Course Profile Dramatic Arts, Grade 10, Open, Catholic
Unit 1: Group Dynamics
Unit Developers: Barb Carlton, Mike Gloster, Cathy Jeffrey, Jim Mulveney
Development Date: November 1999
Teachers begin this unit by helping students become acquainted with their fellow students and their God- given 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.
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.
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 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).
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Activity 1 |
Group Dynamics/ Getting to Know You |
300 minutes |
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Activity 2 |
Improvisation/Working In Role |
300 minutes |
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.
· 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.
· 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.
Students participate in large/small group activities, collaboration, brainstorming, friendly competition, group presentations and reflective writing/ journal responses.
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.
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.
Time: 300 minutes
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.
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.
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).
· 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.
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.
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.
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.
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?
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”.
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.
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.
· 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.
· 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.
· 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.
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.
Appendix 1.1 – Guidelines for Classroom Management
Appendix 1.2 – Checklist for Daily Drama Participation
Appendix 1.3 – Checklist for Journal Evaluation
Time: 300 minutes
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.
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.
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).
· 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 open-ended 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.
· 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.
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 point-form 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.
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.
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”.
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.
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.
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?
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.
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.
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?
· Did he have any enemies?
· Could Harris Burdick have sent the picture to the detectives?
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.
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?
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.
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.
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.
· 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?
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.
· 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
· 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.
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)
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
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.
Name:
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Skill |
Rarely |
Sometimes |
Often |
Always |
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Is on time for class |
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Is focussed in large group |
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Participates Enthusiastically |
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Offers ideas |
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Takes risks |
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Stays on task |
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Listens to others |
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Resolves conflicts |
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Assumes leadership |
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Specific criteria |
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Student Average: /4
Teacher Comment:
Name:
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Criteria |
Rarely |
Sometimes |
Often |
Always |
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Are dates entered? |
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Are responses formulated and well-considered? |
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Is factual information included, drawing examples from class or daily life? |
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Is the writing legible? |
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Are entries complete? |
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Specific criteria 1 |
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Specific criteria 2 |
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Specific criteria 3 |
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Student Average: /4
Teacher Comment: