Course Profile Dramatic Arts, Grade 10, Open, Catholic
Unit 2: Developing Dramatic Technique
Unit Developers: Barb Carlton, Mike Gloster, Cathy Jeffrey, James Mulveney
Development Date: December 1999
Exploration into improvisation, role play, and voice help develop the skills necessary to continue in the dramatic process. Students apply the techniques learned in a variety of exercises and activities. An increased awareness of character emotion and intent are explored through physical and vocal exercises. The students begin to understand the importance of the voice and the body as instruments of communication. The students are also given a brief history of the radio play as a dramatic genre, and have an opportunity to practise vocal skills and sound effect production in the presentation of a radio play. The fundamental skills explored in this unit are the prerequisite to the remainder of the course. Using stories from scripture and having the students explore the foundation of their Catholic faith will be part of the process.
Ontario Catholic School Graduate Expectations
A Discerning Believer
Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good.
Integrates faith with life.
An Effective Communicator
Listens actively and critically to understand and learn in light of gospel values.
Reads, understands, and uses written materials effectively.
Presents information and ideas clearly and honestly and with sensitivity to others.
A Reflective and Creative Thinker
Creates, adapts, evaluates new ideas in light of the common good.
Thinks reflectively and creatively to evaluate situations and solve problems.
Makes decisions in light of gospel values with an informed moral conscience.
A Self-Directed, Responsible, Life Long Learner
Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others.
Demonstrates flexibility and adaptability.
Takes initiative and demonstrates Christian leadership.
Applies effective communication, decision-making, problem-solving, time and resource management skills.
A Collaborative Contributor
Works effectively as an interdependent team member.
Respects the rights, responsibilities and contributions of self and others.
Exercises Christian leadership in the achievement of individual and group goals.
Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.
A Caring Family Member
Values and honours the important role of the family in society.
A Responsible Citizen
Accepts accountability for one’s own actions.
Respects the environment and uses resources wisely.
THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works;
THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values);
CRV.01 - use various ways to sustain a role within a drama;
CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama;
CRV.03 - create drama through research or the interpretation of a source;
ANV.01 - generate and apply criteria to evaluate their own dramatic presentations;
ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community.
TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience;
TH1.02 - identify and explain methods of creating and developing roles within a drama that; accurately reflect the intentions of the performers and the circumstances of the drama;
TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observations, research, improvisation);
TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intentions in a expressive speech;
TH3.02 - explain how dramatic forms may effectively communicate more than one perspective;
CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation);
CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama;
CR1.07 - identify and use effective styles of collaboration in drama;
CR2.03 - explain reasons for presenting a particular type of drama (e.g., children’s theatre) to a particular audience;
AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion);
AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama;
AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning.
|
Activity 1 |
Improvisation/Working in Role |
525 minutes |
|
Activity 2 |
Developing Voice: Radio Plays |
600 minutes |
· Students should have a basic understanding of working in role, improvisation and the techniques of voice production. Accommodations may be necessary for students with no theatre background.
· They should have a concrete understanding of the importance of co-operative and collaborative skills.
· They should have a concrete understanding of the importance of personal reflection and the importance of keeping a journal.
· Be aware of individual differences within the classroom and provide accommodations where necessary.
· There are a wide variety of warm-up and exploratory activities. The teacher can select those appropriate to their class and arrange the activities in any order.
· The exercises are not just theatre experiences but a means of communicating and responding to their fellow players. It is the process that is the key to development and growth.
· Teachers provide examples of authentic radio plays to introduce the students to the genre.
· The Internet and the public library are valuable resources for examples of scripts and authentic radio plays for listening and performing.
· Teachers provide sound effect CD/tapes for student use.
· Students of dramatic arts should be encouraged to apply skills gained at school and acquire insight into theatre practice by volunteering as production assistants at a professional theatre or community drama centre.
The students engage in whole-class, small group, and individual exercises to further develop their dramatic skill. Students develop the skills needed to critique both their own work and the work of others. Reflective writing is reinforced as an effective tool for personal growth both in and out of role. Working to meet definite criteria for evaluation is introduced. A final group performance is the culmination of the unit.
The teacher assesses and evaluates the students’ understanding of the elements and principles of dramatic expression. As well, the teacher and the students use informal observation to assess the students’ understanding of the principles of voice production and of the elements of movement. Through journal writing, the students are able to reflect upon their understanding of the group responsibility in the creation of drama. During the unit, the teacher will make use of informal observation, student journals, and Appendix 2.2 to measure the degree to which students have met the unit’s expectations. Student presentations will also be evaluated by peers in group discussions.
