension or a flow? What observations made them form their opinions? c. Were the movements aesthetically pleasing? The students should justify their opinions with specific references to the movements. Assessment/Evaluation Techniques Informal teacher observation to evaluate the completion of all expectations. Side-coaching and roving conferences to evaluate understanding of the principles and elements of movement. Peer and teacher evaluation of the use of movement, gesture, and non-verbal communication. Opportunity in journal writing for students to evaluate their understanding of the importance of group co-operation in the creation of a drama. Accommodations Students with physical disabilities may require accommodations or exemptions from some of the activities. Pair the students to assist with movement. The use of “props” that aid in making movement easier may be helpful. Talk/communicate with each student with physical challenges about how they can be helped to participate in the activity. Provide peer assistance with activities requiring reading and/or writing. Consult Special Education staff concerning accommodations for students with special needs. Resources Community theatre and dance groups Lundy, Charles and David Booth. Improvisation. Toronto: Harcourt Brace, 1985. Parsons, Les. Response Journals. Markham: Pembroke Publishers Ltd., 1990. School Library/Resource Centre - Examples of pictures of rituals Swartz, Larry. Drama Themes. Markham: Pembroke Publishers Ltd., 1988. Appendices Appendix A.1 – Glossary Unit 4 - Page 10 Dramatic Arts - Open Activity 2: Presentation of Form Time: 450 minutes Description In this part of the unit, students, with a partner, create a dance. The teacher introduces students to the musical forms of Sonata and Rondo and the students are made aware of their structure. They use this structure to guide them in creation of their own theme-based dances. The teacher helps students organize their creative vision by guiding them in the development of a flow chart. It is this organizational flow chart that is the springboard for the planning of their movement. Revision and reflection are key components in the development of their project. After teacher conferencing and critique, students are ready to perform a one-minute dance. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Integrates faith with life. An Effective Communicator Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective And Creative Thinker Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities and contributions of self and others. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Overall Expectations THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss critique and review drama presentations in the school and the community. Specific Expectations TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience; TH2.03 - demonstrate an understanding of the principles and elements of movement; Unit 4 - Page 11 Dramatic Arts - Open TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); TH3.05 - identify dramatic conflict or tension within a source; CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR1.07 - identify and use effective styles of collaboration in drama; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning); AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of a drama Planning Notes Have a selection of instrumental pieces of music that follow the musical form of Sonata and Rondo. See the glossary for a definition and musical suggestions. Teacher may want to use the assistance of the school music department for the selection of music. Create an atmosphere conducive to rehearsal. Students need room to work in partnership. A CD/tape player will be needed daily. Have an awareness of each student and their physical comfort level. Accommodations may be necessary. Prior Knowledge Required Students need an awareness of the physical surroundings of the drama classroom and the safety factors involved. Dramatic skills developed throughout the course. A positive attitude towards working collaboratively. Teaching/Learning Strategies Warm-up 1: Exploring Opposites The teacher needs a cymbal, or some type of prop with which they can create a “banging” noise. The teacher divides students into pairs. In this activity, students explore the physical dynamics of paradigms in relationships (e.g., strong-weak, outspoken-quiet, light-heavy, comic-tragic, fire-water, etc.). The teacher calls out “strong-weak!”. Student pairs then illustrate “strong-weak” by means of physical positions (one student is strong, the other weak) and hold that position in the form of a tableau. When the teacher calls switch, the strong becomes weak and the weak become strong. The teacher bangs the cymbal and shouts out another form (e.g., “light-heavy!”), and students assume that physical form in tableau. After exploring various forms, the teacher and the students discuss creative ways of moving from weak to strong, from strong to weak, from dark to light, etc. Repeat the exercise concentrating on the transitional movement. The teacher leads the class in a discussion of the effectiveness of these transitions. Main Exercise 1: Presentation of Form The teacher introduces the students to the musical term Sonata and to the form of Theme-VariationTheme, defined as A-B-A. The sonata form includes any musical piece in which there is a pattern of chorus-verse-chorus. The students then listen to an excerpt from a sonata selected by the teacher. In a Unit 4 - Page 12 Dramatic Arts - Open teacher-led discussion, the students try to identify the theme of the piece (chorus), where it varies (verse), and where it returns to its original form (chorus). The teacher then elicits from the class suggestions of general themes and possible variations to those themes. An example of this pattern could be Love-Turmoil-Love. The teacher guides the class in exploring improvisationally their interpretation of the theme, using specific movements to identify concretely both theme and variation (see previous warm-up). The teacher divides the class into two groups and repeats the earlier Neutrality dance from Activity 1. Again, the two groups have the opportunity to act both as active participants and as an audience. The teacher then introduces the idea of a flow chart. Using their previous dance experienced and the assortment of movements listed in Appendix 4.2: Whole Body Actions, the teacher leads a discussion of the types of movements that the students can use to define the theme and variation. The teacher creates, on the board, an example of a flow chart. Example: Theme A Variation B Theme A Love Turmoil Love Types of movement Types of movement: Types of movement swoop swoop shiver pause balance tremble reach reach shudder balance pause The students, in pairs, are now assigned the task of creating their own dance, using the above format. The teacher assigns a specific number of movements for each phase of the Theme-Variation-Theme format, and the students design a one-minute dance (Appendix 4.1). The teacher provides instrumental music as background while the students work. This also serves as the music for the dance. After they have decided upon a theme and a variation and have discussed it with the teacher, the students complete a flow chart (Appendix 4.1) and rehearse the dance. When the task has been completed, the format used for presentation will still be that of the split-class performance, that is, one half of the pairings perform their dance, while the other half act as the audience. This instills confidence and allows the class to experience a large ensemble performance. Warm-up 2: Moving as One The teacher divides the students into large groups of even numbers. Each group forms two lines of equal numbers, with the two lines facing one another. The two lines must move as one, yet, there is no actual leader. Students must sense what the others are doing. This activity is done slowly. Instrumental music is useful to reinforce the various moods and/or themes the teacher wants to create. When the exercise is completed, the teacher leads the class in a discussion of what was difficult and what was easy about the exercise. Students should consider why it was important for them to move slowly and what happened as a group when they were all moving as one with each other. The discussion should deal with the use of music, the themes that arose out of it, and how it helped them with their movement. Main Exercise 2: Furthering Form The teacher leads a preliminary discussion on sonata form (A-B-A) from the previous activity for the purpose of solidifying the students’ understanding of form. A new dance form is introduced, that of RONDO (A-B-A-C-A-D-A). The discussion is centred around two areas of prime importance: a. the constant recurring theme that has been established as A; b. the variations on the theme, now identified as B, C, and D. Each of the variations differs slightly from the previous one, which allows for further development of the theme or story defined in the dance. The teacher plays a rondo from a symphonic piece (See Glossary Appendix A.1 for definition and suggested pieces.) with the students listening and trying to identify both the theme and the variations on Unit 4 - Page 13 Dramatic Arts - Open the theme. As the piece is played again, the students identify the theme and the variations aloud to the class when they feel that they occur. There will be many different interpretations in identifying these areas. This is good because this is not an analysis of a musical score. It is an activity which will allow the students some artistic freedom when developing their final dance. Teacher and students then brainstorm possible storylines that could support the identified themes. Then they mutually decide on a plot line for their presentation. Areas of discussion will include style/variations of movement, intensity, and the use of metaphor. This is an extension of the exercise’s warm-up: Moving As One. Students decide as a class on types of movements that they feel best represent the mood of the music and the plot line that has been established. The rondo is again played as the teacher helps the students improvise their way through the piece, incorporating as much of the information above as possible. It is important that the teacher minimizes or simplifies the movement story to eliminate a confusing over-abundance of information during the creative process. Extension 2 a. Under the teacher’s supervision, students are now ready to design, write, and perform their own dance based on the Rondo form. In pairs, they brainstorm ideas and decide on a story or theme from which they will develop their dance. They submit to the teacher a written scenario upon which their dance will be based. The teacher conferences with each pair of students in order to assure a complete understanding of the activity, and to give permission to continue with the development of the dance. b. Students define their themes and variations and develop a flow chart that clearly defines their intent. See the sample flowchart illustrated below: Theme A Variation B Theme A Variation C Theme A Variation D Theme A Isolation Loneliness Isolation Anger Isolation Fear Isolation balance balance reach balance tremble balance reach pause pause sway pause pause tremble sway The teacher specifies the minimum number of movements that are required for each area. Also indicate to the students the length of the dance. Will the dance use the entire piece of music or can the students end the piece after a certain amount of time? One minute can be a starting point for the students. c. Teacher conferences with partnered groups, evaluating their flowchart and upon approval, students begin rehearsal. d. Teacher distributes (Appendix 4.3) and establishes the criteria for evaluation. Students continue to rehearse their dance preparing for their first performance. This performance will be verbally critiqued by the teacher and the students. The teacher provides a written critique. This critique will be the basis for further development and improvement of their dance. e. After their first performance, students re-evaluate their own performance and after planning in their journal, return to the rehearsal process to prepare for their final performance. f. Teacher should give the students Point of Concentration for each rehearsal session. Possible Points of Concentration Transitional Movement - Does your dance flow from theme to variation smoothly and effectively? Focus - Where are you looking during each movement? How does focus change the look of you dance? Theme/Story Development - Do you tell a story? Is the message/scenario clear? Is the reoccurring theme effective? Use of Music - Does your movement reflect the music? Are you using the music to initiate movement. Unit 4 - Page 14 Dramatic Arts - Open Reflection 2: Discussion/Journal Writing Ideas a. Critique one of the dance rehearsals that you viewed. Identify a group who performed effectively. What was done well? What would you change? Which aspects of their dance would you incorporate into your own dance? Why? b. Enhance you original flowchart. How has your dance changed from its original form? c. What difficulties is your group having meeting the criteria of the dance? What are you handling particularly well? Final Presentation The students perform their dance. The teacher allows students time for warm-up and rehearsal prior to the final performance. The class assumes the role of audience and the final performances are evaluated by the teacher. See Appendix 4.3. Assessment/Evaluation Techniques The teacher evaluates the journals as a method of measuring student’s ability to evaluate and critique the performances of other students (Appendix1.3). Final Evaluation of group presentation (Appendix 4.1) and teacher conferencing evaluates the student’s ability to create and sustain a drama. Informal evaluation and roving conferences by the teacher, with regard to the flow chart and the creation of the dance, evaluate the students’ understanding of their responsibility to their group in creating a drama Student and peer evaluation of the ability of individuals and groups to communicate role through gesture. Accommodations Students with special needs can be added to the pairings in order to insure participation. Oral assessment of planning and the inclusion of written work will help the students development of the entire progress. Physical accommodations can be met by simply adapting the positioning in the dance. In its simplest fashion, teacher provides only one common source of music. Accommodations can be made however, to allow for students who choose to supply their own music. A tumbling music schedule has to be co-ordinated - when their music is on they rehearse – when it is not, they create. Provide students with special needs (ESL/ELD) the opportunity to preview the vocabulary, i.e., strong-weak, outspoken-quiet, comic-tragic, etc., prior to the activity and explain opposites. Resources Community theatre and dance groups – as an introduction to the art of dance or a resource for expertise Lundy, Charles and David Booth. Improvisation. Toronto: Harcourt Brace, 1985. School Library/Resource Centre - Examples of pictures of rituals Appendices Appendix A.1 – Glossary Appendix 1.2 – Checklist for Daily Drama Participation Appendix 1.3 – Checklist For Journal Evaluation Appendix 4.1 – Theme-Variation-Theme Appendix 4.2 – Whole Body Actions Appendix 4.3 – Presentation of Form: Evaluation Sheet Unit 4 - Page 15 Dramatic Arts - Open Activity 3: Ritual - Those Who Went Before Time: 525 minutes Description Through participating in the development of a ritual, students gain an understanding of the important role that ritual has played in the development of theatre and its importance in their faith tradition. They also gain an appreciation of the various techniques that may be used in the full expression of ritual. Finally, teachers help students to develop their non-verbal communication skills and to increase their ability to work effectively as a group. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Illustrates a basic understanding of the saving story of our Christian faith. Integrates faith with life. An Effective Communicator Reads, understands and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective And Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Sets appropriate goals and priorities in school, work and personal life. A Responsible Citizen Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); THV.03 - identify and describe various dramatic forms (e.g., ritual, storytelling, mime) and describe the historical origins of these forms; CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community; ANV.04 - demonstrate an understanding of how role taking and the processes of drama are connected to their lives. Unit 4 - Page 16 Dramatic Arts - Open Specific Expectations TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH2.03 - demonstrate an understanding of the principles and elements of movement; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); TH3.03 - demonstrate an understanding of historical and cultural origins of various dramatic forms (e.g., storytelling, pageantry, dance, mask making); TH3.05 - identify dramatic conflict or tension within a source; CR1.02 - demonstrate an understanding of the element of risk in playing a role (e.g., adapting to challenges to personal and social beliefs); CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama; CR1.07 - identify and use effective styles of collaboration in a drama; CR2.01 - demonstrate an understanding of the effect of various forms in the interpretation and communication of a source or idea (e.g., puppetry, clowning); AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed; AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning); AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of a drama. Planning Notes Students begin each class with warm-up activities to help them focus their energy and set the appropriate environment for drama. In the exercise dealing with native culture, the teacher should try to make the activity relevant by using local sources of information, such as a local Native People’s band, or a multi-cultural association. The teacher could also arrange a class activity, such as having a guest speaker or taking a field trip to a location such as Ste. Marie-among-the-Hurons. These activities should present an authentic picture of Native culture, avoiding any negative stereotypes. Teachers should be aware of the differences in the cultural and family backgrounds of their students when they ask students to partake in meditations. Be sure to consider urban/rural differences and alternate family structures. The text The Birth of Tragedy by Friedrich Nietzche speaks about the transition from ritual to drama and can be used as a resource for teacher background information Unit 4 - Page 17 Dramatic Arts - Open Prior Knowledge Required A prior knowledge and discussion of man’s use of ritual helps the students understand and visualize the ritual. A discussion of our Catholic faith tradition and the mass is an excellent spring-board for a discussion of symbolism, prop, costume, chant, and song. The structure of the mass and its biblical roots clearly demonstrate how cultures develop ritual. The teacher should be able to explain to the students the difference between the Eucharistic celebrations of the Eastern and the Western rites. Examples can also be found in our Native Canadian cultures. Their reliance on the different gods of nature are familiar to most students. Students have studied the native Canadian society many times by this point in their education. Excellent activities in Improvisation by Booth and Lundy support discussion and interpretation of the native culture and ritual. An understanding the various skills introduced in the first two units, (Group Dynamics/Role Play and Developing Dramatic Techniques) will enhance the students’ ability to develop an understanding of ritual. Teaching/Learning Strategies Warm-up 1: Meditation/Reflection/Journal 1. The teacher leads a class discussion, which eventually leads to a definition of a ritual. See Appendix 4.4 for background notes. The students then relax on the floor and the teacher plays a soothing piece of music (suggested music - baroque - Beethoven). The teacher introduces the class to the idea that most families have their own rituals and reads aloud the poem “Saturday at Noon” (Appendix 4.8). 2. The teacher then leads the class in a meditation in which each student focusses on a pleasant activity that he/she and his/her family do on a regular basis (e.g., Holiday dinners, a memorable Eucharistic celebration, regular prayers, periodic visits to a loved relative, etc.). The students are asked to reflect on an event that they personally feel is a warm, comfortable, safe activity. In their meditation, the teacher tells them to try to be aware of the sounds, sights, smells, etc. of the experience. 3. Students are then directed to write a journal recording their impressions of this family “ritual”. They are asked to write about where the event took place, who was present, and the sights, sounds, and smells that they experienced. They also explain what took place at the event, and why they enjoy the experience. 4. Following the journal writing, the teacher leads the class in a discussion of the importance of ritual in our lives. The teacher then re-reads “Saturday at Noon”. The class discusses the poet’s memories and feelings about Saturday lunches in his/her youth and why these memories still evoke such powerful images and sensory memories. What does this say about the things in our life that have become ritualistic? The teacher extends this idea to the importance of ritual, not only on a personal level, but for communities and societies. Main Exercise 1 The teacher, as a lecturer, should utilize resources (e.g., pictures of ancient rituals) to further the students’ understanding of ritual. Then the students, while listening to a selected piece of instrumental music, try to visualize the images, themes, or purposes of a ritual that might be suggested by the mood of the music. They should try to imagine what kind of ritual this music would accompany. Note: Suggested music – instrumental movie sound tracks. Choose pieces that evoke an intense response. Extension 1 The teacher arranges the class into large groups, each of which selects one image evoked by the musical piece. The group uses this image and the musical selection as the starting point of a ritual and creates two tableaus to represent that ritual. The teacher needs to reinforce the elements of an effective tableau and the importance of the transitional movement. Both the tableau and the transitional movement need to reflect the music and the theme suggested. Unit 4 - Page 18 Dramatic Arts - Open The teacher organizes the class, so that each group is able to present their tableaus to the rest of the class. Following each presentation, the teacher leads a discussion to reflect upon the themes presented, the effectiveness of the images created, and the quality of the movement. The class and teacher discuss the themes suggested by the tableaus and the manner in which they further the class’ understanding of ritual. Warm up 2 a. The teacher instructs the students to relax on the floor and plays a piece of soft instrumental music. The teacher then reads Luke 22:14-20 (The Last Supper). The class and teacher discuss what happened at the Last Supper, establishing how the Eucharist is modelled on that night’s events. The teacher then divides the class into small groups, which discuss what the Eucharist means to Catholics and to other faith traditions, and to them personally. Finally the class as a whole discusses the importance of the Eucharist, and of other liturgical events as important rituals in our Faith journey. b. Gathering - The teacher discusses with the students that people and cultures have many reasons for gathering. The mood and meaning of the gathering vary in energy and movement. The students sit in one large circle. Anyone in the circle can start the activity, which goes around the circle to the right. Each person in the class has a turn saying his or her name aloud (Sam, Colleen...). Students repeat the first activity, adding the word “and” before their name. They try to establish a rhythm in calling out the names (Sam and Colleen and...). They then establish a rhythm by adding movement while saying the names (e.g., “ Sam”, move left 2X, clap, and “Colleen”, move left 2X, clap, and...). Any variation of this warm-up can be utilized (e.g., using numbers instead of names, etc.). Teachers can use their discretion with respect to how much time and emphasis they want to put on this warmup exercise. c. Stomp The teacher leads the students in the following pattern of movement: The students “stomp” their feet, beginning with the right foot, in the following way: RIGHT, LEFT, RIGHT, LEFT; LEFT, RIGHT, LEFT, RIGHT; RIGHT, RIGHT, LEFT, RIGHT; LEFT, LEFT, RIGHT, LEFT RIGHT, RIGHT, RIGHT, LEFT; LEFT, LEFT, LEFT, RIGHT RIGHT, RIGHT, RIGHT, RIGHT; LEFT, LEFT, LEFT, LEFT. The students continue repeating this same pattern until all students know it and are doing it in “sync” with one another. Add variations to the “Stomp” by splitting the class into three groups. One group “claps” the beat and the other “chants” while the “stomp” group continues their pattern. The group that chants speaks one word that deals with emotions. It could be a “torture” word (shame, hate, jealousy), a “worry” word (fear, doubt, ridicule), or a “soothing” word (gentle, caress, contentment). The important thing to note for this group is they ALL must say one of the above words repeatedly. It must be constantly spoken. The chant can be done in a crescendo fashion (soft to loud or loud to soft). Music may be added to the combination of movement, action and voice to further enhance the product. Main Exercise 2 The teacher leads a discussion of the many elements involved in ancient ritual. If possible, teachers could enrich the students’ image of ritual by sharing pictures from texts and/or videoclips that demonstrate a variety of rituals from ancient societies. The teacher reminds the students of the tableaus created in Extension 1. The teacher instructs students to take their ritual, their tableaus, a step further. Distribute Appendix 4.5 – Elements of Ritual and lead a discussion of the many elements involved which will help the students enrich their tableaus and discover the look, sound, and movement of their ritual. Unit 4 - Page 19 Dramatic Arts - Open Extension 2 After reading the questions in Appendix 4.5 – Elements of Ritual, the students begin to plan one of the dramatic elements: Movement; Chanting and Words; Sound and Song; or Environment. They are considering what the ritual will look and sound like. Thus the students are beginning to plan the dramatic elements needed to effectively create this aspect of the ritual. Students brainstorm their vision of the ritual in their journals, keeping in mind that there are no wrong answers. These notes will be used in group discussion later. The teacher reminds them that there are many ways to plan. Part of their response may take the form of drawings, point-form notes, and rapid impression writing. The teacher impresses upon the students the role that planning plays in the product aspect of drama. Once the students have spent five to ten minutes planning, they meet with their groups and, after a discussion of the different visions each have, the group comes to a consensus on one aspect of the ritual to prepare, e.g., a chant, a song or sound, a dance, etc. Reflection 2 The group results are presented to the class. The presentations are critiqued and discussed. The students discuss how the tableaus were enriched by the incorporation of movement and sound. A discussion could also follow, examining any stereotypical images presented. Warm-up 3 a. Movement Transformation Exercise The teacher leads the class through a series of movement transformations. The teacher stresses to the students that focus is important. Because the teacher constantly calls out commands for movement (side coaching), it is imperative that the students follow instructions. There is no stopping throughout this exercise which must be kept flowing and “ transforming”. The students work in their own spaces as the teacher calls out various movements for them to perform. The following movements are used: (i) Walking... through a field of tall weeds...on a pile of feathers...through puddles...on a faraway planet...on a hot sidewalk...through snow (ii) Running... as if you were an animal...as if it were summer/winter...as if being chased (iii) Jumping... as high as possible...in fast or slow motion...like popcorn (iv) Twisting... like a milkshake being made in a blender...like leaves falling from the trees The teacher can add to this list of movement transformations. b. Chanting The teacher reads the poem “Rain” by Sonja Dunn. (see Appendix 4.9) and divides the students into three groups. Each group is given one stanza of the poem to interpret. The teacher then instructs the students to present their stanza by chanting or presenting it in a way that would celebrate a certain aspect of nature. Some examples to use are: sun, rainbows, rain, wind, water, moon, trees, flowers, or stars. Once students have selected a theme or aspect of nature to celebrate (e.g., the sun), they chant their section of the poem with their theme in mind. For example, if “Rain” is their theme of celebration, students may chant their paragraph in a “dull” or “depressing” fashion. The teacher then gives the students two minutes to discuss how they will interpret their section of the poem (volume, pace, tone, inflection). The class then comes together as a whole to chant the entire poem. Unit 4 - Page 20 Dramatic Arts - Open Main Exercise 3 Students begin to design their own rituals. The teacher discusses the possible themes or topics that could be dramatized. A teacher-led brainstorm of possible ritual themes would help the students when they get into their groups. They can work on themes current and familiar to them (e.g., the environment) or themes similar to the ones performed in ancient civilizations. Students may be most creative with topics that have relevance to them. The teacher reviews the elements of ritual (movement, gesture, dance, voice, chant, song, and symbol) to help students in the design of their work. Extension 3 The teacher divides the students into large groups to begin planning their rituals. Groups must first select a theme and decide on a first draft of the group’s vision. The teacher, through conferencing, helps the groups to divide the large task of ritual planning. Each student or small group of students are asked to take responsibility for part of the planning They work on areas such as: writing the words to the song or chant, designing the costuming or props to be used to enhance the symbolism or theme, or designing the movement, gesture and dance that will take place in the ritual. Because the ritual has so many aspects, the students need to be taught how to effectively take the vision of the large group and divide the work so that each group member can be responsible for part of that vision. Once the tasks have been divided, the group begins to plan alone or in small groups. Reflection 3: Journal Writing – Director’s Notes The teacher directs the student or group of students to prepare a plan for their particular aspect of the ritual. This may take the form of a sketch of the stage or of a dance, or a written description of the movement. It may be a list of the music to be used or the words to be spoken chorally in the chant. Their planning will be evaluated for creativity, completeness of the whole task, and effectiveness in enhancing the drama. Warm up 4: Symbols The teacher brings in objects that illustrate the concept of symbolism. The following items are suggestions: a bowl of water, a candle, bread, a cross, a peace sign, a musical instrument (maracas). The teacher leads the students in a brainstorm, helping the students to organize their thoughts on the blackboard. The teacher encourages a discussion of what each item symbolizes and what these items mean to them. In addition, the teacher will discuss which items are universally symbolic and which items may be symbolic only to a certain culture or society. As an alternate exercise, the teacher has the students sit in a circle. The above items are passed around while the students shout out one word to represent that item or tell what that item means to them. They must say the first word that pops into their mind. If they can’t think of anything, students will be instructed to just say, “Pass”. The teacher then leads the class in a discussion of the symbolic meaning of the items. In this exercise, brainstorming is not necessary. Main Exercise 4: Ritual Workshop Students practise and polish the many aspects of their rituals in preparation for presentation to the class and teacher. Teacher conferencing at this point will help the students take the plan from paper to performance. It is important to help the students stay on task during such a large project. The teacher needs to model the organizational skills necessary to keep the group moving on task. Each of the aspects of the ritual needs time for development and each student must take control of directing their aspect of the ritual. It is useful, at the beginning of each class, to have students plan a rehearsal schedule for their group. Unit 4 - Page 21 Dramatic Arts - Open Reflection 4: Discussion/Journal Writing The teacher leads a discussion on some of the difficulties of working in groups. Students then do some