Download Grade 11 Theatre Development, College/University Preparation

1
Grade 11 Theatre Development, College/University Preparation
- ADP 3M
Focus Course Profile
This course requires students to create and perform dramatic presentations. Students will analyse, interpret, and
perform dramatic works from various cultures and time periods. Students will research various styles and
conventions that could be used in their presentations, and analyse the functions of playwrights, directors, actors,
designers, technicians, and audiences.
Students actively explore the development of Western theatre forms from ritual to modern, gaining insight into
universal themes and historical perspectives on humankind.
Course Overview
By examining the development of Western theatre forms throughout history, students learn about the variety of
ways in which theatre was used to tell stories to audiences in different eras. Students actively explore different
forms of theatre through interpretation and performance and use historical and contemporary text sources from
Europe and North America.
The culminating activity in the course involves the transformation of a text source through interpretation and
performance to reflect one or more historical periods or forms from Western theatre history.
Scope & Sequence
Unit Descriptions
Unit I: Ritual and Greek Theatre
Students begin this unit with the origins of ritual. Early peoples used ritual to understand their world and to pass
on traditions and knowledge. They also used ritual to influence events, to glorify, to entertain, to give pleasure
and to worship. While some evidence may suggest that rituals were performed as far back as the Ice Age, the
earliest known recording of a ritual is attributed to the ancient Egyptians called the The Triumph of Horace.
Although rituals of early people may differ, common elements include: music, dance, costume, make up, mask,
elaborate movement, and chant.
Students will explore the important connection between Greek religion and Greek theatre. Western theatre as we
know it today, where audience members purchase a ticket and sit down to view a performance, can be attributed
to ancient Greek festivals that worshipped their gods. Students will learn about City Dionysia, the spring festival
honoring Dionysus the god of wine and fertility, and the elements of Greek theatre such as: chorus, mask,
spectacle, diction, and plot.
An examination of this time period should also include a study of the playwrights: The Tragedians: Aeschylus,
Sophocles and Euripides; and The Comic Writers: Aristophanes and Menander. Students will present assigned
scenes from Antigone, Medea, Oedipus Rex or The Birds and will learn about Thespis, regarded as the first actor;
deus ex machina; the role of the chorus; the importance of myth; and the influence of the amphitheatre on
today's theatres.
Unit II: Medieval Theatre in Western Europe - Writing in Ancient Style
During the Middle Ages, or Dark Ages, there was little to no theatrical activity for nearly 400 years. The Church,
which had banned theatre at the fall of Rome, began to introduce short dramatized scenes into the mass called a
"trope". The trope began in France but soon spread across Europe. These short scenes gave way to small
liturgical dramas enacted by the priests and the choir boys. This in turn led to whole stories being enacted. With
the addition of comedy, the plays attracted large crowds and were eventually moved out of the church to the
marketplace by the 13th and 14th centuries. Through direct instruction or independent learning, students will
learn about the earliest known female dramatist, Hrosvitha (ca. 935 - 1001) and the difference in Miracle,
Mystery and Morality plays. Students will study the impact this time period had on the development of theatre.
Students may enact scenes from Everyman (morality play), or write and perform their own short Morality plays.
Students may create Mystery plays (based upon bible stories) using scenes from Godspell, Jesus Christ Superstar,
and Joseph and the Amazing Technicolour Dreamcoat as sources for scene building. After exploring Miracle plays
and how they are based upon the lives of the saints, students will adopt the form of the Miracle play to tell the
story of significant figures or heroes from their own culture.
Unit III: Commedia Dell'Arte
This unit explores Commedia Dell'Arte from Italy, 1400-1600. Commedia dell'Arte was professional improvised
comedy performed by a troupe of actors typically made up of 7 men and 3 women. Rather than written scripts,
performances were agreed upon comic scenarios with plot outlines posted backstage before each
performance.The troupe would ad-lib actions, songs and dances around a skeleton plot of love, intrigue, disguises
and people working at cross purposes. The actors in the troupes played the same stock characters throughout
© Council of Ontario Drama and Dance Educators
Created with funding provided by the Ontario Ministry of Education
2
most of their careers. These characters were easily recognized by audiences because of the masks and costumes
they wore, as well as their actions, mannerisms, and diction. Students will explore the stock characters:
Pantalone, Innamorato, Arlecchino, Pedrolino, Columbina, Strega, Il Dottore, Il Capitano, Pulchinello and
Brighella. Terms such as zanni, lazzi, and straight characters, and the use of masks will also be studied. Students
may be exposed to various companies such as: The Uniti, The Gelosi,The Fideli, and The Confidenti; actors such
as Angelo Beolco, La Barbera, Francesco and Isabella Andreini; and playwrights: Machiavelli and Goldini.