Berry, Cicely. Voice and the Actor. London: Virgin Publishing Ltd., 1993.
Lundy, Charles and David Booth. Improvisation. Toronto: Harcourt Brace, 1985.
Novelly, Maria. Theatre Games For Young Performers. Colorado: Meriwether Publishing Ltd., 1985.
Spoilin, Voila. Theatre Games for the Classroom - A Teacher’s Handbook. Illinois: Northwestern University Press, 1986.
Tanner, Fran Averett. Basic Drama Projects. Idaho: Clark Publishing Co., 1966.
Tanner, Fran Averett. Creative Communication. Idaho: Clark Publishing Co., 1985.
Public Library - examples of Radio Plays for student listening
Radio Personalities – find local personalities to discuss radio today
Radio scripts
Audio Theater Mind Movies Radio
Drama
AudioTheater.com
CBC Radio One
http://radio.cbc.ca/index. html
Niftic Old Time Radio and Such
niftic.com/otr/
Old Time Radio
scifiguy.com
Radio Classics
radioclassics.com
Radio Fiends
radiofiends.com/index.shtml
History of Radio
Early Radio History
ipass.net/
Radio Days: A Soundbite History
otr.com/
Radio’s Golden Age
radioguide.com./sdrad/mag19/goldyear.html
International Radio Drama
www.irdp.co.uk/radiodrama.htm.
Radio Studios
CBC Radio Drama Studio
http://www.radio.cbc.ca/facilities/drama.html
Time: 525 minutes
In this activity the students become actively involved in the exploration of Given Circumstances (where, who, what, when, and why). These pronouns become the basis for the games. They are representative of setting, character, and stage action. The students also work on developing their interaction with others, their observation skills, their physical and vocal expression, and their emotional awareness and responsiveness.
Ontario Catholic School Graduate Expectations
A Discerning Believer
Actively reflects on God’s Work as communicated through the Hebrew and Christian scriptures.
Integrates faith with life.
An Effective Communicator
Listens actively and critically to understand and learn in light of gospel values.
Presents information and ideas clearly and honestly and with sensitivity to others.
A Reflective and Creative Thinker
Creates, adapts, evaluates new ideas in light of the common good.
Thinks reflectively and creatively to evaluate situations and solve problems.
Makes decisions in light of gospel values with an informed moral conscience.
A Self-Directed, Responsible, Life Long Learner
Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others.
Demonstrates flexibility and adaptability.
Applies effective communication, decision-making, problem-solving, time and resource management skills.
A Collaborative Contributor
Respects the rights, responsibilities, and contributions of self and others.
Exercises Christian leadership in the achievement of individual and group goals.
Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.
A Responsible Citizen
Accepts accountability for one’s own actions.
Strand(s): Theory,
Creation, Analysis
Overall Expectations
THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works;
CRV.01 - use various ways to sustain a role within a drama;
CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama;
ANV.02 - use of vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community.
Specific Expectations
TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience;
TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama;
TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation);
CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama;
CR1.07 - identify and use effective styles of collaboration in drama;
AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion);
AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning).
· The teacher provides chart paper and markers for planning and design
· The students use journals and writing implements.
· Encourage risk taking and the development of trust.
· Stress safety at all times.
· See the glossary for a definition of Given Circumstances.
Students should have an understanding of the basic elements of drama and an awareness of the need for co-operation of the entire group. The element of risk taking is essential.
Students pair off and assign themselves A or B. They stand facing each other and raise their left hands high in the air directly in front of them. They spread their fingers apart to expose the palm of the hand. They place their left hand behind them, directly between the shoulder blades with the palm of their hand facing out. They take their right hand and raise it high in the air in front of them with their first finger pointing towards the ceiling.
At this point the teacher stresses safety. Students must be aware at all times not only of their own space/immediate area but the space beside and behind them as well. The teacher encourages the students to use their intuition and their peripheral vision to assure the utmost safety.
The students bow graciously towards each other and the teacher says “Begin”. Using the finger of their right hands as though they were fencing foils, the students “fence”.
The object of the game is to see how many times they can use their pointed finger to tag their partner’s left hand (the one behind their back) in one minute. When they have completed the activity, they repeat the exercise using the opposite hands.
