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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
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 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.
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 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.
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 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;
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 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.
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 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.
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 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).
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 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;
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 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
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 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.
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 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
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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.
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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.
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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.
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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.
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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
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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
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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
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Soundscape
Space Object
Stage Business
Stage Picture
Strike
Sub-text
Tableau
Tempo/Rhythm
Transitional Movement
Vocal Quality/Expression
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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);
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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;
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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;
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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).
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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.
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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;
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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
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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
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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
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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
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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.
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 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
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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
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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?
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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.”
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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.
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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
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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.
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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.
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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.
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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.
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


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?
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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.
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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
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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.
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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.
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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.
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 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.
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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;
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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.
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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.
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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.
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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
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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
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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
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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
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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
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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
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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;
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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
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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
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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.
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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
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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.
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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
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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.
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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
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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
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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.
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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.
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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.
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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
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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
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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
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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
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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
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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.
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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.
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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.
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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.
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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
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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.
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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.
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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.
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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,
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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
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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.
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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
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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.
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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.
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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:
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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.
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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?
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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
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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:
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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)
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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
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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.
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Appendix 5.8 (Continued)
Final Reflection
Teacher Comments:
Insight into Character:
Insight into self:
Insight into scripture:
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