Students will understand the influence of commedia on Western comedy through such activities as viewing the
video Ta-Dah! featuring Canadian performer, Derek Scott, a modern day example of a clown (see BLM#5 D.
Scott Worksheet); creating a Comedy Sketch utilizing the properties of comedy (see sample lesson plan);
comparing commedia stock characters to characters from modern day sitcoms i.e. The Simpsons; or enacting
scenes from Mandragola by Machiavelli or Carlo Goldini's The Servant of Two Masters.
Unit IV: Elizabethan Theatre (1558-1603)
This unit will focus on the era of theatre named after Queen Elizabeth, daughter of Henry the VIII. Some
highlights from this time period include:
• A Repertory System: same company, same group of plays, actors might double up on their roles
• Scripts that combine blank verse and prose
• The first permanent theatre built in England
• Men playing all the female roles
• Tragedy, Comedy and History plays are all popular.
Students may study: the poets: Ovid, Shakespeare; the historians: Plutarch and Holingshed; the playwrights
(often acted as the director): Christopher Marlowe, Thomas Kyd, Ben Johnson, William Shakespeare, John
Fletcher, John Webster; the patrons: The Queen, Lord Strange; the actors: Richard Burbage, Will Kemp, Robert
Armin, Edward Alleyn, hired men, apprentices, and double casting; the companies: The Queen's Men, The
Chamberlain's Men (later the King's Men); and the theatres: The Theatre, The Globe Theatre, The Blackfriars
Theatre. Students will explore the development of costumes, lighting, scenery, music, acting style, and audience.
Students will enact scenes from one of Shakespeare's plays. Teachers may survey the class to see which plays
students may have already studied and which school texts are available. Individual students may also act out
Shakespeare's soliloquies/sonnets.
Unit V: Restoration and European Theatre
Students will explore the theatre of the Spanish Golden Age, French Neoclassical theatre, and the Restoration
period in England. The Spanish golden age produced a number of important playwrights who wrote many
significant plays: Lope de Vega, a contemporary of Shakespeare, wrote some 1500 plays, as well as, New Art of
Writing Plays in Our Time (1609), one of the first studies in playwriting. Students will learn how Tirso de Molina's
Trickster of Seville, is the source play for the Don Juan character of Moliere and George Bernard Shaw. Spanish
acting troupes, unlike Elizabethan companies, included women and women were allowed to perform in religious
dramas. In 1587, women were legally permitted to work as performers.
In France, we have Moliere, known for his comedies and Racine, for his tragedies. In France, Moliere is
comparable to Shakespeare, as plays such as Tartuffe, The Misanthrope, and The Miser continue to be played
around the world. French influences were present in English drama and style, gossip, intrigue and plot
complications became hallmarks of English comedies. Students will study Aphra Benh, the first female English
playwright to earn a living by writing, and William Wycherley and his most famous play The Country Wife.
Students will trace the evolution of the theatre space and the progression of women players in theatre.
Unit VI: Nineteenth Century Drama
Students will explore the period 1800 - 1875 and three major forms of drama: Romanticism, Melodrama, and the
Well-Made Play. Students will explore the Romantic period and its interest in creating mood and atmosphere and
its movement away form neoclassical rules. Students will be exposed to Goethe's Faust and Buchner's Woyzeck,
and study Melodrama, a theatrical form popularized by the French in which plays were written to arouse strong
emotions. Students will study the conventions of Melodrama such as stock characters, clearly delineated heroes
and heroines, strong moral tone, and exaggerated delivery of speech and motion. Comparisons to modern day
Melodramas such as soap operas and films by Alfred Hitchcock will be made. Students will study the Well-Made
Play structure and understand its emphasis on cause and effect development with action revolving around a
secret known to the audience but not to its characters. Scenes of Oscar Wilde's Importance of Being Earnest will
be performed by students. Students will also explore the development of the proscenium theatre, the box set, gas
lighting and the duke of Saxe-Meiningen as one of the first modern directors.
