Download Knock, Knock. Who`s There? Lesson 5

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Knock, Knock. Who’s There? Lesson 5 Grade 9, Drama, ADA1O
Critical Learning
Guiding Questions
•• Monologues possess the stories and voices of characters.
•• Who is my character?
•• Writing is a way to generate ideas for drama.
•• What does he/she want to/need to say?
•• Collaboration can help to advance a work.
•• How can I capture ideas from imagination•
for a dramatic work?
•• What feedback helped me with my
performance?
Curriculum Expectations
A1. The Creative Process: use the Creative Process and a variety of sources and
forms, both individually and collaboratively, to design and develop drama works.
A1.2 s elect and use appropriate forms to suitspecific purposes in drama
works
A1.3 use role play to explore, develop, and represent themes, ideas,
characters, feelings, and beliefs in producing drama works
A2. Elements and Conventions: use the elements and conventions of drama
effectively in creating individual and ensemble drama works, including works
based on a variety of global sources.
A2.1 u
se the elements of drama to suit an identified purpose and form in
drama presentations
Learning Goals
Students will be able to:
•• use improvisation as a starting point for
developing a drama
•• critically analyse samples of monologues as
model works
•• create monologues
•• share a preliminary performance of a
monologue
•• use feedback to revise monologues
Instructional Components and Context
Readiness
Terminology
•• Group work norms and skills, •
•• Monologue
e.g., taking roles, taking turns, disagreeing
agreeably, coming to consensus
•• Improvisation
•• Rapid writing
•• Practice using the Creative Process
•• Elements of drama
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Materials
•• Video clips of monologues
•• Creative Process Display Chart
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Knock, Knock. Who’s There? Lesson 5 Grade 9, Drama, ADA1O
Minds On
Whole Class/Individual ➔ Using improvisation to explore ideas
Explain that they will use improvisation to develop ideas. Ask students to imagine they are
knocking at a door, and provide them with the lines: “It’s me. Are you in there? I’ve got something
I want to say…”
Students develop a character, creating a line or two to follow the opening, and decide on delivery
and improvise e.g., banging on the door and yelling. They share their improvisation with the class.
Debrief by asking each student to comment on the choices they made. Ask some students to
change the delivery, and as a class, discuss the impact on the meaning. Extend the discussion by
posing the question: “How did the improvisation help you explore a situation and character?”
Pause and Ponder
•
Monitor students as they
prepare for their improvisation.
Assess their readiness to share
their improvisation for the
class. Pose questions related to
the character and situation, as
necessary.
Action!
Whole Class ➔ Using the critical analysis process
Post the critical analysis process organizer and critical analysis questions for the monologue
(e.g., on an anchor chart) for students to refer to.
Provide background information on the monologues, e.g., title of the work, name of playwright
and his/her background, the character and situation.
Post the creative process.
Help students to identify where
they are in the process.
Show a clip from the monologue. Model the critical analysis process by using critical analysis
questions for the monologue.
Students view a video clip of a monologue, using the Critical Analysis Process and make notes for
one or more of the questions for each of the stages.
Students view a second monologue.
Using mix and mingle students share responses with peers. Guide the sharing by calling out the
stage of the process students should discuss for each pairing.
Debrief by reviewing the elements of drama, i.e., role/character, time and place, tension,
relationship, focus and emphasis. Discuss and note on a T-chart how these elements were used in
the two monologues.
Assess students
understanding of the critical
analysis process as they discuss
questions in the mix and mingle.
Whole Class ➔ Co-constructing success criteria
Review and discuss the learning goals. Co-construct success criteria for monologue writing and
performance, including clearly defined relationships, character intention, and motivation. Record
these on an anchor chart. In a Think-Pair-Share, students describe what success looks for each of
the criteria. Debrief by inviting responses and note any details as examples on the success criteria
anchor chart.
Individual ➔ Writing monologues
Explain that they will write monologues imagining their character is at a door talking to someone
on the other side who does not respond back. Point out that the door metaphorically represents
a barrier or obstacle.
Students use the Minds On activity, the monologues they viewed, or some other inspiration
as a starting point. They use rapid writing and a monologue planning template as tools for
generating ideas for writing. Students select which tool they will begin with, and are flexible, e.g.,
go back and forth between the tools as they generate ideas. Then, they complete drafts of their
monologue.
Whole Class/Small groups/Individual ➔ Working on monologues
Review success criteria, and add any additional criteria based on students’ experience.
Prompt students to be
as specific as they can when
describing what success looks like.
Conference with students
as they create their monologues.
Form guided writing groups,
as necessary, for students who
need additional support.
Each student reads their monologue draft, while the other members of the group pose questions
and provide feedback using success criteria. Students record suggestions and questions related
to their monologue.
Once all the monologue drafts have been read in the group, each student individually considers
feedback, and incorporates it as they revise their drafts. Students make decisions about any
movement and gestures they will use in the performance.
Small Groups ➔ Rehearsing monologues
Students return to their groups. Each student, in turn, shares a preliminary performance of their
monologue while other members of the group participate as audience. After each monologue,
group members provide feedback on the preliminary performance. Performers note feedback in
their Process Portfolio.
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Knock, Knock. Who’s There? Lesson 5 Consolidation
Whole Class ➔ Reflecting on collaboration
Students form a circle. Students share a reflection on collaboration using the sentence stem
“Collaborating with my peers has helped me to…” when they receive a passed object.
Individual ➔ Tracking learning
Students complete their entry of their Portfolio Tracking Sheet for their Process Portfolios. They
connect the “In this lesson, I discovered…” part of their entry to the learning goals for the lesson,
e.g., What were your sources of inspiration for your monologue? What feedback did you receive and
how might you revise your monologue based on the feedback? How does creating a monologue
compared with the other works you’ve created in this unit?
Students also include their feedback notes in their Process Portfolio.
L I T E R AC Y G A I N S T R A N S F O R M I N G I N S T R U C T I O N A L P R A C T I C E S U P P O R T S G R A D E 9 DRAMA
Grade 9, Drama, ADA1O
Pause and Ponder
Peers provide feedback on
the individual monologues to the
members of their group.
Use the Process Portfolio
as a tool for self-assessment
and reflection. Review students’
reflections in their Process
Portfolios to determine whether
they are on track in relation to the
learning goals.
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Knock, Knock. Who’s There? Lesson 5 Grade 9, Drama, ADA1O
Action
Critical Analysis Process
The critical analysis process enables students to
•• respond knowledgeably and sensitively to their own and others’ works
•• make connections between their own experiences and works in the arts, between different art forms, and between •
art works and the lives of people and communities around the world
•• perceive and interpret how the elements of each art form contribute to meaning in works
•• develop, share, and justify an informed personal point of view about works
•• demonstrate awareness of and appreciation for the importance of various art forms in society
•• demonstrate appreciation appropriately as audience members in formal and informal settings (e.g., peer performances •
in the classroom)
Students need to be guided through the stages of the critical analysis process. As they learn the stages in the process, they will •
become increasingly independent in their ability to develop and express an informed response to a work. They will also become •
more sophisticated in their ability to critically analyse the works they are studying or responding to. Students learn to approach •
works in the arts thoughtfully by withholding judgement until they have enough information to respond in an informed manner.
Taken from The Ontario Curriculum: Grades 9 and 10, The Arts, Revised 2010.
Stages of the Critical Analysis Process
The Critical Analysis Process includes the following aspects:
•• initial reaction
•• analysis and interpretation
•• consideration of cultural context
•• expression of aesthetic judgement
•• ongoing reflection
The process is intended to be used in a flexible manner, taking into account students’ prior
experiences and the context in which the various art forms and works are experienced. It
is important to remember that students will be engaged in reflection and interpretation
throughout the process.
Taken from The Ontario Curriculum: Grades 9 and 10, The Arts, Revised 2010.