personal reflection and write in their journals. Some thoughts to consider are: Time management Sharing a creative vision Organizing the large group Who owns the product - responsibility of all the members. It is hoped that students, once they spend time reflecting of some of the problems, can come up with solutions. Once the students have spent some time in personal reflection, discussion with their own group helps the students come up with possible solutions to the problems they may be facing. As a group, they agree upon a Rehearsal Schedule for the next class. Warm up/Discussion 5 Teacher and students decide on points of concentration for rehearsal. The following are possible Points of Concentration: a. Is the beginning and ending of your ritual effective? What dramatic techniques do you use? b. Staging: Is the picture effective? Do you create a balanced image or, is it purposely off center (for effect)? c. Focus: What is your focal point? How does it change throughout the dance? How does the varying your focal point change the image or message? Do all the members of your group have the same focal point? d. Voice/Chant/Song: How is soundscape used to enhance the drama? Is it effective? Main Exercise 5: Ritual Workshop Students continue to practise and polish their ritual. The teacher gives the students the evaluation sheet so that they know exactly what aspects of the ritual will be evaluated (see Appendix 4.6). Once again the teacher conferences with each group throughout the rehearsal time to assist them with dramatic technique and group dynamics. The teacher encourages the students to use their time wisely by planning a rehearsal schedule. Reflection 5: Journal Writing and Self-Evaluation Students evaluate their role in the drama and their contribution to the group (see Appendix 4.7 – My Role In The Group-Self Evaluation). This is submitted to the teacher and evaluated for completeness. The students’ reflections could help the teacher evaluate the students’ individual marks in the group process. Main Exercise 6: Rehearsal and Presentation The teacher defines the amount of time that can be used for rehearsal. This time limit is dependent on the length of time needed for final presentation. The students then perform their rituals to the class for teacher and peer critique and evaluation. Assessment/Evaluation Techniques Journals are used as a method of evaluating the students’ understanding of the concept of ritual and of the importance of ritual in our lives. Teachers will also be able to assess the students’ understanding that ritual plays an important part in their faith journey. The final evaluation of group’s ability to create and present drama is done by peers, and by the teacher, using informal observation and Appendix 4.6 – Ritual Evaluation. Through journal writing, and with the use of Appendix 4.7 – My Role in the Group/Self-Evaluation, the student and teacher are able to evaluate the student’s understanding of group responsibility in the creation of drama. Teacher observation is used to evaluate the student ability to generate and use criteria as a means of assessing dramatic presentations. Unit 4 - Page 22 Dramatic Arts - Open Accommodations Students with special needs can be paired and placed in groups that insure participation. Oral assessment of planning and pairing them for written work will help the students’ involvement in the whole process. Arrange for peer assistance with journal writing and self-evaluation. Resources Lundy, Charles and David Booth. Improvisation. Toronto: Harcourt Brace, 1985. Wansbraugh, Henry, ed. The New Jerusalem Bible for Catholics. New York: Doubleday, 1990. Appendices Appendix 4.4 – The Ritual Appendix 4.5 – Hunting The Bear Appendix 4.6 – Ritual Evaluation Appendix 4.7 – My Role In The Group/Self-Evaluation Appendix 4.8 – Saturday At Noon Appendix 4.9 – Rain Unit 4 - Page 23 Dramatic Arts - Open Appendix 4.1 Theme-Variation-Theme Flowchart Theme Love Variation Turmoil Theme Love Types of Movement swoop pause reach balance Types of Movement shiver shudder tremble Types of Movement swoop pause reach balance Theme Variation Theme _______________ _______________ _______________ Types of Movement Types of Movement Types of Movement _______________ _______________ _______________ _______________ _______________ _______________ _______________ _______________ _______________ _______________ _______________ _______________ Student’s Name: Unit 4 - Page 24 Dramatic Arts - Open Appendix 4.2 WHOLE BODY ACTIONS Travelling Actions Run Crawl Skip Creep Slither Hop Rush Flee Gallop Roll Dart Slid Vibrating Actions Shiver Shake Quiver Tremble Wobble Shudder Vibrate Stopping Actions Freeze Hold Perch Anchor Pause Grip Balance Settle Contracting Actions Shrink Shrivel Close Sinking Actions Collapse Sink Lower Drip Melt Swoop Unit 4 - Page 25 Jumping Actions Leap Hurdle Bound Bounce Toss Prance Soar Fly Jump Spring Turning Actions Spin Whirl Swirl Whip Pivot Swivel Percussive Actions Stamp Patter Punch Explode Pound Erupt Expanding Actions Grow Reach Inflate Open Release Rising Actions Lift Rise Dramatic Arts - Open Appendix 4.3 Presentation Form: Evaluation Sheet Name: Title of Dance: Rehearsal Process Group completion of tasks (assigned deadlines) /10 Flowchart in Progress /10 Journal Completion and Response (individual) /10 Rehearsal Total: /30 Performance Use of Form: Theme and Variations /10 Use of Flowchart (completed) /10 Use of Movements (variety of styles) /20 Risk Taking (group) /20 Individual Contribution (risk taking) /10 Total: /100 Comments Unit 4 - Page 26 Dramatic Arts - Open Rubric 4.3a Criteria Completion of Task (deadlines) Level 1234 Flowchart on Progress Level 1234 Journal Response Level 1234 Level 1 50-59% - demonstrates limited effectiveness in achieving assigned deadlines - demonstrates limited effectiveness in developing flowchart - uses critical analysis and reflection with limited clarity and effectiveness - uses knowledge and skills with limited effectiveness Level 2 60-69% - demonstrates moderate effectiveness in achieving assigned deadlines - demonstrates moderate effectiveness in developing flowchart - uses critical analysis and reflection with moderate clarity and effectiveness - uses knowledge and skills with moderate effectiveness Level 3 70-79% - demonstrates considerable effectiveness in achieving assigned deadlines - demonstrates considerable effectiveness in developing flowchart - uses critical analysis and reflection with considerable effectiveness - uses knowledge and skills with considerable effectiveness Level 4 80-100% - demonstrates complete effectiveness in achieving assigned deadlines - demonstrates complete effectiveness in developing flowchart - uses critical analysis and reflection with high degree of effectiveness - uses knowledge and skills with high degree of effectiveness Use of Form/Theme Variation Level 1234 Use of Flowchart - flowchart - flowchart - flowchart - flowchart (completed) completed with completed with completed with completed with limited moderate considerable complete Level effectiveness effectiveness effectiveness effectiveness 1234 Use of Movements - demonstrates - demonstrates - demonstrates - demonstrates (styles) limited moderate considerable high degree of exploration exploration exploration exploration Level 1234 Risk Taking - demonstrates - demonstrates - demonstrates - demonstrates (group/individual) limited moderate considerable high degree of effectiveness in effectiveness in effectiveness in effectiveness in Level taking a risk taking a risk taking a risk taking a risk 1234 Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity. Unit 4 - Page 27 Dramatic Arts - Open Appendix 4.4 The Ritual A ritual is an action or an activity that is done in exactly the same way each time it is performed. This is because a ritual is believed to have special power, and the way in which the ritual is performed takes on great symbolic significance. The rituals of ancient societies were very important in people’s lives. These rituals brought individuals together with one main purpose. All thoughts and energy were focussed on one single activity. Everyone behaved in the same way and worked toward the same goal. In this way, ritual taught a people what was expected of them. Through ritual, the knowledge and beliefs of the society were passed on to future generations. The group experience took over and an understanding was created that was shared by all. In a ritual, members of a society believed that they could influence nature and the gods. Rituals could take place before the hunt or be to the sun or rain god to enrich the crops. The people felt that the ritual would make the gods sympathetic to their cause and help them obtain their goal. Rituals were often very different from one society to another. For example, some clans or tribes used magic, dancing, masks, or costumes to enhance the power of the ritual. Naturally, all these elements would help make each ritual seem unique. Ritual is very important to students of drama. Early rituals were the beginning of formal theatre. The duties of priests and other participants in the ritual gradually became roles taken on by the actors. The other members of the group went from being worshipers to being an audience. Examples of ritual can be found throughout history, from the Ancient Greeks to the Native Cultures in North America. Unit 4 - Page 28 Dramatic Arts - Open Appendix 4.5 Elements of Ritual Topic (A) Movement Questions How will your group be seated? Which levels will you use? Which actions will you repeat? Will you mirror actions, or follow the leader? What rhythm will you use? How will you begin the ceremony? How will you end the ceremony? (B) Chanting and Words When will you use “real” language? When will you use invented language? When will you speak loudly? softly? When will word or phrases be repeated? Will any words be echoed? Will the call and response technique be used? (C) Sound and Song What rhythm will you use? What choral techniques will you use: solos, duets, small and large groups? Will you use real instruments? Will you use invented instruments? Will you use any recorded music? Will your use of sound and song be constant? How can you help create a mood? (D) Environment Will you create a main symbol to focus upon? What props will you use? What costumes will you use? Will you use masks? make-up? How will you create and use space? Will you use any special lighting? What mood do you wish to create and how can you artistically assist in creating this mood? Will any part be said solo? In pairs? In small groups? Whole groups? Unit 4 - Page 29 Dramatic Arts - Open Appendix 4.6 Ritual Evaluation Group Members Elements Mark Movement, Gesture and Dance /10 Staging /5 Chant/Voice/Song /10 Costuming/Props/Symbolism /5 Rehearsal Process /10 Performance - Overall Impression /10 Total /50 Comments Unit 4 - Page 30 Dramatic Arts - Open Rubric 4.6a Criteria Movement, Gesture, and Dance Level 1234 Staging Level 1234 Chant/Voice/Song Level 1234 Costuming/Props/ Symbolism Level 1234 Rehearsal Process Level 1234 Performance Overall Impression Level 1234 Level 1 50-59% - limited understanding of the application of movement and how to enhance the theme and the work - uses the principle of staging with limited effectiveness - uses voice, sound, and music to enhance the performance with limited effectiveness - uses costuming/ props/symbolism to enhance the performance with limited effectiveness - utilized time with limited effectiveness Level 2 60-69% - moderate understanding of the application of movement and how to enhance the theme and the work - uses the principle of staging with moderate effectiveness - uses voice, sound, and music to enhance the performance with moderate effectiveness - uses costuming/ props/symbolism to enhance the performance with moderate effectiveness - utilized time with moderate effectiveness Level 3 70-79% - considerable understanding of the application of movement and how to enhance the theme and the work - uses the principle of staging with considerable effectiveness - uses voice, sound, and music to enhance the performance with considerable effectiveness - uses costuming/ props/symbolism to enhance the performance with considerable effectiveness - utilized time with considerable effectiveness Level 4 80-100% - thorough understanding of the application of movement and how to enhance the theme and the work - uses the principle of staging with effectiveness - demonstration of a quality performance with limited effectiveness - demonstration of a quality performance with moderate effectiveness - demonstration of a quality performance with considerable effectiveness - demonstration of a quality performance with effectiveness - uses voice, sound, and music to enhance the performance with effectiveness - uses costuming/ props/symbolism to enhance the performance with effectiveness - utilized time effectively Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity. Unit 4 - Page 31 Dramatic Arts - Open Appendix 4.7 My Role In The Group/Self-Evaluation 1. Preparation What I contributed to the planning of this activity: 2. Process Examples of what I did to keep the group on task. My role in the group dynamic: 3. My role My best moment during the rehearsals or performance of this activity: 4. Changes What I will do differently next time I am in a group activity: Unit 4 - Page 32 Dramatic Arts - Open Appendix 4.8 Saturday at Noon No matter what I had been playing, Or how far I had strayed, I would be there In my mother’s kitchen Saturday at noon. Oilcloth on the table and the floor Wooden matches in a tin dispenser over the stove A cast iron skillet on the burner Hot cooking oil sprackling, It was warm there. Spring had not quite breathed into the Midday air, still cool The kitchen was a haven, A place of love and nurture. How I loved my mother there How I needed to be in her kitchen Saturday at noon. The family gathered there, Save in grave circumstances, weekly. Our matriarch held court there Relating tales of local interest, gossipy at times They all spoke of new and distant things Strange to my ears at ten years old Amazed, confused, delighted. I tried to absorb it all While watching my mother’s hands Strong, capable Forming the not very lean ground beef into balls Then discs Stacking them with waxed paper between, Neatly, on a tray. Next, the buns were sliced. My mother bought the unsliced kind; The great depression had shown her how to cut them Not in two But in three pieces. “To stretch them”, she explained, if asked. I hoped I would never get a middle piece; Middle pieces had no top, No bottom, Just middle, Into the hot skillet The patties hissed in protest Unit 4 - Page 33 Dramatic Arts - Open Appendix 4.8 (Continued) The cook would not be denied Air warm with smells of onions and meat You could almost eat it as you breathed It seemed so long. She would turn the patties, Peeking under a carefully raised edge To judge the doneness. Tarnished spatula in hand, with ceremony, She nursed them to readiness Saturday at noon. At last, traditional burgers assembled On a large platter were passed around. Decisions; Which one? Not one with a middle! Mustard, onions, relish, ketchup? Serious choices, these, Among my first. Conversation muted now Our ritual underway. How delicious. Mother, always the last to take a bite, Sat beaming proudly at her brood Here assembled Saturday at noon. How loved I felt, How very secure. I needn’t stay here longer To hold it together It would be there when I returned. Pecking my mother on the cheek, Taking a last look at my family Sitting around the painted wooden table. I’m sure I must have always grinned Running out through the back shed Heeding again the call of the day. I yelled to Doogie Morden Who had been waiting in the yard, “I’m finished. Let’s go”! On Saturday at noon Unit 4 - Page 34 Dramatic Arts - Open Appendix 4.9 Rain by Sonja Dunn listen listen listen to the rain listen listen listen to the rain listen listen listen listen listen to the rain softer softer listen to the rain softer softer listen to the rain listen listen listen listen listen to the rain louder louder listen to the rain louder louder listen to the rain listen listen listen listen listen to the rain ©1999 Sonja Dunn, from her book All Together Now. Published by Pembroke Publishers. All rights reserved. Unit 4 - Page 35 Dramatic Arts - Open Unit 5: Theatre Complete Time: 43.75 hours Unit Developers: Barbara Carlton, Mike Gloster, Cathy Jeffrey, James Mulveney Development Date: November 1999 Unit Description This summative unit allows the students to take a scripted piece through the entire process – from play selection to a polished level of performance. The teacher supplies the class with a number of one-act plays, which the students will use in their selection process, eventually picking three or four plays which to take to final performance. Students have the opportunity to research various adolescent issues from a Catholic Christian perspective. Through the use of scripture, they explore alternative solutions to their problems. The unit gives the class an appreciation of the creative process and the technical aspects necessary to bring the performance of a play to fruition. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good. Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written material effectively. Presents information and ideas clearly and honestly and with sensitivity to others. Writes and speaks fluently one or both of Canada’s official languages. Uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life. A Reflective and Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situation and solve problems. Adopts a holistic approach to life by integrating learning from various subject areas and experience. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Acts morally and legally as a person formed in Catholic traditions. Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Unit 5 - Page 1 Dramatic Arts - Open Overall Expectations THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works; THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.03 - create drama through research or the interpretation of a source; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community; ANV.03 - describe similarities in the dramatic arts of their own and other cultures in the global community. Specific Expectations TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.03 - demonstrate an understanding of the principles and elements of movement; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); TH3.05 - identify dramatic conflict or tension within a source; CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation; CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.07 - identify and use effective styles of collaboration in drama; CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama; AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN1.04 - demonstrate an understanding of the function of the director, designer, stage manager, and technician in the production of a drama; AN1.07 - demonstrate an understanding of universal meaning in drama; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning); AN2.02 - explain connections between their own lives and the metaphor or theme in a drama; AN2.04 - analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama; Unit 5 - Page 2 Dramatic Arts - Open Activity Titles (Time + Sequence) Activity 1 Activity 2 Activity 3 Script Selection Process The Rehearsal Process The Final Product 450 minutes 1125 minutes 975 minutes Prior Knowledge Required Students should have a concrete understanding of dramatic technique and the varying conventions available to assist them in exploring, understanding, and presenting the literature. They should also have an appreciation for the work of the artist/playwright and the role that literature plays in reflecting and presenting societal views both historically and present day. A firm understanding of the need for personal reflection and for compassion for their fellow man and woman is also essential. They should also have an understanding of the criteria for assessment and evaluation. Unit Planning Notes Utilize video cameras to aid in the analysis of the process. Be aware of the individual differences within the classroom and provide accommodations where necessary, e.g., doubling of roles, multiple roles. Use a variety of exploratory activities, role-play, improvisation, etc. Use a variety of critical analysis from student and teacher, verbal and reflective. Emphasize the importance of giving and receiving criticism. Ensure an understanding of the journal in the developmental process. Reinforce the importance of process and collaboration. Attendance is especially important during this phase of the course, because the emphasis is on collaborative efforts. Prepare a list of technical resources to assist and enhance the students work. A stage is not a necessity to present a final performance. A classroom can serve as a performance area, and a simple wall switch can be used as a theatrical lighting device. When planning a schedule for the final presentations, keep in mind that there should be time enough for at least two, and preferably three final performances. The evaluation of the final product is based cumulatively on all the performances. The teacher may make changes to the marks when the performances show improvement. At this point, students have very valuable theatre skills and should be encouraged to volunteer in community and professional theatre and acquire even greater insight into theatre practice and examine possible careers. Teaching/Learning Strategies In this unit, students engage in large and small group activities, collaboration, brainstorming, individual and group presentations, critiquing, peer evaluation, and reflective writing. Assessment and Evaluation The teacher assesses and evaluates the students’ understanding of the process of structuring drama, including selection of source, choice of roles, and negotiation of action. Students are also evaluated for the use of various forms of communication and the use of equipment, materials, and technology relevant to drama. Finally, the teacher evaluates their ability to perform critical analysis of their work and the work of others. Students are evaluated using the following tools: journals, self-assessment, group assessment, peer assessment, and formal teacher observation. Unit 5 - Page 3 Dramatic Arts - Open Resources Contemporary television or movie productions that deal with themes involved in the selection of scripts. Hamill, Tony, ed. Six Canadian Plays. Toronto: Playwrights Canada Press, 1992. Internet sources, e.g., www.puc.ca (Playwrights Union of Canada) Lewis, Jacquie and Diane Warren. Eureka! Seven One-Act Plays For Secondary Schools. Regina: Coteau Books, 1994. Pioneer Drama Service Inc. Annual Catalog of Plays, Musicals, & Theatrical Texts: 1999/2000. Englewood, Colorado: 1999. Staff members with expertise in any related area, such as lighting, sound, or costuming University and college drama students Appendices Appendix A.1 – Glossary Appendix 5.1 – Suggested List of One-Act Plays Appendix 5.2 – Play Selection/Seminar Format Sheet Appendix 5.3 – Checklist for Viewers Appendix 5.4 – Actor’s Checklist Appendix 5.5 – Evaluation of Theatre Complete: Process and Product. Appendix 5.6 – Stage Terminology Appendix 5.7 – Technical Requirements Appendix 5.8 – Final Reflection Rubric 5a – Student Evaluation of Seminar Rubric 5a – Final Product Activity 1: Script Selection Process Time: 450 minutes Description In this activity students become actively involved in the process of researching and selecting a script, eventually leading to production within the drama classroom. They will assume the role of producer and director and co-operatively arrive at decisions which will affect the overall presentation of their own work and the work of their classmates as well. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good. Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands, and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. Writes and speaks fluently one or both of Canada’s official languages. A Reflective and Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Unit 5 - Page 4 Dramatic Arts - Open Thinks reflectively and creatively to evaluate situations and solve problems. Adopts a holistic approach to life by integrating learning from various subject areas and experience. A Self-Directed, Responsible, Life Long Learner Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others. Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities, and contributions of self and others. Exercises Christian leadership in the achievement of individual and group goals. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Acts morally and legally as a person formed in Catholic traditions. Accepts accountability for one’s own actions. Strand(s): Theory, Creation, Analysis Overall Expectations THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.02 - demonstrate an understanding of group responsibility in the creation of drama; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community. Specific Expectations TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH3.05 - identify dramatic conflict or tension within a source; CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning. Planning Notes Refer to Appendix 5.1 for recommended script-selection guide. Teachers may supply their own list of scripts, but must always be familiar with the scripts to ensure their suitability for classroom use. These scripts should be selected with the following criteria in mind: size of cast; gender make-up of cast; length of script; and the theme of the play. Utilize video cameras to aid in the analysis of the rehearsal process. Be aware of the individual differences within the classroom and provide accommodations where necessary, e.g., doubling of roles, multiple roles, etc. Use a variety of exploratory activities to develop character and interpretation, e.g., improvisation, role-play, teacher in role, etc. Use a variety of tools to critique performance on a continuing basis. Unit 5 - Page 5 Dramatic Arts - Open Emphasize the importance of giving and receiving criticism and its role in the development of the script. Ensure an understanding of the importance of the journal in the development process. Reinforce the idea that the process or collaborative work is important, as well as the finished product. The process of casting is extremely important. While students are allowed to indicate their preference of roles, the teacher makes the final decision, keeping in mind the group dynamics of the class, the varying ability of the students, and the importance of selecting a role for each student that allows them the opportunity for success in the project. Prior Knowledge Required Students should have a concrete understanding of dramatic technique and the varying conventions available to assist them in exploring, understanding, and presenting the literature. They should also have an appreciation for the work of the artist/playwright and the role that literature plays in reflecting and presenting societal views both historically and present day. Students need the collaborative skills necessary for the group activities in this unit. Teaching/Learning Strategies Main Exercise 1 The teacher allows the students to select a partner. Then, the students are given Appendix 5.1, which is a compilation of scenarios of a number of one-act plays. This selection of scenarios is arranged by theme, and it is from this list that the student pairs will eventually select one piece, which they will present to the class in the form of a seminar. These presentations will, in turn, help the class make their decisions on which play(s) to select for eventual performance for the class. The teacher distributes copies of the Play Selection/Seminar Format Sheet (Appendix 5.2), to be used by the student pairs in justifying their play selection. The student pairs read at least three play scenarios from those in Appendix 5.1 before making their selection. Using Appendix 5.2, the students record their impressions of three scenarios that they have read. On this sheet, the students record information about the circumstances of the plays, specifically the 5 Ws (Who, What, When, Where, and Why). In a conference with the teacher, the students submit their Play Selection/Seminar Format Sheet, which contains their observations about the three plays. The students indicate to the teacher which of those plays they want to present in seminar form, and verbally justify their choice. If more than one group selects a specific play, the group which presents their choice first is given the chance to present their seminar on that play. Extension 1 The teacher distributes copies of the one-act plays to the students who selected them. The teacher reminds them, before their reading, that they will be preparing and presenting a seminar on the script. The students read the scripts aloud to each other, reading everything that is on the page, i.e., character name, stage directions and text. It is important at this stage that they do not define any role. The teacher makes the students aware that valuable information about character emotion and reaction is contained in the author’s stage directions. Also, in order to follow who is speaking, it is very important that they always read the character name. Main Exercise 2: Seminar Planning The teacher refers the students again to the guidelines (Appendix 5.2) which were distributed during Main Exercise 1. This resource will be used in their preparation and presentation of seminars on the scripts that they selected earlier. The students and the teacher again read the guidelines together. The teacher emphasizes that the purpose of these seminars is to supply the class with enough information about the scripts so they can make informed choices about which scripts to choose and to prepare for Unit 5 - Page 6 Dramatic Arts - Open final performance to the class. The seminars are to be no more than ten minutes long, and should emphasize the 5 Ws: Who, What, When, Where, and Why. Extension 2 The student pairs, using the Appendix 5.2 (Play Selection/Seminar Format Sheet) prepare an outline of their seminar. In their seminar, they will present to the class the following: (i) Information: the 5 Ws; (ii) Their reasons for selecting their particular piece; (iii) The theme (message) of their selected play; (iv) A list of the characters in their play, and a brief description of those characters; (v) A brief statement of the short workshop that they will develop on one small piece of script, employing one of the dramatic conventions experienced during the course (e.g., tableau). The students will be able to fill in this information on the Play Selection/Seminar Format Sheet. The teacher will conference with student pairs during the preparation of this sheet to supply guidance and approval of their preparations. Main Exercise 3: Seminar Preparation and Presentation 1. The teacher directs the students to prepare a written copy of their seminar sheet. A copy of their planning is to be submitted to the teacher prior to their seminar presentation, and during the writing process, the teacher informally conferences with the student pairs. He/she supplies assistance both with the students’ planning and with the rehearsal of the seminar presentation. The students first deal with the factual aspects of their written copy of their seminar. Once they have dealt with this, they are ready to proceed to the preparation of the piece of script from their play. 2. The student pairs select a short piece of script from their play. Then they decide which dramatic convention they will use to present the piece of script. This convention is chosen from the dramatic conventions to which they have been exposed during the course (e.g., tableau, improvisation, role playing, scene study, etc.). 3. The teacher hands out copies of Appendix 5.3 – Checklist for Viewers. This checklist will be used by the student audience during the seminars to help them record their impressions of the various plays that are presented to them. The students will be asked to record, for each seminar viewed, the following: (i) Given circumstances; (ii) The theme of the play; (iii) Their personal rating of the play, as a choice for performance, on a scale of 1-5. It is useful for the student presenters to refer to this Appendix while they are preparing their seminar, because it alerts them to the information that their audience will be recording and evaluating. Extension 3 After the teacher reviews and approves the students’ plans for their seminar, rehearsal for the seminars begins. The primary purpose of the rehearsal time is to develop an effective workshop presentation of their piece of script. Extensive discussion and conferencing takes place during the rehearsal process. Students are reminded that the primary purpose of their presentations is the delivery of enough information for students to select plays for final performance. Main Exercise 4 The students submit the final written copy of their seminar and the seminar presentations begin. The teacher refers to these written copies during the presentations to make certain that the students are fulfilling the plans which they have made. During the seminar presentations, students act as an audience and, using the Checklist for Viewers (Appendix 5.3), record the information that helps them both in their evaluation of the presentations and in their final selection of a one-act play for performance. A brief teacher-led class discussion follows Unit 5 - Page 7 Dramatic Arts - Open each presentation and allows the audience to ask any questions necessary to clarify the content of the play and to help them to make their decision about play selection. Reflection/Journal 4 The teacher asks the students to record their impressions of the seminar presentations and of the plays which had been presented in those seminars. They should consider which of the plays appeal to them. Main Exercise 5: Final Selection and Casting In this teacher-directed activity, the students are asked to refer to the Checklist for Viewers that they filled out during the student seminars. As a class, the students indicate which three plays they prefer to take to final performance. The students are asked to indicate, by a show of hands, which play(s) they would like to assume a role(s) in. The teacher will then decide if there is a need to “double up” roles or to have students assume multiple roles. It is important for the teacher to restrict the maximum number of plays to three in order to properly facilitate the completion of the unit. Plays should be duplicated, if possible, to facilitate classroom management and to allow students to observe other works of the same nature in progress. Ultimately it is the teacher’s role to decide on the final casting to ensure the utmost opportunity for success for each individual student and for the groups of which they are a part. Assessment/Evaluation Techniques The students’ understanding of group responsibility and their ability to find solutions to group problems is evaluated through teacher observation, teacher conferencing, and student journal writing. Students’ ability to create and use specific criteria to evaluate their work and the work of others is assessed and evaluated through teacher observation and by student evaluation of the seminars (using Rubric 5a – Student Evaluation of Seminar and Appendix 5.3 – Checklist for Viewers). The teacher evaluates the students’ understanding of the process of structuring drama (e.g., selection of source, choice of roles, etc.) by conferencing, by observation, and by using Appendix 5.2 – Play Selection/ Seminar Format Sheet. Finally, their ability to create and perform dramatic presentations is evaluated by peer and teacher evaluation of their seminars. Accommodations Arrange for a ‘study buddy’ to assist students with special needs in preparing their seminar presentation. Provide peer assistance for activities requiring reading and/or writing. Resources Alumni who are presently working in drama Contemporary television or movie productions that deal with themes involved in the selection of scripts. Playwrights Union of Canada – web site www.puc.ca Hamill, Tony, ed. Six Canadian Plays. Toronto: Playwrights Canada Press, 1992. Lewis, Jacquie and Diane Warren. Eureka! Seven One-Act Plays For Secondary Schools. Regina: Coteau Books, 1994. Pioneer Drama Service Inc. Annual Catalog of Plays, Musicals, & Theatrical Texts: 1999/2000. Englewood, Colorado: 1999. Samuel French – for reference to religious plays – web site http://www.samuelfrench.com Staff members with expertise in any related area, such as lighting, sound, or costuming University and college drama students with expertise in lighting, sound, or costuming Unit 5 - Page 8 Dramatic Arts - Open Appendices Appendix A.1 – Glossary Appendix 5.1 – Suggested List of One-Act Plays Appendix 5.2 – Play Selection/Seminar Format Sheet Appendix 5.3 – Checklist for Viewers Rubric 5a – Student Evaluation of Seminar Activity 2: The Rehearsal Process Time: 1125 minutes Description The students take their assigned scripts and, under the guidance of the teacher, begin to explore the process of taking a play from its first reading to dress rehearsal. The teacher guides the students through a step-by-step process that enables them to understand the following principles: development of character; the understanding of sub-text; the art of staging through the use of simple design (floor plan) and implementation (blocking); and the role of technician and management, both on and off stage. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Integrates faith with life. An Effective Communicator Listens actively and critically to understand and learn in light of gospel values. Reads, understands and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective and Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. Examines, evaluates and applies knowledge of interdependent systems (physical, political, ethical, socioeconomic and ecological) for the development of a just and compassionate society. A Self-Directed, Responsible, Life Long Learner Demonstrates flexibility and adaptability. Takes initiative and demonstrates Christian leadership. Applies effective communication, decision-making, problem-solving, time and resource management skills. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities, and contributions of self and others. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Caring Family Member Relates to family members in a loving, compassionate and respectful manner. A Responsible Citizen Witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society. Contributes to the common good. Unit 5 - Page 9 Dramatic Arts - Open Strand(s): Theory, Creation, Analysis Overall Expectations THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.03 - create drama through research or the interpretation of a source; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations. Specific Expectations TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action); TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH2.03 - demonstrate an understanding of the principles and elements of movement; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation; CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.07 - identify and use effective styles of collaboration in drama; CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN1.04 - demonstrate an understanding of the function of the director, designer, stage manager, and technician in the production of a drama; AN1.06 - compare how vocal techniques, space, costume, movement, character, and conventions are used in the dramas of their own and other cultures; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning). Planning Notes Establish a rotating rehearsal schedule in order to allow for development and critique. Establish time lines in order to meet deadlines. Be aware of any accommodations needed to ensure involvement by every student. Have a list of technical resources in order to facilitate and enhance the development of the piece. Prior Knowledge Required a fundamental working knowledge of various dramatic techniques taught during the course (e.g., tableau) a keen awareness of the need for co-operative and collaborative skills Unit 5 - Page 10 Dramatic Arts - Open Teaching/Learning Strategies Warm-up 1: Group Reading The teacher has identified and approved the roles the students are to assume. The students find a space within the classroom in their assigned groups (cast) and begin to read the script using the previous technique used in preparing the seminar. The cast reads everything that is written on the page alternating either by character or by line. In the case of lengthy monologues they are to alternate line by line. The students are not to read their assigned role. The goal of the activity is to read as a group for comprehension and to establish a natural tempo-rhythm involving all of the cast members. This reinforces that the group, not the individual, is the key to success. Main Exercise 1: Exploration of Plot In a teacher-led discussion, the students explore the following elements of story: Opening: The introduction of the characters, the setting, and the initial situation. Development: The introduction of complications to the initial situation and how those complications affect character relationships and develop the plot. Climax: The high point or culmination of the plot, and how it affects the character relationships in the play. Denouement: Evidence of the effects of the play’s events on the characters. This may involve a discussion of Catharsis (the emotional release of tension), if it is evident. Ending: A clear and concise closure to the script, if it is evident. This will vary depending on the script chosen. The teacher then directs the students, in their cast groupings, to plan and develop a three to five-minute improvisation based on the given circumstances of their script. The improvisation must demonstrate all of the elements described above if they are relevant to their script. The students develop their own dialogue and concentrate on developing the story. They may add to the story if they wish, but they must try to include as much of the information from the play as they can remember. The teacher conferences with each cast during rehearsal to ensure their understanding of their task and to stress the idea of developing their own dialogue in relation to a set of given circumstances. Discussion/Journal 1 The teacher leads the class through a discussion after each improvisation. The audience is asked to present their impressions of the improvisation, considering the following questions: Was the theme clear and concise? Were the characters established clearly? Were the relationships identifiable? Was there a clear opening, development, and climax? Was there a clear and concise ending? In their journals the students then begin a character log, which is an on-going report of their character’s response to events such as the improvisation exercise. The journal explores the character’s primary emotion during the exercise and considers how the play’s relationships affected the development of that emotional response. Warm-up 2: Character Improvisation The students refer to their journal and read the previous entry which dealt specifically with their character’s primary emotion and relationship to other characters. They then choose a partner and the two sit facing each other. The teacher provides an opening line (e.g., “Why did you do that?”) and provides an emotion (e.g., frustration). The students take the teacher’s opening line and emotion and begin a oneminute dialogue. Their goal is to develop the dialogue in an extremely “frustrated” manner, as intensely as they can. The teacher calls “freeze”. The exercise is repeated with a different opening line and a new emotion. This activity is repeated, developing as many emotions as possible. Extension 2 The teacher introduces the students to the idea of gesture. The above exercise is repeated with the teacher calling “switch”. In this variation, when “switch” is called, the students continue the conversation Unit 5 - Page 11 Dramatic Arts - Open using gesture only. The teacher again calls “switch” and the students continue with the dialogue. This is continued as in the above exercise but with students using gesture as the only means of communication. Discussion 2 The teacher leads a class discussion, in which the students are asked to recall their script and to consider what they feel is more important in conveying the author’s message: dialogue or gesture. The students are asked to justify their responses to this question. Main Exercise 2 The students return to their groups and read through the script adding emotions to the dialogue. They assume their role for the first time and as they read they are to collectively decide on primary emotions that they feel are pertinent to their characters. They are to pencil in any emotions that they have decided on and any gesture they feel may support their hypothesis. Journal 2 The students fill out Appendix 5.4 with reference to their specific character. This is the initial recording of their character study and it will be added to as the rehearsal process is developed. Warm-up 3: Developing Where The teacher leads a discussion reinforcing the idea of where, which was introduced in Unit 2: Developing Dramatic Technique. The question, “How do you know where you are,” or “Is it true that you always know where you are,” begins the discussion. Following a brief discussion and response to the students’ answers, the teacher sets up two columns under the headings of “den” and “office”. He/she asks, “What is the difference between an office and a den”? The students might respond, “ An office has a desk and telephone”. The teacher asks, “Is that true of most dens?” The students answer, “Yes”. The teacher asks, “What might a den have that an office wouldn’t?” They reply, “Lamps, photographs, and rugs”. “Couldn’t those be in an office?” asks the teacher. The more detailed the discussion becomes, the more the students realize that refined detail adds brilliance to dramatic communication. The exercise is continued until all possibilities are exhausted. Main Exercise 3: Developing the Floor Plan The teacher hands out a layout of the performing space. On the board, the teacher draws a layout of the performing space and discusses floor plan symbols. Students collectively suggest a layout for the office or den and where the set pieces will be positioned within the set. The teacher diagrams the layout on the board until a final consensus is reached. The students individually return to their scripts to read them and to define, as they read, the location(s) suggested by the author or by themselves (if a location is not provided). The students create a list of possible set pieces and, using the provided symbols, design a floor plan that is appropriate to their script. When this task is complete, the students return to their groups to discuss their individual designs. They decide collectively which components within the set are most suitable and in which locations they should be placed. The teacher provides the group with a new blank layout of the performing space. One member of the group is assigned to draw the final floor plan for the group. This final plan is submitted to the teacher. Journal 3 Students now write a journal about how awareness of detail was important in developing their floor plan. The students also write about how this awareness of detail could affect and improve the development of their script. Finally, they respond to the statement, “Generality is the enemy of the art,” by agreeing or disagreeing with it, and by justifying their answer. Unit 5 - Page 12 Dramatic Arts - Open Warm-up 4: Justified Movement To reinforce knowledge from Unit 2: Developing Dramatic Technique, the teacher leads a discussion on giving movement a purpose or a reason. The aim of the actor is to execute logical and truthful actions. The circumstances created by the playwright add subtlety and color to the scenic action. Take, for example, the action of opening a door. How would the action differ if you were trying to escape? If you were eavesdropping? If you were expecting someone whom you had not seen for a long time? Each action may have similarities, but by giving it a context the action becomes logical and truthful. Before any movement is added to a script, the actor should have a fair understanding of the character and their circumstances. The students should consider why it is important to provide a reason for their character to move. How does the movement support and aid in the development of the characters with in the script? Students find a place in the room and the teacher leads them through the following, using seated, standing and walking movements. Students are told to try to draw from a situation that they have been in. i) Sit at a window in order to see what is happening at the house across the street. (Pause) Sit in order to rest. (Pause) Sit at a sporting event. ii) Stand in order to be photographed. Stand in order to see better. iii) Walk to pass the time. Walk to annoy the people in the apartment below you. iv) Clean the drawers in your dresser. v) Count the number of objects on the dining room table. The teacher then leads the students through the following providing circumstances: i) A friend has come to see you and has asked to borrow money. You say that you cannot help them. They understand completely. After they have gone you notice that your wallet is missing from the dresser. Could you have misplaced it? Is it in one of your dresser drawers? ii) You have lied to one of your friends and you are waiting to meet them to tell them what you did. You are seated at a table. You get up to release some of the tension. You walk back and forth. Main Exercise 4 The students individually return to their scripts and begin to read again. They highlight or pencil in any areas where the author has instructed them to move, where they have added a major emotion from the previous exercise, or where they feel that they could possibly add a major movement that they feel their character would justifiably do. Journal/Discussion 4 The students discuss the following questions and write their conclusions in a journal: What is the importance of providing justified actions for you as the actor? How does it aid in developing the character? How does it aid in supporting the intent of the author? Warm-up 5 Teacher and