Unit VII: Modern Theatre
This unit will begin with a focus on The Moscow Arts Theatre formed in Russia by director Constantin Stanislavsky
(1863-1938). Under his leadership, the actors in his company studied their characters in great detail. This led
Stanislavsky to develop a system for acting that can be found in his books: An Actor Prepares and Building a
Character. Hallmarks of this system include emotion memory and moment-to-moment acting to bring as much
© Council of Ontario Drama and Dance Educators
Created with funding provided by the Ontario Ministry of Education
3
reality as possible to the scene. Playwright Anton Chekhov provided the Moscow Arts with many plays in which all
the characters aspire to a better life.
In America, a group of actors, highly influenced by the Moscow Arts Theatre, formed their own company called,
The Group Theatre, in 1931. The founding members included: Lee Strasberg, Harold Clurman and Cheryl
Crawford. Other members included Stella Adler and Elia Kazan. Their most famous playwright was Clifford Odets.
When the group disbanded in 1941, several of the members went on to teach and direct, popularizing the
Stanislavsky method.
Students will study the realists: Ibsen, Strindberg, Shaw, Chekhov, the Moscow Arts Theatre and the Group
Theatre; and anti-realists, symbolists, expressionists, futurists, dadaists, surrealists, absurdists such as:
Meyerhold, Artaud, Brecht, and Grotowski. Students will present scenes from a variety of plays. Students may
watch Stella Adler's video, Awake and Dream (see BLM#6 S. Adler Worksheet).
Culminating Activity
Transforming the Old to the Now
Students will explore a period of theatre history and create a presentation that will inform, involve and engage
the class. Some of the periods may include: Theatre in France (1500-1700), The Theatre of China (1300-1700),
The Theatre of Japan (Noh, Kabuki), Realistic Drama (1875-1915), Epic Theatre, Absurdism, The Anti- Realistic
Theatre (1864-1950), Musical Theatre, Canadian Theatre
(Suggested topics come from Brockett's book History of Theatre - see Resources)
To extend the scope of the course, encourage students to explore: The Theatre of China (1300-1700), The
Theatre of Japan (Noh, Kabuki), Drama of India (Sanskrit, Kathakali), Korean Theatre (mask dance, puppet
plays), etc.
Inform: present the research
Involve: provide class with a hands on activity during the presentation such as brainstorming a list, quick quiz,
survey, call for volunteers, a short scene to explore, etc.
Engage: select a scene from the era and perform it. Or, present an interview with a director/playwright of the
time period.
Resources
Print Resources:
Barnet, S., Berman, M., and Burto, W. Eds. Eight Great Comedies ISBN 978-0-452-01170-0
Barnet, S., Berman, M., and Burto, W. Eds. Eight Great Tragedies ISBN 978-0-452-01172-4
Booth, David W., and Lundy, Charles J. Improvisation ISBN 0-77471211-2
Booth, David W., and Lundy, Charles J. Interpretation: Working with Scripts. ISBN 0-7747-1210-4
Brestoff, Richard. The Great Acting Teachers and Their Methods ISBN 1-57525-012-8
Brockett, Oscar G. History of the Theatre ISBN 0-205-10487-8
Brockett, Oscar G. The Essential Theatre ISBN 0-03-013012-3
Clurman, Harold The Fervent Years ISBN 306-80186-8
Cohen, Robert. Theatre ISBN 978-0-07-351418-5
Dell publishing. Six Great Modern Plays ISBN 0-440-37984-9
Ducharte, Pierre Louis. The Italian Comedy ISBN 0-486-21679-9
Earley, M., and Keil, P. Soliloquy The Shakespeare Monologues The Men ISBN 978-0-93689-78-3
Earley, M., and Keil, P. Soliloquy The Shakespeare Monologues The Women ISBN 978-0-93689-79-0
Graham, Carolyn. Jazz Chants ISBN 10: 0195024079
Hartnoll, Phyllis The Theatre: a Concise History ISBN 0-500-20073-4
Onions, C.T. A Shakespeare Glossary ISBN 0-19-812521-6
© Council of Ontario Drama and Dance Educators
Created with funding provided by the Ontario Ministry of Education
4
Pickering, David. Dictionary of the Theatre ISBN 0-7474-0019-9
Rolfe, Bari. Commedia Dell'Arte, A Scene Study Book ISBN 0-932456-00-6
Schanker, Harry H., and Ommanney, Katharine A. Eds. The Stage and the School ISBN 0-02-817234-5
Salerno, Henry F. Ed. Scenarios of the Commedia Dell'Arte ISBN 0-87910-133-4
Strasberg, Lee. A Dream of Passion ISBN 0-316-81870-4
Jazz Chants
