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Core Course Review Documentation
Foundational Component Area: CREATIVE ARTS
Component Area Option? No
Yes – Cultural & Global Understanding
Yes – Undergraduate Inquiry & Creativity
Proposed Course:
Credit Hours:
Proposed by:
Date:
THEA 1503 Appreciation of Theatre
3
Elizabeth Lewandowski, Professor of Theatre
September 21, 2012
Please document how the proposed course meets each of the following requirements. (You may
provide a written explanation or copy and paste the appropriate information from the syllabus.)
CONTENT: Courses in this category focus on the appreciation and analysis of creative
artifacts and works of the human imagination.
A) Define the roles taken by theatricians and how those roles interact to create theatre.
B) Evaluate the success of a given group of artists in relationship to the goals of that
particular production.
C) Visualize and discuss the elements of theatre in non-theatrical setting.
D) Identity with and explain one’s similarities with a character in a given production.
E) Understand the impact of traditional theatre on popular theatrical forms (television,
film and the entertainment industry).
F) Attend and meaningfully discuss theatrical productions, using critical, creative and
innovative writing.
G) Demonstrate critical thinking skills through the Playwriting Project and Design
Project.
H) Demonstrate teamwork by participation in the Production Project.
I) Demonstrate social responsibility through a journal entry.
SKILLS: Courses involve the synthesis and interpretation of artistic expression and enable
critical, creative, and innovative communication about works of art.
Synthesis and interpretation of artistic expression:
In order to synthesize content learned in class and demonstrate the student’s skill level in
doing so, the student will complete several projects both in and out of class. Samples of those
projects are shown below.
Design Project
Develop a design for either the scenery or costumes of one of the following plays:
Romeo and Juliet by William Shakespeare (public domain on the internet)
The play you wrote for class.
Present your design using the following guidelines:
1) Develop a design concept. You are not to use the original time/milieu. Using
complete sentences, explain your concept, why you decided to use that concept and
how your concept would aid a modern audience in understanding the play.
2) Demonstrate your design concept. Designers use pictures to communicate. To
illustrate your concept, you do NOT need to draw! Find pictures on the web or in
books. You must include at least 6 COLOR pictures (minimum ¼ page each). Be
sure to cite the source for each picture.
Grading of the design project:
1) Originality and creativity are the most important elements.
2) The Writing Proficiency Exam rubric will be used to assess your written
communication skills.
Playwriting Project
To explore the role of the playwright, each student will write a short (200-300 word) play.
When writing the play the following guidelines apply:
1) Basic rules:
 Write for your own time
 Write what you know.
 Write action, not speeches.
 Write for actors, not readers.
 Be passionate, not timid; truthful, not nice.
2) Characters: Your play should include 3-4 characters.
3) Think about whether your story is a comedy or a tragedy. Be as true to the genre as
possible.
4) Be sure your play has a clear dramatic outline (inciting incident, rising action, crisis
and denouement.)
5) Before you begin writing, know what your statement is (what message you want the
audience to receive).
Submit the play using the following guidelines:
1) The play should be written in Times New Roman 12 point font.
2) Include a cover page that has your name, the name of your play and the date of
submission.
Your play will be graded using the following standards:
1) Did the play remain true to the genre?
2) Did the play have a clear message?
3) Did the play have an appropriate dramatic outline?
In order to demonstrate the student’s ability to critically, creatively, and innovatively
communicate about works of art, the student will complete several projects both in and out of
class. Examples of those projects are listed below.
Production Critique Guidelines
The following format is to be used for submission of critiques of the plays that you attend:
a) The critiques are to be submitted in one 3 prong, 2 pocket cardboard folder (NOT the
same folder you use for the journal).
b) The student’s name must be printed on the upper right corner of the outside of the
folder.
c) The critique should be 3-4 pages in length.
d) Each entry is to be printed using 12 point New Times Roman font and double spaced.