Critical Analysis Questions for the Monologue
Initial Reaction
•• What is your first impression of the monologue?
•• What does this monologue remind you of?
•• What emotions does this monologue evoke?
•• What questions do you have?
•• How is this monologue similar to and different from the
-- narration and movement in Lesson 3?
-- dialogues in Lesson 4?
-- other dramatic works you’ve seen?
Analysis and Interpretation
•• What do you think the playwright is trying to say in this monologue? How is this idea communicated in the monologue, •
e.g., Is it obvious in the words? Does the actor’s tone communicate something different than the words?
•• Why do you think the playwright created this monologue?
•• What do you feel is the playwright’s view of the world?
•• What does the playwright do in the monologue to attempt to create and maintain interest for the audience?
Consideration of Cultural Context
•• What events in the playwright’s own life or events of the time do you think the playwright may have used as inspiration •
for the work?
Expression of Aesthetic Judgement
•• What works in the monologue?
•• What doesn’t work, and why?
•• Has your point of view shifted from your initial reaction? If so, how has it changed?
Reflection
•• What did you find in this monologue that you might try to incorporate in your own?
•• What do you think the challenges might be in creating your own monologue?
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Knock, Knock. Who’s There? Lesson 5 Grade 9, Drama, ADA1O
Anchor Chart
An anchor chart is a strategy for capturing students’ voices and thinking. Anchor charts are co-constructed. By making
students’ thinking visible and public, they “anchor,” or stabilize and scaffold classroom learning. Anchor charts should be
developmentally appropriate and clearly focused, accessible, and organized.
Model
Modeling is a component of explicit instruction that is particularly helpful for struggling learners. According to the gradual
release of responsibility model for instruction, modeling is done by the teacher and students observe (I do, you watch). This is
followed by shared practice (I do, you help) and guided practice (you do, peers help), and finally independent practice (you do,
I help if necessary). See the Strategy Implementation Continuum for a detailed chart of this framework.
Mix and Mingle
This strategy provides an opportunity for constructing understanding through productive talk. It also supports community
building. In this strategy, students engage in brief paired discussions about a particular topic. Students generate their own
ideas to share on the topic, or the teacher provides information to read aloud to a partner. Students speak to as many partners
as they can in the allotted time. As students share, they build their understanding on the topic.
See Think Literacy, Subject-specific Examples, English, Grades 7-9, pp 56-59
T-Chart
A T-chart graphic organizer can be used to make comparisons. A comparison T-chart is set up so the columns define the
categories of the comparison, such as examples and non-examples, before and after. Depending on the task, students structure
the content in each column, so that each item forms a point of comparison. That is, each column contains a structured list.
Students may need explicit instruction and modeling to use the T-chart to generate ideas and how to use it to support further
writing and talking opportunities about the topic.
Creative Process
Students are expected to learn and use the Creative Process to help them acquire and apply knowledge and skills in the arts.
Creativity involves the invention and the assimilation of new thinking and its integration
with existing knowledge. Creativity is an essential aspect of innovation. Sometimes the
Creative Process is more about asking the right questions than it is about finding the right
answer. It is paradoxical in that it involves both spontaneity and deliberate, focused effort.
Creativity does not occur in a vacuum. Art making is a process requiring both creativity
and skill, and it can be cultivated by establishing conditions that encourage and promote
its development. Teachers need to be aware that the atmosphere they create for learning
affects the nature of the learning itself. A setting that is conducive to creativity is one in
which students are not afraid to suggest alternative ideas and take risks.
The Creative Process comprises several stages:
•• challenging and inspiring
•• imagining and generating
•• planning and focusing
•• exploring and experimenting
•• producing preliminary work
•• revising and refining
•• presenting and performing
•• reflecting and evaluating
The Creative Process in the arts is intended to be followed in a flexible, fluid, and cyclical manner. As students and teachers become
increasingly familiar with the Creative Process, they are able to move deliberately and consciously between the stages and to vary the
order of stages as appropriate. For example, students may benefit from exploring and experimenting before planning and focusing; or in
some instances, the process may begin with reflecting. Feedback and reflection take place throughout the process.