students discuss the term blocking and masking. The teacher uses the floor plan of the den or office from the previous day and illustrates what possible movements could be designed to show the actors’ movements. This is similar to a coach’s play book (x’s and o’s). Through the use of placements, the teacher also demonstrates what masking is and how it affects the sightlines. The students are directed to keep the movement very simple. The goal is always to provide justification. The teacher discusses the role of the stage manager and his/her role in aiding the director. Organization is vital to the success of the ensemble. See Appendix 5.6 – Stage Terminology. Main Exercise 5: Blocking The teacher provides copies of the students’ floor plans to the group. The students return to their rehearsal space and begin blocking the first half of the script. The students are to work on their feet and begin moving as they are reading, blocking out the first half of their script. The teacher conducts roving conferences with each group as they are rehearsing. Unit 5 - Page 13 Dramatic Arts - Open Journal/Discussion 5 In their journals, the students record their responses to the following questions: Why is it important to block out the exact major movements of each character? Why is it important to keep the movement simple? What does the term sightline mean? Why is it important to design blocking with the audience in mind? Warm-up 6 The teacher and the class discuss the following terms: blocking, tempo-rhythm, and interpretation. The students return to their rehearsal space and run through the first half of their script, using the criteria from the discussion as their focus. Main Exercise 6 The students run through their script applying the criteria from above. After each presentation, the teacher leads a verbal critique of the performance, soliciting comments from the class. Reflection/Journal 6 The teacher directs the students to reflect on the following questions: What were the strongest elements of the group performance? Of your individual performance? What were the weakest areas of the group performance? What needs to be corrected in your rehearsal to eliminate some of the weak areas? Following their reflection, the students record their thoughts in their journal. Warm-up 7: Imagination The teacher leads a discussion about the importance of imagination and the role it plays in developing a character. The imagination needs to be cultivated and developed. Students must learn to observe people and their behavior and try to understand their motivation. They must notice what is around them. They need to develop the ability to dream, to create scenes and to take part in them. A playwright rarely gives information about the characters’ past or future and often omits details of their present life. It is up to the actor to fill in the missing details. Imagination allows them to fill in the meaning between the lines (subtext). If they use their imaginations to find interesting meaning behind the words, their bodies will become expressive and interesting. The audience comes to hear the text; they can read the lines at home. The actors’ imagination and creativity helps them to act naturally and spontaneously, bringing their work to life, as though it were happening for the first time. Following the discussion, the students find a place in the room and are instructed to do the following: In your mind walk home from school. What are all of the things you see, hear, smell, taste and touch as you walk. You are cleaning your room. Using your imagination, closely observe everything that you do. Describe someone you have met recently. Try to guess what their interests might be. The teacher hands out various pictures (suggested sources: magazines, textbooks, newspapers), and asks the students to answer the following: Who could this be? What is their profession? What is their family like? What do they like and dislike?. Main Exercise 7 The teacher has previously handed out Appendix 5.4 – Actor’s Checklist. In their journals, the students refer to the appendix and further develop their character log. Warm-up 8 The teacher discusses the previous rehearsal, focussing on the strong and weak points of the groups’ previous performances to reinforce the concepts learned. The students return to their rehearsal spaces. They refer to their journals from the previous days and share their observations from rehearsal and from their character logs. Group members discuss then add any new material to their logs and then begin blocking the second half of the script. The teacher observes the group as they rehearse, intervening only if necessary. Unit 5 - Page 14 Dramatic Arts - Open Main Exercise 8 When completed, the class re-assembles and the rehearsals are critiqued by the teacher. Journal/Discussion 8 The class and teacher discuss the purpose of criticism and why it is such a valuable tool in the development process. The students then use their journal to critique their own work to date, to identify their immediate goal or focus, and to indicate how much of their memorization is completed. Main Exercise 9: Teacher as Director A schedule of rehearsal deadlines is given to students. The next goal is for the students to refine their blocking, movement, and gestures, while memorizing the lines. The teacher rotates to a different group every 20 minutes, analysing and helping the students with their interpretation while they rehearse. The focus and expectations of their next rehearsal are given to them and they return to rehearsal. The teacher divides the areas of script to be rehearsed and provides a specific area of focus for each rehearsal. Each scene breakdown should be covered once. When each cast has completed the directorial component with the teacher, they will prepare for their first memorized dress rehearsal. Journal 9 The students complete a daily log using the criteria from Appendix 5.4. This is an exercise to develop the imagination. The student is to write “in role” from a first-person perspective. Warm-up 10: Hot Seating The students assemble in their rehearsal space. One at a time, the students take the “hot seat” and assume the role of their character. They are interviewed (1-2 minutes) by their group members who want to discover more about the character. The interviewers question how the character feels about events, people, and places. The questions do not have to pertain to the script. Current events unrelated to the script may also be used. This exercise allows students to solidify their perceptions of the characters. Main Exercise 10 The teacher hands out Appendix 5.5 (Evaluation of Theatre Complete: Process and Product). The students and the teacher read and discuss the appendix, with the teacher making certain that all of the criteria have been clarified for the students. The students return to the script and rehearse the first half of the script they have memorized. Once completed, they discuss any major difficulties encountered and again rehearse the same material. The groups re-assemble as a class in the performing area and present to the class. After each performance, the teacher leads a critical discussion, in which the class highlights strengths and weaknesses of the presentations by applying the criteria from Appendix 5.5. The teacher provides written comments for the group to discuss and implement as the process continues. Extension 10 When each group has completed the rehearsal and criticism of the first half of their scripts, the process is repeated for the remainder of the script. Journal 10 The students personally respond in writing to the suggestions given to their group by the teacher. They can agree or disagree with the suggestions, but must justify their response. The journal should state how the student intends to ensure that the criticism will be applied to his/her personal development and for the development of the group. Finally he/she should indicate the main point of concentration for the next rehearsal. Unit 5 - Page 15 Dramatic Arts - Open Assessment/Evaluation Techniques Teacher observation, teacher conferencing, and student journals are used to evaluate the students understanding of the importance of collaboration in producing a group product. The students’ understanding of how role is communicated through language and gesture is evaluated through student journals, student character logs, and through student and teacher critiques. The teacher evaluates the students’ understanding of methods of evaluation and analysis of a drama through informal observation of student verbal critiques. Student journals are used to evaluate the students’ ability to discussion and writing in role as a means of reflecting. The teacher evaluates the students’ ability to use space in the presentation of a drama. Accommodations According to the recommendations of the IEPs, some of the students may require an audio-taped copy of their script to assist them with memorization, voice projection, articulation, and inflection. Provide peer assistance for activities requiring reading and/or writing. Resources Alumni who are presently working in drama Contemporary television or movie productions that deal with themes involved in the selection of scripts. Hamill, Tony, ed. Six Canadian Plays. Toronto: Playwrights Canada Press, 1992. Lewis, Jacquie and Diane Warren. Eureka! Seven One-Act Plays For Secondary Schools. Regina: Coteau Books, 1994. Pioneer Drama Service Inc. Annual Catalog of Plays, Musicals, & Theatrical Texts: 1999/2000. Englewood, Colorado: 1999. Staff members with expertise in any related area, such as lighting, sound, or costuming University and college drama students. Appendices Appendix A.1 – Glossary Appendix 5.4 – Actor’s Checklist Appendix 5.5 – Evaluation of Theatre Complete: Process and Product Unit 5 - Page 16 Dramatic Arts - Open Activity 3: The Final Product Time: 975 minutes Description The students will bring the prepared piece through dress rehearsal to the final performances. It is crucial that the students perform their finished product more than once in order for them to gain an understanding of the difficulty of sustaining a character. It also allows them an opportunity to learn from the first performance with an audience and the unknowns that are encountered. Ideally they should have an opportunity to perform three times. This gives them a true picture of the discipline, dedication, and collaboration that is necessary for the group to succeed. Technical aspects will be addressed and refined. These will be applicable to any performance space. Strand(s) and Expectations Ontario Catholic School Graduate Expectations A Discerning Believer Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good. An Effective Communicator Reads, understands and uses written materials effectively. Presents information and ideas clearly and honestly and with sensitivity to others. A Reflective And Creative Thinker Creates, adapts, evaluates new ideas in light of the common good. Thinks reflectively and creatively to evaluate situations and solve problems. A Self-Directed, Responsible, Life Long Learner Demonstrates flexibility and adaptability. Responds to, manages and constructively influences change in a discerning manner. Applies effective communication, decision-making, problem-solving, time and resource management skills. A Collaborative Contributor Works effectively as an interdependent team member. Respects the rights, responsibilities and contributions of self and others. Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others. A Responsible Citizen Contributes to the common good. Strand(s): Theory, Creation, Analysis Overall Expectations THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values); CRV.01 - use various ways to sustain a role within a drama; CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama; CRV.03 - create drama through research or the interpretation of a source; CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives; ANV.01 - generate and apply criteria to evaluate their own dramatic presentations; ANV.04 - demonstrate an understanding of how role- taking and the processes of drama are connected to their lives. Unit 5 - Page 17 Dramatic Arts - Open Specific Expectations TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama; TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation); TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech; TH2.03 - demonstrate an understanding of the principles and elements of movement; TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime); CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation); CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol; CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness; CR1.07 - identify and use effective styles of collaboration in drama; CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama; AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion); AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama; AN1.04 - demonstrate an understanding of the function of the director, designer, stage manager, and technician in the production of a drama; AN1.06 - compare how vocal techniques, space, costume, movement, character, and conventions are used in the dramas of their own and other cultures; AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning; AN2.04 - analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama. Planning Notes The teacher needs to supply the necessary evaluation criteria prior to beginning. The teacher needs to make any technical aids available to the students and be prepared to instruct the students in their safe use. Safety is a very important consideration. Human resources with background in technical theatre would be beneficial. Students should be made aware of the many varied careers involved in theatre. A discussion of the many different skills needed to bring a play to fruition will reinforce with the students the connections that theatre has to the world of work, e.g., carpenters (set building), electricians (lighting and sound), etc. The teacher needs to video tape to provide further material for self-evaluation. Classes in the school should be encouraged and invited to attend the performances. Performing for an audience other than their classmates offers the students a completely different experience, with different challenges, and different rewards. However, the students should be aware that if their performance is not adequate, they will not be given outside audiences. The students need to be reminded of the importance of perfect attendance during group activities that involve culminating evaluations. As much as possible, rehearsal and performance schedules should be maintained. Unit 5 - Page 18 Dramatic Arts - Open Prior Knowledge Required Co-operative and collaborative skills A working knowledge of the dramatic techniques explored in the course An understanding of the criteria for assessment and evaluation Teaching/Learning Strategies Warm-up 1: Technical Rehearsals The teacher lectures on the basic elements of production. Appendix 5.6 – Stage Terminology is handed out. The teacher defines the role of stage manager and house manager. Then the roles of the lighting designer, sound technician and prompter are explained. The duties of each position are explained and the students are asked to consider which duty they would like to assume. The teacher explains to the students that each group will be expected to fulfill the technical duties for another group. Each student within a group will be required to perform one or more of the technical duties. Main Exercise 1 The students return to their group to design a Technical Requirements Sheet (see Appendix 5.7) for their play. As a group, the students decide what to include on their sheet. Students consult with the teacher and decide what is feasible, given the restrictions of the performance space and the availability of materials. They should be realistic in their selections. The teacher gives final approval. On the board, the teacher demonstrates how to mark cues directly on to the script. See Appendix 5.7. It is important that students justify technical details which are not mentioned in the script. Students should be prepared to answer questions such as: What is the purpose of the music selected? How does it enhance the scene? Why do you need a blackout? Are there other ways to approach the scene without a blackout? What is the significance of your pre-show music? One new copy of the script is given to each group. This is the copy that the stage manager will use to call the cues. The students return to their groups and pencil in on the new copy any lighting or sound cues that they require. The use of pencil allows for future edits. The teacher conferences with each group to ensure their understanding and logic of their decisions. The stage manager’s copy is then submitted to the teacher. Discussion 1 The teacher leads the class in a