Margins should be no larger than 1” except the left margin which may be 1 ½”.
e) Critiques should be written in complete sentences using the attached rubric as a
guideline.
f) Your ticket stub MUST be attached to your critique. I will NOT accept any ticket
stub that is not attached properly (either stapled or paper clipped).
g) Use a cover page that includes: your name, the name of the play, when and where
you saw the production.
The following are the guidelines for a production critique:
a) Answer these three questions:
What is the artist/production trying to do/say?
How does the artist do it?
Is it worth doing?
b) Discuss your opinion of the production, considering the audience reaction, the
success of the production as an evening of theatre, and the clarity of the story telling.
c) Discuss any and/or all of the following:
The actors’ portrayal of their characters
What the play says about life
The scenery, lighting, costuming, make-up and sound and their impact on the
production
d) Write and rewrite. Proof carefully.
e) Be specific and provide examples.
f) Use past tense to describe the action of the play.
Critiques are due at the beginning of class, the day after the final performance. Critiques will
NOT be accepted at any other time. Not 10 or 15 minutes into class. Not that afternoon. Not
the next day. If you are too ill to attend class, send your folder with another student.
Production Project
You will be working in a production team to produce one of your classmates’ plays.
Playwright: The person who wrote the play will fulfill this responsibility. This individual will
be responsible for a) providing each member of the production team with a paper copy of
the script, b) attending all rehearsals and making any changes to the dialogue that are
deemed needed as well as ensuring that, in rehearsal, each actor is exact in their speaking
of the dialogue.
Turn in: copies of both initial and final script
Director: The person chosen by the team to direct the production. This individual is responsible
for a) developing the concept and b) staging the play.
Turn in: one page written explanation of the concept
Actors: These individuals will act the play. They are responsible for a) memorizing the lines for
their role in the play, and b) attempting an honest performance.
Turn in: one page written analysis of their character
Designer/Technician: These individuals will be responsible for a) designing one aspect of the
production or b) providing any needed properties for the production.
Turn in: one page written explanation of how the production concept was incorporated in
the design and/or execution.
Schedule:
Day one – Choose which play to produce and who will perform which responsibilities for
the production. The director should turn in a very neatly hand-written list of dramatic
personae to the professor at the end of class.
Day two – Rehearsal time.
Day three – Rehearsal time.
Day four – Dress rehearsal time.
Day five & six– Performances!
Grading:
1) NO ONE IS EXPECTED TO BE A PROFESSIONAL THEATRICIAN! Take this
project seriously, do your part and you will not fail.
2) Participation (25%): Your daily participation (teamwork) will be evaluated in class
by the professor using a teamwork rubric.
3) Performance (25%): Each participant will be graded on their ability to fulfill their
obligations as listed above.
4) Paper (50%): Papers will be graded based on the Writing Proficiency Exam rubric
and the appropriateness of the material in the paper.
Journal Entry
One of the ten journal entries will be based on the student’s perspective on social responsibility
in the arts. The entry will be graded using the Writing Proficiency Exam rubric as well as a
social responsibility rubric.
Journal entry #10:
All theatricians are artists. Imagine yourself to be a theatrician. As an artist, what
responsibility as an artist would you have to yourself, to theatre, and to the greater world?
How would you express that responsibility?
ASSESSMENT OF CORE OBJECTIVES: Assessments should be authentic, intentional and
direct. The following four Core Objectives must be addressed in each course approved to fulfill
this category requirement.
Critical Thinking Skills – to include creative thinking, innovation, inquiry and analysis,
evaluation and synthesis of information.
To assess the student’s critical thinking skills, the attached critical thinking rubric will be applied
to the Design Project and the Playwriting Project (both shown above).
Communication Skills – to include effective development, interpretation and expression of
ideas through written, oral, and aural communication.
To assess the student’s communication skills, the attached communication rubric will be applied
to the Production Critiques (shown above).
Teamwork – to include the ability to consider different points of vies and to work effectively
with others to support a shared purpose or goal.