Websites:
Commedia Dell'Arte- http://isebastiani.com/Scenarios.html
Audio/Video Resources:
http://www.derekscott.ca/dvdsvideos.html, Ta-Dah! featuring Derek Scott
Stella Adler, Awake and Dream, 1992, American Masters VHS
The Spirit of the Mask, 1992, VHS
Instructional Strategies
Direct Instruction:
Lecture, use of choice boards, warm up activities, exploration activities
Indirect Instruction:
Reflective discussions, probing questions
Independent Study:
Reflective journals, writing in role, use of graphic organizers, research questions
Interactive Instruction:
Brainstorming, peer partnering, whole group discussion, think-pair-share, scene study
Instructional Skills:
Explaining, demonstrating, questioning
Use of interviewing, hot seating and improvisation:
Requires students to be in role for exploration and discovery purposes
Glossary of Terms Specific to Course
Greek Theatre
Ritual- an action or activity that is repeated in the same way each time it is performed, based upon beliefs and
traditions
Dionysus- god of wine, harvest and fertility whose festival is celebrated in March
Dithyramb- religious chants that were written down, considered to be the first scripts
Playwright- in Greek theatre the playwright wrote the script and often played the main part himself
Choregus- sponsor of the playwrights/productions
Eccyclema- a wheeled device that could be rolled out to portray a tableau
Deus ex machina- literally means god of the machine, a device that would lower actors onto the stage like gods
and became a convention used by some playwrights to wrap up lose ends in a plot
Chorus- group of people who move and speak in unison
Thespis - considered the first actor as he stepped away from the chorus and spoke alone
Medieval Theatre
Hrosvitha- a nun who wrote plays
Miracle play- based upon bible stories
Mystery play- based upon the live of the saints
Morality play-based upon right verses wrong
Pageant wagons-audience remains stationary and the actors move en route to the audience
Mansions- actors remain stationary and audience members move from mansion to mansion
Trade guild sponsorship- trade guilds sponsor the productions ex: carpenters build the mansions, bakers
provides special effect of "Hell's Mouth", a burning inferno
© Council of Ontario Drama and Dance Educators
Created with funding provided by the Ontario Ministry of Education
5
Commedia Dell'Arte
Stock characters- various roles in the company, easily identified by the audience, made up of straight
characters and clowns, often the actors played the same role for their whole life
Zanni- the clowns and servants of the commedia, always masked (the word zaney is derived from this)
Lazzi- comic stage business of the clowns, meant to extend the commedia performance and entertain the
audience, often not connected to the plot
Masks- worn only by the zanni
Slapstick- a stick worn at the side of Arlecchino
Elizabethan Theatre
The Theatre- built outside the city limits of London to avoid town council ban on theatre, built by James Burbage
The Globe Theatre- built by the Chamberlain's Men with original wood from The Theatre,
The Blackfriars Theatre- covered theatre with seating, possible footlights, allowed for quieter and more subtle
work by the actors
Plutarch-historian, born 100AD, wrote book about Greek/Roman heroes
Holingshed- historian, wrote book about the Kings and Queens of England, 1587
Christopher Marlowe- playwright, same age as Shakespeare, wrote "Tamberlaine"
Thomas Kyd- playwright, wrote "The Spanish Tragedy"
Richard Burbage- son of James, top actor of his day, Shakespeare wrote for him
Edward Alleyn- top actor of his day, Marlowe wrote for him
Ben Jonson- playwright, major influence on Shakespeare
Restoration and European Theatre
Restoration drama - English drama after the restoration of the monarchy, from 1660 to 1700
Neoclassical theatre - theatre that draws upon Western classical culture (typically from the ancient Greeks and
Romans)
Sentimental comedy - Comedies that reaffirmed middle class morality where the virtuous were rewarded and
the wicked punished
Nineteenth Century Theatre
Romanticism - Movement that developed as a reaction to neoclassicism. Romantics sought to free the writer
from all rules; they emphasized mood and atmosphere rather than content.