discussion of the following: Why is it important to be precise in designing the technical needs for your performance? How will this precision enhance the piece for the audience? The actors? Could this attention to detail help convey the author’s intent? Why? Warm-up 2: Movement on/off Stage The students sit as a group in the performance space. The teacher selects a group and leads them through a demonstration of scene-changing. The group takes the stage and sets up their set pieces (e.g., chairs, tables). Depending on the script chosen, there may be a need to move furniture on and offstage during scene changes, or during the presentation itself. The teacher emphasizes that the changes are to be made quietly and efficiently, without rushing. A change should not draw attention away from the play. Rather, the scene changes should be a part of the play, creating one fluid, continuous piece. Rushing a scene change is “out of control”, creating a risk of injury and distracting the audience. Remind students that their audience does not know the play as well as they do. Most of the time the audience will recognize a mistake only if the performers draw attention to it. The student group next removes the set pieces from the acting area and organizes them offstage. Each student is assigned a specific task. The teacher then leads them through an organized setup, in which they move the set pieces from their offstage positions to their positions on stage. The class and teacher then discuss the quietness and efficiency of the move and identify any problems that they encountered. Unit 5 - Page 19 Dramatic Arts - Open They then strike the furniture, returning the pieces to their offstage positions. The strike is done in the same organized and efficient manner as the set-up. When the tasks for the setup and the strike have been finalized, they are not to change. The assigned duties remain the responsibility of the designated students. The teacher now assigns partner groups to fulfill the technical requirements, so that each area is covered by at least two students. Main Exercise 2: Technical Concepts/Safety Note: Instruction on the technical aspects of production and careful planning and attentiveness to safety during rehearsal will eliminate any possibility of injury and insure success during the performance. The students return to rehearsal in their designated areas, focussing on dialogue and characterization. Meanwhile, the teacher works in the performance space with two groups, introducing and discussing technical terminology. The concepts of pre-show lighting, blackout (B/O), fade in/out and cross fading (x-fade) are introduced for lighting purposes. The proper use of sound equipment is discussed as well. Pre-show lighting is a lighting cue that is set prior to the audience entering the theatre. It is used to set a desired mood suitable to the performance piece. Usually it is very subtle so as not to draw attention away from the actual lighting design and implementation unless a specific effect is required. A blackout can be accomplished by merely turning off a light switch in the performing space or if a lighting console is available by pushing the blackout button. A blackout typically signals a major change because of its sudden impact. A fade to black can be used to signify the end of a scene or the play. For safety purposes minimal light should be used to eliminate the risk of injury and to insure a clean and efficient scene change. Try to build the scene change into the continuity of the play so that they do not become distracting or interfering. If using a lighting console, the teacher demonstrates to the students slow fades both in/up and out/down. The teacher stresses that the essence of a successful lighting change is not to draw attention to it by moving quickly. The audience should not be distracted by the lighting movements. A cross fade is used when a change is necessary without going to black. The x-fade is accomplished by bringing one fader/switch up or down while simultaneously bringing the other one in the opposite direction. The use of sound equipment is introduced by the teacher and the students are instructed in a hands on workshop in setting volume and tone levels for music, microphones and sound effects. The students are instructed that all levels are set prior to performance and are not exceeded. In pre-setting a sound level the teacher demonstrates that all levels begin at nothing and are brought up to the desired level. This eliminates any possibility of a sudden blast of sound that could potentially cause hearing damage and equipment failure. The use of the volume controls or faders are the much the same as the lighting control. Safety The teacher finalizes the lecture by stressing the dangers of electricity. Students are instructed to treat all electrical equipment with respect. They are to never touch any equipment that they have not been properly trained in the safe operation of. The permission of the teacher is needed before any equipment is operated. When operating equipment, students are instructed that there are to be no liquids of any kind in the proximity of the equipment. A spill could cause permanent injury to the user and result in damage to the equipment. Once the teacher feels a complete understanding of the principles are attained, the students are taken through a hands-on workshop where they apply what has been taught under the supervision of the teacher The group responsible for “tech” then watches the other group rehearse. This is a technical rehearsal only, concentrating on the areas of change needed. Once the group on stage has completed their scene changes, the two groups walk through a paper tech. The group members responsible for the technical requirements call all of the cues provided by the performing group. Only the cue lines are delivered by the actors. In response to the cue lines, the technicians call the cues. Where applicable, the scene changes are executed efficiently after the cues are called. Any discrepancies on the cue sheet are corrected during this time. Once the rehearsal is complete, Unit 5 - Page 20 Dramatic Arts - Open the groups switch and repeat the activity, with one group on stage, and the other group handling the “tech”. When the first two groups have finished, they return to their individual rehearsal areas and rehearse, concentrating on character and dialogue. Two new groups are called to the performance area to do their technical rehearsal. Journal 2 After the tech rehearsal, the students reflect upon the following questions, recording their responses in a journal entry: What are your personal expectations for the upcoming presentation? Was this a collaborative effort? Why/Why not? What were your strengths during the rehearsal process? What area do you feel most improved upon? Why? What do you feel is the strength of the group? Why? Warm-up 3: Relaxation: The teacher guides the students through a relaxation exercise of their choice. The use of music is suggested. A suggested relaxation exercise follows: The actors lie on the floor, shut their eyes, and breathe slowly, inhaling through the nose and exhaling through the mouth. The teacher circulates and occasionally lifts the actors hand or foot to make sure that muscular tension is released. The actors go through the lines of the play quietly with their eyes closed. They visualize the stage, the people with them and themselves in the scenes. The teacher quietly reminds them that they are not to mouth the other actors words but try to hear them and respond in their minds to them. Concentrate on seeing the stage in full dimension, colour, and movement. Near the end of the relaxation, the teacher has the students focus on what lies ahead. Trust yourselves. The teacher fields any last minute questions. Do they understand the criteria for evaluation? Main Exercise 3: Dress Rehearsal The students gather as a class and groups are selected for presentation as per the rehearsal order that was established in Main Exercise 2. The technicians prepare their areas and the stage manager begins as if they were under show conditions. Following each presentation, the teacher provides a written evaluation only (Appendix 5.5). The students give a verbal critique of each rehearsal performance using the criteria from the rubric. This process of dress rehearsal and evaluation is repeated for each group. Reflection/Journal 3 The students are asked to refer to their previous journal entry, in which they evaluated their group’s efforts to date and expressed their expectations of their upcoming performance. They write a journal dealing with the following questions: Were the outcomes as you expected? Why? Why not? What were the major causes of your group’s success or failure? What areas need improvement to achieve a quality performance worthy of all of the groups’ efforts? Main Exercise 4: The Performance The technicians and performers prepare the performance space while the class assumes the role of audience. Other classes in the school, if possible, should also be invited to be an audience. The first stage manager assures that everything is ready prior to the audience entering. The audience enters only when the house manager gives up the house. The teacher establishes order in the audience and speaks to them about theatre etiquette. He/she reminds the class that the actors have worked hard, are nervous, and need all the support that they, as classmates, can give them. If the students have any comments, positive or negative, they are to save them until after the performance. When an actor see audience members whispering to each other during the show, the actor’s immediate reaction is, “Am I doing something wrong?” The audience may have no malicious intent, but they can very easily unnerve or distract those on stage. Finally, students are reminded that the Unit 5 - Page 21 Dramatic Arts - Open theatre is not the cinema; there are quiet moments that demand all of the audience’s attention. Places are called and the show begins. During the performance, the teacher makes written notes, to be given to the group at the end of the class. At the end of the performance, a new group takes the performance space, with their technical crew assuming their duties. The two groups who had been involved in the first performance now become part of the audience, and the second show begins, with the teacher again making written notes. Allowing for set-up and take-down time, two performances per class (in a semestered school) is probably appropriate. The teacher gives his/her written notes to the two groups who performed. These notes contain suggestions for ways to improve the group’s next performances, and should be as specific as possible. The notes apply to aspects of the performance that can be changed through a mental adjustment. There is no further rehearsal time given to make corrections. The following class, the groups switch roles, with the previous day’s actors becoming this day’s technical crew. Again, half of the class act as part of the audience, and the teacher writes notes, to be given to the performers at the end of class. When all the groups have performed their play once, the process is repeated at least one more time. There is no additional time given for rehearsal. Repeating the performance allows the students to improve and to appreciate the way in which a cast’s performance can change from one show to the next. The teacher’s final evaluation is based upon all of a group’s performances, but can be weighted to reflect improvements in a group’s efforts. Reflection/Journal 4 The teacher distributes Appendix 5.8 – Final Reflection, and leads the class in a discussion of how scriptural readings often reinforce and echo the themes presented in dramas. The students then use the Appendix as a guide in writing their final reflection. This journal entry is submitted to the teacher for evaluation. Assessment/Evaluation Techniques The ability of the students to create and perform drama, using knowledge of conventions, performance spaces and audience perspectives is assessed by teachers and peers through informal observation. The teacher also uses roving conferences and Appendix 5.5 – Evaluation of Final Performance for evaluation of this ability. Students use Appendix 5.3 – Checklist for Viewers, and Appendix 5.4 – Actor’s Checklist to evaluate their performances and those of their peers. Through class discussion, reflection and journal writing, students can evaluate their understanding of the importance of audience perspective in the communication of a drama. Through class discussion and reflection, students can gain a deeper understanding of the personal and social beliefs inherent in a drama. Teachers can evaluate this understanding through informal observation and through the reading of student journals. Accommodations All accommodations should have been made up to this point. The students should be ready for final performance. Unit 5 - Page 22 Dramatic Arts - Open Resources Contemporary television or movie productions that deal with themes involved in the selection of scripts. Hamill, Tony, ed. Six Canadian Plays. Toronto: Playwrights Canada Press, 1992. Lewis, Jacquie and Diane Warren. Eureka! Seven One-Act Plays For Secondary Schools. Regina: Coteau Books, 1994. Pioneer Drama Service Inc. Annual Catalog of Plays, Musicals, & Theatrical Texts: 1999/2000. Englewood, Colorado: 1999. Playwrights Union of Canada Theatre Ontario Appendices Appendix 5.5 – Evaluation of Theatre Complete: Process and Product Appendix 5.6 – Stage Terminology Appendix 5.7 – Technical Requirements Appendix 5.8 – Final Reflection Unit 5 - Page 23 Dramatic Arts - Open Appendix 5.1 Suggested List of One - Act Plays The following is a list of suggestions for one-act plays according to theme: DRUG AND ALCOHOL ABUSE ALKY by Jerome McDonough flexible cast of 6M, 7W, plus optional extras deals with consequences of making poor choices 30 minutes/simple interior set Description of play Rob is throwing a party and everyone’s out for a good time. To get things rolling, there’s plenty of alcohol. After all, what’s the harm of a couple of drinks? Before the party is over, someone will abuse a friendship, someone will make a dangerous decision, and someone’s good time will come to an end...forever. Statistics show that alcohol is the most dangerous drug of all from the standpoint of ruining–and taking– lives. Every teenager in our society will be faced with deciding if, when and how much to drink. Alky doesn’t provide the answers, but it gives us a glimpse of the consequences of making the wrong choice. TURNING POINTS by Mark S. Rye cast–4M, 5W deals with the prevention of teenage alcohol abuse 30 minutes/minimal set Description of play Poignant, insightful, and thought-provoking, this one-act drama provides a startling glimpse into teenage alcohol abuse. Bill and his friends portray the tremendous struggles and insecurities faced by high school students. While we can empathize with their plight, we cannot overlook the unintended but deadly consequences of their decisions. Turning Points was written to help prevent alcohol abuse among junior and senior high school students. The impact of the play can be enhanced by having a facilitator lead a discussion with the students in the audience after each performance. A description/training guide of the discussion format which has been used in previous productions is provided in the script. Turning Points has minimal set requirements, which makes it easy to take the play on tour. ME ‘N’ ALFRED by The Beechy High School Drama Club cast–flexible 10M, 11F deals with the consequences of alcohol abuse and its effect on self and others 30 minutes/minimal set Description of play ME ‘N’ ALFRED is a collective creation designed by The Beechy High School Drama Club. It is a poignant and interesting look at what happens to the alcoholic, from the days of high school graduation and supposed innocent drinking and “partying”, to the end of one’s marriage as a result of how the innocent drinking turned into a severe problem. This play looks at the end result of where alcoholism may lead. Sheldon loses everything (his family, his home, and his job). Sheldon is a “bum” who lives on the street as a result of being “kicked out” of his home by his wife. Several flashbacks occur throughout the play displaying bits and pieces of Sheldon’s life and what led to his demise. Unit 5 - Page 24 Dramatic Arts - Open Appendix 5.1 (Continued) STAYING HOME by Ev Miller cast–1M, 5W dealing with the reality of parenthood before one’s time 30 minutes/simple Interior set Description of play It’s vacation time and Lisa is looking forward to seeing her best friends. After all, so much has happened over the past few months. Everyone has ventured off to college... except for Lisa. An unplanned pregnancy forced her and Mark to make different choices. Although the two are now married, the birth