To assess the student’s teamwork skills, the attached teamwork rubric will be applied to the
Production Project (shown above).
Social Responsibility – to include intercultural competence, knowledge of civic responsibility,
and the ability to engage effectively in regional, national, and global communication.
To assess the student’s sense of social responsibility, the attached ethics rubric will be applied to
the Journal Entry covering social responsibility (shown above).
ADDITIONAL INFORMATION: Provide additional information supporting course inclusion
in the core (optional).
PLEASE ATTACH THE FOLLOWING
1. Syllabus
2. Assessment for Critical Thinking Skills
3. Assessment for Communication Skills
4. Assessment for Teamwork
5. Assessment for Social Responsibility
*In the syllabus, sample dates and production titles are included. These dates and titles reflect
Fall 2012 when the syllabus was first used.
Appreciation of Theatre
THEA 1503
Fall 2014
Elizabeth Lewandowski
Office – Fain B204
Office phone – 940-397-4392
Home phone – 940-723-0936
[email protected]
Office hours: M-F 1:00 – 5:00 pm (during Costume Studio hours)
Course Description
This course is intended to enable the student to appreciate and analyze creative work in
theatre and related products of the human imagination through a study of the art, craft and
business of the theatre. In order to do this, the class will engage in class discussions, writing
assignments (the journal and production critiques), pop quizzes, tests and both in-class and outof-class assignments
Learning Goals
By the end of the semester, the student should be able to do the following:
J) Define the roles taken by theatricians and how those roles interact to create theatre.
K) Evaluate the success of a given group of artists in relationship to the goals of that
particular production.
L) Visualize and discuss the elements of theatre in non-theatrical setting.
M) Identity with and explain one’s similarities with a character in a given production.
N) Understand the impact of traditional theatre on popular theatrical forms (television,
film and the entertainment industry).
O) Attend and meaningfully discuss theatrical productions, using critical, creative and
innovative writing.
P) Demonstrate critical thinking skills through the Playwriting Project and Design
Project.
Q) Demonstrate teamwork by participation in the Production Project.
R) Demonstrate social responsibility through a journal entry.
Grading
Attendance
Quizzes
Test 1
Test 2
Design Project
Playwriting Project
Production Project
First production critique
Second production critique
Journal entries
Final Exam
50
100
100
100
50
50
50
100
100
150 (15 points each)
150
Total possible points
1000
Class Supplies
3 - 2 prong 2 pocket folders
The Enjoyment of Theatre 8th edition by Patterson, Hunter, Gillespie and Cameron
In addition to our regular classroom acitivites, you are required to attend one
performance of two productions and write a critical response for each production. If you are
unable to attend at least one performance of each production, drop this class now!
“Almost, Maine”
“The Bacchae”
October 4-6
October 7
November 15-17
November 18
7:30 pm
2:30 pm
7:30 pm
2:30 pm
Privacy Policy
In accordance with Federal Privacy Laws, a student’s personal information is protected.
As an instructor it is unlawful for me to share your personal information (including grades) with
anyone without a legal “need to know”, unless I have your written consent. This means I cannot
discuss your grades with your parents. If you have questions about your grades or have forgotten
the grading policy for the course, please come by during office hours.
Student Responsibilities - Attendance
You are expected to attend all classes. Since lectures expand on assignments, missing
class means missing important information. This class is, by its nature, participatory. Missing
class means missing the chance to participate in your own education and the education of others
in the class. Attendance is taken at the beginning of the class. The professor reserves the right to
disallow counting a student present who is extremely late. Each student will begin the semester
with 50 attendance points. Each absence or tardy will lower your total by 5 points. The
professor may drop a student any time during the semester for excessive absences, for
consistently failing to meet class requirements, for an indifferent attitude, or for disruptive
conduct.
If you skip class and miss a quiz or graded exercise, it cannot be made up. If you miss
class due to illness, you can make it up as long as you a) call/email before class and 2) present
written documentation when you return to class.