Well made play - a play with a workable plot, shallow characters and trivial ideas. Today this term is used in a
derogatory way
Modern Theatre
Stanislavsky- founder and director of the Moscow Arts Theatre
The Group Theatre- American acting company with several founding members, influenced by the Moscow Arts
Theatre
Harold Clurman- founding member of The Group Theatre, author of The Fervent Years
Stella Adler- founding member of The Group Theatre, went on to establish her own acting school
Lee Strasberg- founding member of The Group Theatre, went on to establish his own acting school: The Actor's
Studio
Realism - an attempt to portray real life people and events onstage
Examples of Activities
Unit I: Ritual and Greek Theatre
During the Ritual unit, the teacher and students may wish to examine the rituals of Aboriginal peoples, including
the importance of dancing and drumming, and mask. The documentary, The Spirit of the Mask (1992), gives a
rare view into the powerful, unusual masks of the Pacific Northwest coast native peoples and is hosted Wade
Davis. The video makes strong connections between the power of the mask in rituals of the Pacific Northwest
coast native peoples and the significance of modern day rituals for non Aboriginal peoples.
The teacher and students may also wish to explore environmental issues through this unit. For example, students
may select an issue such as global warming, loss of rain forests, etc. and determine what key message they
would like the viewer to explore. Students will then design a ritual to convey the message.
Likewise, the teacher and students may wish to explore the use of ritual through social justice issues such as the
need for clean water, food and shelter, disparity between rich and poor and those with access and those without.
Students may select a country on which to focus or a social justice issue from their own community that speaks
to them. Students will create a ritual to convey their learning or intended message.
Unit VII: Modern Theatre
Students can view the Stella Adler video Awake and Dream, 1992 (see BLM#6 for viewing questions).
Students may explore acting exercises made famous by Strasberg and others such as: The Convincing Exercise
© Council of Ontario Drama and Dance Educators
Created with funding provided by the Ontario Ministry of Education
6
where students convince their classmates that they feel passionately about something that is of importance to
them; or Animal Exercises where students observe an animal and then imitate their behaviour through movement
and gesture.
Assessment and Evaluation Strategies
Journals
Classroom observation
Character sketches
Unit tests and quizzes
Scene studies
Student-Teacher Conferences
Use of rubrics, checklists, anecdotal comments
Assessment for Learning: clear learning goal, teacher- student conference, feedback
Assessment as Learning: self assessment, peer assessment, checklist, feedback, sidecoaching
Assessment of Learning: use of rubric, journals, unit test, scene studies
© Council of Ontario Drama and Dance Educators
Created with funding provided by the Ontario Ministry of Education
7
Unit 4 - Commedia Dell'Arte
Grade 11 Theatre Development
ADP3M
Lesson Properties of Comedy
Critical Learning
Guiding Questions
In this lesson, students will learn terminology specific to comedy
and will recognize Commedia stock characters as the basis of our
modern day comedy. They will explore sitcoms and recognize the
properties of comedy as essential ingredients to comedic writing
and performing. Through exploration and practise, students will
learn how to develop their own comedy sketches.
How has the history of the theatre shaped
and influenced our modern day theatre?
How has the Commedia Dell'Arte influenced
modern day sitcoms?
What makes something funny?
What elements of comedy remain funny for
hundreds of years?
Curriculum Expectations
Learning Goals
A1.2 select and use appropriate drama forms to present a variety
of adapted or original drama works
A2.2 use a variety of drama conventions to establish a distinctive
context or role in original or adapted works
B1.3 analyse and evaluate the aesthetic and technical aspects of
drama works of diverse genres and styles (e.g., give feedback to
peers about the strengths and areas for improvement of their
directing decisions and stagecraft choices)
At the end of this lesson, students will be
able to:
• Identify, explain and apply the
Properties of Comedy
• Understand that comedy is a process
that requires careful work and
consideration
• Negotiate, brainstorm, and recognize
the skills necessary to collaborate on
projects
Instructional Components
Readiness
Prior to this lesson, students will have studied the Commedia
Dell'Arte stock characters and compared them to modern day
sitcom characters. Students will have explored scenes ideas
commonly performed by Commedia troupes and have viewed the
Derek Scott video.
Terminology
Recognition
Mimicry
Repetition
Contrast
Surprise
Anticipation of the Surprise
Stupidity and Pain in Others
Materials
Blackboard
Chart paper
Various props and set pieces
Music
Appendix A
BLM #1 7Properties Chart
BLM #2 Planning Sheet
BLM #3 Peer Assessment
BLM #4 Properties of Comedy Rubric
© Council of Ontario Drama and Dance Educators
Created with funding provided by the Ontario Ministry of Education
8
Unit 4 - Commedia Dell'Arte
Grade 11 Theatre Development
ADP3M
Lesson Properties of Comedy
Minds On
Approximately 15 minutes
Whole Class > Discussion
Clearly communicate to the students what the learning goal for the lesson will
be to identify, explain and apply the Properties of Comedy.