of Megan has forced them to change their aspirations. Lisa no longer fits in with her friends and their new lives. When she realizes that she cannot turn back the hands of time, she is better able to appreciate the special things in her life with less regret. Told without bias or preachiness, this story graphically depicts how a single decision can affect a lifetime. SOCIETY AND US LAST WILL AND TESTAMENT by Ev Miller cast–1M, 1W 20 minutes/simple interior set Description of play Loneliness pervades a small one room apartment. Sitting in a chair is Grandpa, an elderly man who has spent his life in hard physical labour. Lisa, his granddaughter, is one of the few people who comes to visit him. Sadly, Grandpa’s life is tainted by his inability to show love or affection. Lisa attempts to help him realize and share his deepest feelings. She desperately works to help Grandpa reconcile with his son, her father. Though unconventional, Grandpa finally chooses to communicate his never-spoken endearment to his only child through his last will and testament. When Lisa picks up the pen to write down the words, Grandpa finally says what he has never said to anyone. BIBLICAL THEMES BABEL RAP by John Lazarus cast–2M 30 minutes/minimal set and props Description of play BABEL RAP looks at the biblical story of the building of the Tower of Babel from the viewpoint of two very ordinary workmen. The comic decision as to who should smoke and who should hammer is quite ironic when set against the pretentious design of the tower itself. The workmen’s suppositions regarding the Almighty, and how their work fits into the Scheme of Things is classic comic subject matter. The playwright has constructed a unique situation for exploring these philosophical preoccupations in an amusing way. The final absurd jumble of dialogue brings to an hilarious climax the desperate struggle of two men trying to remain rational in the midst of a mad universe. Unit 5 - Page 25 Dramatic Arts - Open Appendix 5.2 Play Selection/Seminar Format Sheet Student’s Name: Scenario 1: Title and Summary Scenario 2: Title and Summary Scenario 3: Title and Summary Seminar Selection: Name of Play: Author: Theme: Given Circumstances: 5 Ws Who: (Characters by name and a brief description) /25 Where: (Setting) When: (Time of day, year, etc.) What: Using the plot line as your guide, describe basically what is happening in the play. Why: Why are the characters in the situations that they are in? What decisions have they made to put them in the situation? Super-Objective: (Playwright’s Intent) /10 What is the playwright trying to communicate to the reader/audience? Please provide two examples from the script that support your hypothesis. Workshop Objective: /15 What part of the script have you chosen that best exemplifies the theme of the play? Please provide justification. What is the format you will use in having the class explore the theme? Total: /50 Comments: Unit 5 - Page 26 Dramatic Arts - Open Appendix 5.3 Checklist for Viewers The presenters established the following criteria: Given Circumstances 5 Ws ___ Super-Objective ___ Identify theme of play: __________________________________________________________ Identify convention used in workshop: _________________ Effectiveness of workshop: 1 (limited effectiveness) 2 (moderate effectiveness) 3 (considerable effectiveness) 4 (high degree of effectiveness) Organization 1 2 3 4 Effectiveness 1 2 3 4 Choice of Play 1 2 3 4 Comment Why do you feel that the workshop did/did not succeed? Provide justification for your rating. Discuss each category of the workshop. Unit 5 - Page 27 Dramatic Arts - Open Appendix 5.4 Actor’s Checklist Whenever you begin to prepare a role, read the play several times. Read it once for a general impression (theme, main conflict, etc.) and at least once to learn all you can about the character that you are playing. Write answers to the following questions about the character that you are playing. In each question, “you” refers to the character portrayed: What is your main objective (what do you want most) in this play? What do the other characters say about you and how do they behave toward you? What is your relationship with them? How do you get along with others? How does the playwright describe you? Describe your home...your family...a typical day in your life. What are your physical characteristics? Age Weight Height Typical gestures Voice/speech Manner of dress What is your most noticeable personality trait? What kind of life have you lived up to now? Describe your background, social life, ethnic group, religion, economic level, and education. What do you value most? Now create answers to these questions about the particular circumstances of the scene. Where were you and what were you doing before this scene began? Where are you now? Describe the setting in vivid detail. What is your physical condition as the scene opens? Describe your appearance. How are you dressed? Are you hot? Cold? Tired? Hungry? In Pain? Describe your relationship with each of the other characters on stage. What is your main objective in this scene? What stands in your way? What are you thinking at every moment of the scene? Unit 5 - Page 28 Dramatic Arts - Open Rubric 5a Student Evaluation of Seminar Student Name: Students are to circle the evaluation level under each heading in the Criteria Criteria Level 1 Level 2 Level 3 50-59% 60-69% 70-79% Understanding - explains - explains - explains characters, plot, characters, plot, characters, plot, 1234 conflict, setting conflict, setting conflict, setting with limited with moderate with considerable effectiveness effectiveness effectiveness Theme - explains theme - explains theme - explains theme with limited with moderate with considerable 1234 effectiveness effectiveness effectiveness Dramatic - the dramatic - the dramatic - the dramatic Convention convention was convention was convention was used with limited used with used with 1234 effect moderate effect considerable effect Suitability of - has limited - is moderately - is considerably Selection suitability for suitable for class suitable for class class performance performance performance 1234 Seminar Quality 1234 - workshop has limited success and organization - workshop was moderately successful and organized - workshop was considerably successful and organized Level 4 80-100% - explains characters, plot, conflict, setting effectively - explains theme effectively - the dramatic convention was used with optimum effect - is thoroughly effective for class performance - workshop was thoroughly successful and organized Comment: Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity. Unit 5 - Page 29 Dramatic Arts - Open Rubric 5b Final Product Criteria Blocking Costume/Lighting Sound Development of Character Understanding of Subtext (Interpretation) Voice Stage Business Relationship Dynamics Unit 5 - Page 30 Level 1 50-59% - limited mastery on the principles of blocking Level 2 60-69% - moderate mastery on the principles of blocking - uses costume, - uses costume, light, and sound to light, and sound to enhance the enhance the performance with performance with limited moderate effectiveness effectiveness - demonstrates a - demonstrates a limited ability to moderate ability stay focussed and to stay focussed not break and not break character during a character during a performance performance - demonstrates a limited understanding of the meaning behind the spoken word (text) - limited mastery of voice projection, articulation, and inflection - limited understanding and application of movement with intention and motivation - a limited ability to demonstrate relationship between characters - demonstrates a moderate understanding of the meaning behind the spoken word (text) - a moderate mastery of voice projection, articulation, and inflection - moderate understanding and application of movement with intention and motivation - a moderate ability to demonstrate relationship between characters Level 3 70-79% - considerable mastery on the principles of blocking - uses costume, light, and sound to enhance the performance with considerable effectiveness - demonstrates a considerable ability to stay focussed and not break character during a performance - demonstrates a considerable understanding of the meaning behind the spoken word (text) - a considerable mastery of voice projection, articulation, and inflection - a considerable understanding and application of movement with intention and motivation - a considerable ability to demonstrate relationship between characters Level 4 80-100% - high degree of mastery on the principles of blocking - uses costume, light and sound to enhance the performance with mastery - demonstrates thorough ability to stay focussed and not break character during a performance - demonstrates a thorough understanding of the meaning behind the spoken word (text) - a high degree of mastery of voice projection, articulation, and inflection - a high degree of understanding and application of movement with intention and motivation - a thorough ability to demonstrate relationship between characters Dramatic Arts - Open Rubric 5b (Continued) Final Product Criteria Level 2 Level 3 Level 4 60-69% 70-79% 80-100% Memorization of - moderate ability - considerable - thorough ability Script to memorize ability to to memorize script memorize script script Rehearsal Process - utilized time - utilized time - utilized time - utilized time with limited with moderate with considerable with a high degree effectiveness effectiveness effectiveness of effectiveness Overall - limited - moderate - considerable - thorough Effectiveness demonstration of demonstration of demonstration of demonstration of a quality a quality a quality a quality performance performance performance performance Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity. Unit 5 - Page 31 Level 1 50-59% - limited ability to memorize script Dramatic Arts - Open Appendix 5.5 Evaluation of Theatre Complete: Process and Product CRITERIA REHEARSAL PROCESS (see Checklist for Daily Participation) (Individual Mark) 20 BLOCKING (Group Mark) 10 OVERALL EFFECTIVENESS OF PERFORMANCE (Group Mark) 20 DEVELOPMENT OF CHARACTER (Individual Mark) Broken into the following categories: a) VOICE (use of projection, articulation, inflection) b) STAGE BUSINESS(understands the need for motivation behind every movement) c) SUBTEXT(demonstrates the meaning behind the text) d) MEMORIZATION of LINES e) RELATIONSHIP DYNAMICS(demonstrates a developed relationship between self and others onstage) 10 TOTAL: 100 MARKS 10 10 10 10 COMMENTS: Unit 5 - Page 32 Dramatic Arts - Open Appendix 5.6 Stage Terminology Terms Commonly Used for Jobs Within the Theatre Front of House Manager: The front of house manager is responsible for the running of the box office and tallying or receipts, sometimes via a box office manager. The front of house area technically stops at the pass door of a proscenium arch theatre, which means that the FOH manager is also responsible for the auditorium itself, washrooms, fire exits, bars, and front of house display. The stage manager will need to liaise with the front of house manager over complimentary tickets, show timings, programmes, understudies, and boxoffice receipts. Stage Manager: The stage manager is responsible for running and servicing the show during performance. He/she must know where every prop should be onstage, where the actors should be at all times, and all sound and lighting cues for every moment of the play. The stage manager may also need to prompt in rehearsals and performance. Lighting Technician/Designer: A lighting designer must be capable of manipulating the available technical facilities to produce a result that is in keeping with the show as conceived by the director. A structured format is created by combining the uses of colour, angle, and intensity to suit the mood of the scene. Once this is in place, a lighting technician will be responsible for rigging lanterns and cables, cutting colour, plugging up dimmer racks, and operating lighting. Sound Technician/Sound Designer: The sound designer should be involved with the production at an early stage. In the case of a musical, they must select the required microphones, mixers, amplifiers, and speakers to ensure effective sound coverage in both the auditorium and on stage. Sound designers will also be involved in the creation/selection of sound effects and backing tracks. Terms Commonly Used When Performing for the Stage House Lights Out–verbal instruction to fade the house lights to blackout Blackout–complete absence of light on stage, for effect Fade–smooth increase or decrease of light or sound Cross Fade–result of simultaneously increasing brightness of some lighting while reducing other Pre-show–facility in some lighting controls for preparing one or more cues in advance; also refers to anything in position before the beginning of a scene or act Cue– a) word or action taken by one actor as signal to speak or move by another b) signal given by stage management for action by actors or staff Cue-to-cue–time-saving method of rehearsing technicalities by avoiding long passages of dialogue Paper Cue-to-cue–instead of physicalizing the cue-to-cue, everyone reads through it as it is written on paper Strike–remove scenery, props, equipment, etc. Properties List–list of props to be used for the play Give up the House–transfer of the house from stage manager to house manager (letting the audience in) Unit 5 - Page 33 Dramatic Arts - Open Appendix 5.7 Technical Requirements Name of Play: ________________________ Example: Page Light Effect Sound Effect House lights On stage pre-set House music Fade to Black Music Out 1 2 Property Required Furniture: two chairs, table, coat rack Dressing: Robe on rack,. Newspaper on floor Book, Tom Cue 1: Single Spot C.S Thunder Lights to Full Rain Name of Play: ________________________ Example: Page Light Effect Sound Effect Property Required 1 Unit 5 - Page 34 Dramatic Arts - Open Appendix 5.8 Final Reflection Three issues will be addressed for this report: a) Self-Esteem/Self-Image b) Violence c) Alcohol Abuse 1) Self- Esteem/Self- Image Many of the characters in the plays presented are facing problems with their self-esteem and self-image. We see a wide range of problems in this area, ranging from low self-esteem to total self-absorption (which may also be an indication of low self-esteem). Read Matthew 5:13-16 and answer the following questions: 1. Why do so many youth today face problems of low self-esteem similar to those presented in the plays that were presented? 2. “When the salt loses its taste” can be explained as describing someone who doesn’t feel like they can be a contributing member of society. Explain the possible influences that made these characters begin to feel this way about themselves. 3. God sees everyone as “the light of the world”, each with their own unique special gifts and talents. Why can’t more people see themselves the way God sees them? 2) Violence Read Proverbs 4:10-27 and answer the following questions: 1. God only wants what is best for us and that is why He wants us to follow His ways. This reading discusses the issue of turning away from evil. Why do so many young people, both male and female choose the evil path of violence in their lives? What causes this to happen? 2. From this reading, think of some solutions that could help adolescents to follow the “path of righteousness”. List and explain the reasons for following your solutions. 3) Alcohol Abuse Alcohol abuse is quite common among youth today. Read Proverbs 23: 29-35 and answer the following questions: 1. Why do you think people feel the need to abuse alcohol? Why is it such a “thrill” to them? 2. Do you think a person with low self-esteem is more likely to abuse alcohol? Why or why not? Explain your answer. 3. You have been asked to represent your school on the committee, Prevention of Alcohol Abuse among Adolescents. You are to come up with some ideas to help curb the use of alcohol among youth. List and explain your ideas. Note: Use the scripture reading a basis to support your statements. In paragraph form, answer the following questions: 4. How could watching a play affect one’s opinions and attitudes on the issues of self-esteem, alcohol abuse and violence? Does your perspective on these issues change at all? In what ways? 5. Not only does the presentation of social issues enlighten the audience to develop new perspectives, the Bible helps us solve many problems we encounter on a daily basis. What new insights were gained after reading scripture representative of the various issues facing youth today? Explain. Why does it make sense for us to try and follow God’s ways and messages? Explain. Unit 5 - Page 35 Dramatic Arts - Open Appendix 5.8 (Continued) Final Reflection Teacher Comments: Insight into Character: Insight into self: Insight into scripture: Unit 5 - Page 36 Dramatic Arts - Open