Student Responsibilities - Assignments
You are expected to do the assignments when they are assigned. Failure to do so will
result in an inability to keep pace with the class. All graded assignments should be submitted on
or before the deadline. All written assignments MUST be typed. Handwritten work will NOT
be accepted.
Late assignments will NOT be accepted. Late assignments will NOT be accepted. Late
assignments will NOT be accepted.
I do not accept emailed or faxed assignments. I do not accept emailed or faxed
assignments. I do not accept emailed or faxed assignments.
Be sure to print your assignments ahead of time. Do not presume that the printer in any
given computer lab will be working right before class!
By enrolling in this course, the student expressly grants MSU a “limited right” in all
intellectual property created by the student for the purpose of this course. The “limited right”
shall include but shall not be limited to the right to reproduce the student’s work product in order
to verify originality and authenticity, and educational purposes.
Student Responsibilities – Honesty
Dishonest work on homework or on examinations is a serious offense, as is plagiarism.
The university and the professor will not tolerate either one. If either occurs, appropriate
disciplinary action will be taken. The 2002-2003 Student Senate wrote and adopted the MSU
Student Honor Creed. The highlight of the creed is “As an MSU student, I pledge not to lie,
cheat, steal, or help anyone else to do so”. Enough said.
Student Responsibilities – Classroom Behavior
Many of us own and use cell phones as our major method of electronic communication.
Students are expected to turn off their cell phones when entering the classroom. Under no
circumstances are students to be answered during class. Should the student need to take an
emergency call, the professor expects the student to leave the room and not return, minimizing
the disruptions for the remaining students. Before class begins, ensure that cell phones are off or
are disabled so the phone does not ring during class – better yet, do not bring your phone to
class. If other commitments are so pressing that they cannot wait until the end of the class
session, it may be in the student’s best interests to reconsider the priority being placed on being
in this class. In any case, the professor reserves the right to ask you to leave immediately or to
embarrass you mercilessly if your phone makes noise during class. TEXTING and SLEEPING
will not be tolerated. You will be called out or publicly embarrassed for this.
In this class, we will be exposed to a variety of playscripts. Some of these plays may
confront you about ideas and beliefs that you have long held. That is the nature of art. If you
open your mind to the new experiences, you may find yourself exposed to new paradigms that
will enlighten you. Social justice is one of MSU’s stated core values, and the professor considers
the classroom to be a place where students will be treated with respect as human beings,
regardless of gender, race, ethnicity, national origin, religious affiliation, sexual orientation,
political beliefs, age, or ability. Moreover, diversity of thought is appreciated and encouraged,
provided the students can agree to disagree. It is the professor’s expectation that ALL students
be able to consider the classroom a safe environment. Be civil at all times and focus on
understanding the material being discussed. As we discuss theatre, let us do so in a nonconfrontational way. A university is a place in which we are each encouraged to grow to our
ultimate potential – disparaging comments or words intended to harm others (as a group or
individual) are inappropriate in the twenty-first century and will not be tolerated in this
classroom. Please consider this carefully. If you are easily offended, particularly by discussing
things with which you do not agree morally or philosophically, this class may not be for you.
The appropriate time to withdraw is now.
Do not be intimidated by the size of this class. I very much want to hear your well
considered thoughts and opinions and to answer your questions. This course is most effective
when the overall spirit is one of collaboration – just like theatre!
No food is allowed in the classroom for any reason.
You may not bring any beverage other than water into the classroom. If you bring water,
it must be in a sports top bottle. This is a working theatre!
YOU MUST BRING THE TEXT TO CLASS EVERYDAY.
In short: Be on time. Be awaked. Be prepared. Be engaged. Ask questions. Study.
Come ready to be a scholar or stay home.
Accommodation
Students with disabilities or who are in need of special arrangements should see the
professor as early as possible in the semester. Please note that in order to qualify for
consideration of special accommodations, the student must be registered with the MSU Office of
Disability Services, and the professor must receive a memo on file from that office, along with
the Special Accommodations Request Form.