Have students explore the following questions using the Think-Pair-Share
method: What makes something funny? How do we know if something is funny
when we see it, hear it? Is something only funny if it makes you laugh?
Are there different kinds of funny?
Collect responses on blackboard or chart paper and highlight common thinking.
Action!
Approximately 120 minutes
Whole Class > Properties of Comedy
Introduce the students to the seven properties of comedy (see Appendix A)
and refer back to the discussion from Minds On. Is there a connection
between our discussion and our new knowledge of these properties? Have
students in pairs fill in BLM#1 7Properties Chart adding in examples for each
definition. Examples could come from film, TV, or original ideas.
Small groups > Comedic Scenes
Divide students into small groups and instruct them to incorporate at least 3
properties of comedy into 3 minute comedic scenes that may or may not
include dialogue. Remind students to include conflict that engages the
audience. Prompts: Who are you? Where are you? What are you doing? What
is the outcome? Is the character satisfied with the ending, or left even more
frustrated? Have you explored all steps in the creation process? Have you
included at least 3 properties of comedy? Does your scene have a beginning,
middle and end? What costumes, props, or set pieces do you require?
Brainstorm ideas to explore:
• Pizza maker tossing dough in the air who keeps losing the dough
• Student writing an exam who clearly has not studied
• Trying to mop the floor as people keep crossing your path
• Babysitter trying to get the baby to stop crying (will need crying
soundtrack)
• Two people in line try to convince each other to step out of line
• You cannot get the lid off of the jar
• A fly is annoying you while you sleep
Have student groups complete the BLM #2 Planning Sheet and share with
teacher for feedback. Students rework their scene incorporating the teacher
feedback.
Pause and Ponder
Assessment for Learning
(AfL)
Learning goal is clearly shared
with students.
Performance standards and
timelines are communicated
clearly before students begin to
create.
Teacher conferences with
students during the initial
creation process to determine
what students know and how
they apply their knowledge.
Teacher provide student with
written feedback on early ideas
(see BLM #2) and coaches
during the rehearsal process.
Teacher will provide students
with opportunities to use
feedback to improve their work.
Assessment as Learning
(AaL)
During the Action! stage of the
lesson, students have an
opportunity to reflect on their
own learning (self assessment)
using a planning sheet (BLM
#2). Students will also respond
to the learning of others through
Peer Assessment to improve
student learning (BLM #3).
Assessment of Learning (AoL)
During the Consolidation stage,
students will be assessed
through the use of a rubric (see
BLM #4). Option: Have students
co-construct the criteria for the
rubric and use their own words
to describe the performance
standards at each level.
Differentiation (DI)
Teacher groups students
according to readiness by using
flexible groupings so that
students who are more capable
Approximately 75 minutes
Consolidation
are working alongside students
who struggle.
Small Groups > Performance
Write the titles of the sketches on the blackboard for the performance line up. Preference: Students may or
Instruct students to perform their comedy sketches for the class and evaluate may not choose to include
dialogue in their skits.
using BLM #4 Properties of Comedy Rubric. After each of the sketches
Content: Students develop and/
have been performed, have audience members identify the Properties of
or choose their own scene
Comedy utilized.
content.
Individual > Reflection
Have students write a review for one of the sketches presented and a reflective Quick Tip
Tier this sketch assignment by
journal for their own presentation citing areas of strength and areas for
having students: create an
improvement.
Small Groups > Peer Assessment
Have students perform their comedic scenes for another group and gather
feedback using BLM #3 Peer Assessment. Instruct students to incorporate
this new feedback into the scene work and decide on a title for their piece.
© Council of Ontario Drama and Dance Educators
Created with funding provided by the Ontario Ministry of Education
9
Reviews may be shared by classmates and assessed by the teacher. Journals
may be evaluated by the teacher.
original idea; adapt an idea from
an existing sketch TV/Film);
provide students with a start to
their scenario (such as providing
the setting and the conflict); or
provide students with the entire
sketch idea. Where possible,
provide students with student
examples (written/video) from
other classes.
Think Aloud: Walk students
through a possible sketch idea by
demonstrating while thinking
aloud to highlight the steps of
the creative process.
© Council of Ontario Drama and Dance Educators
Created with funding provided by the Ontario Ministry of Education