Taken from The Ontario Curriculum: Grades 9 and 10, The Arts, Revised 2010.
L I T E R AC Y G A I N S T R A N S F O R M I N G I N S T R U C T I O N A L P R A C T I C E S U P P O R T S G R A D E 9 DRAMA
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Knock, Knock. Who’s There? Lesson 5 Grade 9, Drama, ADA1O
Co-constructing Criteria
Co-constructing criteria is the process of working collaboratively with students to develop the criteria and indicators for successful
demonstration of knowledge and/or skills related to learning goal.
See DI Assessment Guide and DI Assessment Cards.
Success Criteria
Success criteria provide students with a clear description of what successful attainment of learning goals looks like. When students
know and understand the success criteria, they have a clearer picture of the targeted learning, and what they need to do in order to be
successful. By developing success criteria early in a unit or task, students can actively monitor and self-regulate their own learning.
When developing criteria:
•• Describe observable behaviours in clear, detailed, student friendly language
•• Create descriptions which allows for a range of performance
•• Ensure that the list of criteria is manageable
•• Engage students in the development process – this encourages a shared understanding of the criteria, gives students •
a greater sense of control, and initiates students in the use of specific language which describes their learning
When using success criteria:
•• Post the criteria (e.g., on an anchor chart), and refer to it when discussing learning goals and providing feedback
•• Provide students opportunities to communicate about their learning and performance, making specific references •
to the success criteria
•• Develop other assessment tools (e.g., checklists, rubrics) that are based on the assessment criteria, and make explicit •
for students the connections
•• Use anonymous samples of work, and engage students in analysing and critiquing the samples using the one of more •
of the success criteria
•• Provide multiple opportunities for students to analyse and critique their own work, and set goals and next steps, •
if adjustments needed
See DI Assessment Guide and DI Assessment Cards.
Think-Pair-Share
Bennett and Rolheiser (2001) describe Think-Pair-Share as “one of the simplest of all the tactics” (page 94). As pointed out by
Bennett and Rolheiser and Think Literacy (page 152), students require skills to participate effectively in Think-Pair-Share:
••
••
••
••
••
••
••
active listening
taking turns
asking for clarification
paraphrasing
considering other points of view
suspending judgement
avoiding put-downs
These skills can be modeled and explicitly taught. During group work, teachers can provide oral feedback and reinforce
expectations.
Bennett and Rolheiser (2001) note additional considerations:
•• the level of thinking required in a think-pair-share
•• accountability and level of risk, e.g., are all students expected to share with the whole group? (page 94)
See Think Literacy Cross-Curricular Approaches, Grades 7-12, pages 152-153 and Bennett, Barrie, and Rolheiser, Carol (2001).
Beyond Monet: The artful science of instructional integration. Ajax, ON: Bookation.
Guided Writing
Guided writing practice provides an opportunity for the teacher to work with a group of students who need similar kinds •
of support. During the guided writing, the teacher models part of the writing process, e.g., using a graphic organizer to plan •
for writing, or an aspect of the form, feature, or convention of the writing.
Consolidation
Sentence Stems
Sentence stems help prompt thinking and provide a starting point for sharing thinking. A sentence stem helps to •
frame thinking and the form of the response orally or in writing.
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Monologue Planning Template
5 Ws
Notes
Who?
Who is speaking?
Who is on the other side of
the door?
Why?
Why is the character there at
this moment in time?
Why is the other person
behind the door?
Why is he or she not
responding?
When?
When, e.g., time of day, year,
season, does this scene take
place?
Where?
Where is this door?
What?
What is going on?
What took place before
the beginning of the
monologue?
What is your relationship
to this person?
What do you want from
him or her?
L I T E R AC Y G A I N S T R A N S F O R M I N G I N S T R U C T I O N A L P R A C T I C E S U P P O R T S G R A D E 9 DRAMA
How this might be explicitly or implicitly
evident in the monologue?