Performance Etiquette
1. BE ON TIME! We will discuss what “on time” means.
2. When attending a public performance, it is both rude and disruptive to use an electronic
device of any kind, talk excessively, or create any other kind of disturbance that distracts
or interferes with audience members or performers.
3. Ushers and other faculty members regularly attend these performances. If a faculty
member or usher reports to me that you, by name, were observed using an electronic
device or engaged in disruptive behavior, you will receive a zero for the performance
critique.
4. No food or beverages are allowed in the theatre.
5. No photography of any kind.
6. No matter how tempting, do not take notes during the performance.
7. Dress: Upscale casual to dressy. The idea is not to look sloppy as this shows a lack of
respect to the artists.
By accepting this syllabus, you are indicating that you understand and accept all the
professor’s policies listed herein.
Class Schedule
Act One
August 27
In class:
Homework:
August 29
In class:
Homework:
August 31
In class:
Homework:
Orientation and Syllabus
Write journal entry #1. Read chapter 1.
Discuss chapter 1.
Read chapter 2.
Submit journals. Discuss chapter 2.
Read chapter 3.
September 3 – No classes (Labor Day)
September 5
In class:
Discuss chapters 2 & 3.
Homework: Write journal entry #2.
September 7
In class:
Discuss chapter 3.
Homework: Read chapter 4.
September 10
In class:
Homework:
September 12
In class:
Homework:
September 14
In class:
Homework:
Discuss chapter 3 & 4.
Did you finish chapter 4?
Discuss chapter 4.
Read chapter 5. Write journal entry #3.
Submit journals. Discuss chapter 5.
Read chapter 6.
Act Two
September 17
In class:
Homework:
September 19
In class:
Homework:
September 21
In class:
Homework:
Discuss chapter 6.
Write journal entry #4. Read chapter 7.
Discuss chapter 6 & 7.
Write journal entry #5.
Submit journals. Discuss chapter 7 and playwrighting project.
Begin playwrighting project. Read chapter 8.
September 24
In class:
Homework:
September 26
In class:
Homework:
September 28
In class:
Homework:
October 1
In class:
Submit a copy of the plot outline of your play. Be sure to keep a
copy for yourself. Discuss chapter 8 and how to get a ticket for
“Almost, Maine”.
Work on playwrighting project. Book your ticket for “Almost,
Maine”.
Discuss chapter 8. Return plot outlines.
Work on playwrighting project.
Discuss chapter 8.
Finish playwrighting project and write journal entry #6.
Submit journals & playwrighting projects.
Guest speakers – part of cast/crew for “Almost, Maine”.
Homework:
October 3 – No class (11:00 matinee)
October 5
In class:
Test #1.
Homework: See “Almost, Maine” and write critique.
Act Three
October 8
In class:
Homework:
October 10
In class:
Homework:
October 12
In class:
Homework:
October 15
In class:
Homework:
October 17
In class:
Homework:
October 19
In class:
Homework:
October 22
In class:
Homework:
Submit critique for “Almost, Maine”. Discuss play in class.
Read chapter 10.
Discuss chapter 10.
Finish reading chapter 10
Discuss chapter 10.
Write journal entry #8.
Discuss chapter 10.
Review notes.
Discuss chapter 10 and design project.
Read chapter 9.
Discuss chapter 9.
Work on design project.
Discuss chapter 9.
Write journal entry #7. Work on design project.
October 24
In class:
Homework:
October 26
In class:
Homework:
Turn in journals. Discuss chapter 9.
Work on design project. Study for test #2.
Turn in design project. Test #2.
Rest and relax!!!
Act Four
October 29
In class:
Homework:
October 31
In class:
Homework:
November 2
In class:
Homework:
November 5
In class:
Homework:
November 7
In class:
Homework:
November 9
In class:
Homework:
Explanation of production of project and assignment of teams.
Bring a copy (not your only one) to class on Wednesday.
Production projects – begin the projects. Choose the play to be
produced and who will fulfill which roles (on and off stage).
Playwright must make a copy of the script for each actor. Director
should plan blocking.
Production projects – in-class rehearsals.
Actors should have all lines memorized by Monday. Designer/
technician should have all props etc by Monday.
Production projects – in-class rehearsals.
Book your ticket for “The Bacchae”.
Production projects – in-class dress rehearsals.
Rehearse as needed.
Production projects – in-class presentations.
Rehearse as needed. Begin writing production project paper.
November 12
In class:
Production projects – in-class presentations.
Homework: Finish production project paper.
November 14 – No class (11:00 matinee)
November 16
In class:
Guest speakers – part of cast/crew for “The Bacchae”. Production
project papers due. Discuss background of “The Bacchae”.
Homework: See “The Bacchae” and write critique.
Act Five
November 19
In class:
Turn in critique for “The Bacchae” and discuss in class.
Homework: Read chapter 19.
November 21 & 23 – No classes (Thanksgiving Break)
November 26
In class:
Homework:
November 28
In class:
Homework:
November 30
In class:
Homework:
December 3
In class:
Homework:
December 5
In class:
Homework:
December 7
In class:
Homework:
Discuss chapter 19.
Read chapter 20.
Discuss chapters 19 & 20.
Discuss chapter 20.
Read chapter 21. Write journal entry #9.
Discuss chapter 21. Handout – review sheet for final exam.
Begin reviewing for final exam.
Discuss chapter 21. Write journal entry #10.
Review for final exam.
Submit journals. Review for final exam.
Study for final exam.
Final Exam
Wednesday, December 12 10:30am – 12:30pm
Final exam will be a written comprehensive exam.
Journal Entries
Act One
1. Why are you taking this course? Of the various fine arts courses offered, why did you
choose this course? What do you expect to gain from this course?
2. How is attending live theatre different from attending a film? Using examples of your
last movie theatre experience, discuss how the experience affected your enjoyment of the
film.
3. Of the various theatrical jobs discussed in Chapter 5, which one appeals to you the
most? Why? Include a discussion of your personality traits and why you think you
would do well in this job.
Act Two
4. Go online to find ticket information on four current Broadway productions. Print out
the information and place it in the folder.
5. Choose one piece of conversation you have overheard in the last 24 hours. Explain
the setting and write the conversation out in script format.
6. Actors often discover that they may be asked to do something onstage that would be
anathema to them in everyday life. If you were an actor, what would you refuse to do
onstage? Do NOT answer “have sex”. If you were in the position of having to do that
very thing, what would you do?
Act Three
7. The text lists six things that make up good directing. Choose a film or television show
that you have seen recently and discuss whether the director met these standards.
8. Look carefully at your room, observing all the things in it, the colors, the arrangement
of the furniture. If this room was a set for a play, what would it say about the people who
live there? Use examples to make your explanation clear.
Act Four
No entries
Act Five
9. We discussed political theatre in class. Choose one aspect of contemporary life in
America (a broad subject, not just specific to college students in Wichita Falls, Texas).
Explain how this might make relevant political theatre today.
10. All theatricians are artists. Imagine yourself to be a theatrician. As an artist, what
responsibility as an artist would you have to yourself, to theatre, and to the greater world?
How would you express that responsibility?
Grading of Written Assignments
General guidelines:
A
An essay that is well-developed, show thought and effort, has no major sentence
faults, and has few other grammatical or stylistic problems. All assertions and
generalizations are supported.
B
Still a very good essay with sufficient development and interesting content. It has
few major sentence faults.
C
A good paper overall, although perhaps lacking development or support. It has
multiple major sentence faults.
D or F A problematic paper, generally for one of two reasons 1) lack or
support/development or 2) too many grammatical errors.
The Writing Proficiency Exam rubric will be used to evaluate written communication skills.
Journal Submission Guidelines
The following format is to be used for submission of journal entries.
a) All entries are to be kept and submitted in one 3 prong, 2 pocket cardboard folder.
b) The student’s name must be printed on the upper right corner of the outside of the
folder.
c) Each entry is to be printed using 12 point New Times Roman font and double spaced.
Margins should be no larger than 1” except the left margin which may be 1 ½”.
d) The journal is a collection of responses and commentaries. These entries should be
75-150 words in length.
e) Each entry should begin with the assigned question and the date of the entry. No
other information should be at the top of the page.
f) Entries should be written in complete sentences using the attached rubric as a
guideline for writing.
Production Critique Guidelines
The following format is to be used for submission of critiques:
h) The critiques are to be submitted in one 3 prong, 2 pocket cardboard folder (NOT the
same folder you use for the journal).
i) The student’s name must be printed on the upper right corner of the outside of the
folder.
j) The critique should be 3-4 pages in length.
k) Each entry is to be printed using 12 point New Times Roman font and double spaced.
Margins should be no larger than 1” except the left margin which may be 1 ½”.
l) Critiques should be written in complete sentences using the attached rubric as a
guideline.
m) Your ticket stub MUST be attached to your critique. I will NOT accept any ticket
stub that is not attached properly (either stapled or paper clipped).
n) Use a cover page that includes: your name, the name of the play, when and where
you saw the production.
The following are the guidelines for a production critique:
g) Answer these three questions:
What is the artist/production trying to do/say?
How does the artist do it?
Is it worth doing?
h) Discuss your opinion of the production, considering the audience reaction, the
success of the production as an evening of theatre, and the clarity of the story telling.
i) Discuss any and/or all of the following:
The actors’ portrayal of their characters
What the play says about life
The scenery, lighting, costuming, make-up and sound and their impact on the
production
j) Write and rewrite. Proof carefully.
k) Be specific and provide examples.
l) Use past tense to describe the action of the play.
Critiques are due at the beginning of class, the day after the final performance. Critiques will
NOT be accepted at any other time. Not 10 or 15 minutes into class. Not that afternoon. Not
the next day. If you are too ill to attend class, send your folder with another student.
Writing Proficiency Exam Rubric
Satisfactory
Essay
 Thesis

Support

Organization
Paragraph
 Unity

Coherence

Development
Sentences
 Controlled

Clear
Mechanics and Usage
Style (University level)
Introduction presents a clear
and direct thesis statement
that indicates the topic and
the writer’s position
Body paragraphs develop the
thesis statement by providing
reasons, examples, and
details.
Essay flows logically from one
idea and/or paragraph to the
next and creates a coherent
whole.
Each paragraph develops just
one idea clearly stated in a
topic sentence.
Each paragraph uses
appropriate and logical
transitional expressions to
achieve a smooth flow.
Each paragraph provides
sufficient details and
examples to support the topic
sentence.
Essay uses complete
sentences that are organized
into standard patterns. Prose
patterns indicate the writer’s
control over the content.
Essay uses sentences that
are understandable.
Essay demonstrates
reasonable adherence to
Standard Written American
English.
Essay demonstrates a
reasonable understanding of
rhetorical awareness and
uses moderately sophisticated
prose.
Unsatisfactory
Introduction does not provide
a thesis statement.
Body paragraphs do not
maintain focus on thesis, or
they provide only general
reasons without supporting
examples or details.
Essay demonstrates no logic
or order but instead merely
lists a seemingly random list
of ideas.
Paragraphs have no apparent
central topic and demonstrate
a lack of focus.
Paragraphs lack transitional
expressions, and the
relationship between the
sentences within the
paragraph is unclear.
Paragraphs provide only
general statements and fail to
offer specific examples to
support topic sentences.
Essay lacks organized flow of
sentences and instead
presents random observations
that resemble informal
speech.
Essay uses sentences that fail
to communicate the writer’s
ideas.
Essay contains excessive
grammar and usage errors
that interfere with readability.
Essay demonstrates a lack of
appreciation for the rhetorical
situation and uses informal or
inappropriate language.