The teacher assigns each pair of students the number 1, 2, or 3. Groups with the number 1 form a group. The same is done for those with the numbers 2 and 3. Through the use of movement and dialogue, students in these groups create the following:
· a beach
· a desert island
· an airport
· a sports stadium
· a hospital
Encourage the students to be creative. A “freeze” is called and the students are instructed to create a new environment. The exercise is repeated rapidly with as much exploration as possible.
The students choose a partner and find a space standing and facing each other. They become either A or B. The teacher provides them with an opening line and directs A or B to begin the scene. Some suggested lines are:
· Is he still breathing?
· Why don’t you get your hair cut?
· Now we’re done for. I forgot to bring it with me.
· Has it got two heads or is that three?
· They’re a menace; it’s time someone did something about them
The students develop the improvisation with their partner. The teacher at any time shouts “freeze”, introduces a new line, and a new scene is begun.
The teacher can also call, “Freeze. Find a new partner.” This is done, a new line is introduced, and the partnerships develop their improvisations. The changes should be done rapidly and randomly to allow the students to develop and interact with as many students as possible.
The teacher leads a discussion using the following questions:
“How do you know where you are? Is it true that you always know where you are? How do you know when you are in an unfamiliar place? How do you know that you are in a specific place, for example the kitchen? What if there were no food cooking? If every room in your house were moved around would you still know what room it was? How? Would you know a kitchen if it had no stove or fridge in it?”
The discussion leads to the conclusion that we know where we are by the objects around us.
The teacher then uses the board and draws a basic floor plan. Using the model of the kitchen from the previous discussion, the students are asked to identify objects that would be in that room. The teacher lists all of the suggestions on the board. The students are then asked where they would place these objects in the kitchen and a floor plan is drawn on the board. The teacher plots the objects onto the floor plan. The initial floor plan is now complete.
The teacher hands out chart paper and a marker to each group (the largest paper available is important for completion of the exercise). Each group decides on a location other than a kitchen and designs a floor plan as per the discussion above. They first design it on a small sheet of paper using a pencil. The teacher moves from group to group to assure understanding and attention to detail. When the students have completed their design, they conference with the teacher. When the design has been approved by the teacher, they transfer it to the chart paper using the marker.
The teacher then defines the term space object. Using the kitchen model from the board, the teacher demonstrate or mimes the use of the objects in the area (e.g., opening the refrigerator and placing the item on the counter). The students find an area in the classroom and physically walk through the area, using the floor plan as reference, and make contact with every object that they have on the floor plan. They must make contact with every item that is a space object.
They then create a situation to improvise, and plan an improvisation incorporating their floor plan. The class gathers in the performance area and a group is selected to perform. The only physical objects in the performance area are chairs. The floor plan is placed in full view of the audience and actors. The actors use the floor plan for reference during the improvisation as much as they like. The players do not need to memorize the floor plan. This is deliberate and relieves the players from memorization, allowing them to relax. Remember, they are to make contact with every space object during the improvisation.
The teacher presents the students with the following topics for discussion and reflection:
Did you keep your focus? What allowed you to do so? Are the hands the only way of touching objects? What other possibilities could their be? How might floor plans be used in developing drama? Why does the development of the where enrich the believability of the scene?
Randomly assign each student a number 1, 2, 3, etc. Number 1 will work with number 2; number 3 will work with number 4, and so on. Students find their partner and stand facing each other. They then assign themselves the letter A or B. Teacher calls either letter and instructs them to begin an improvisation.
· Persuade your parent to change the channel to a show that you want to watch.
· Persuade your brother/sister to lend you the thing he/she treasures most.
· Persuade your parent to increase your allowance in order to cope with inflation.
· Persuade the bus driver to let you on the bus even though you have no money.
The teacher can make up as many scenarios as he/she likes. When finished, the students find a new partner and begin another improvisation
The students form partnerships once again and one person in the partnership assumes the role of a student/teenager in the following situations. They are to develop dialogue with their partner who is:
· a parent at breakfast
· a teacher who wants to see your work
· your friend who wants to make plans with you for tonight
· a priest who has been missing you at Church on Sunday
The teacher has the students switch roles and repeat the activity, taking on a new role. One person in the partnership assumes the role of a mother/father:
· with a close friend who has come to see you
· with a salesperson who has overcharged you
· with a co-worker while working
The teacher has students reverse roles and repeat the activity.
The teacher at any time may randomly choose groups for performance before the class.
The teacher leads a discussion on the following:
Who - Do you usually know the person in the same room with you? Would you know a stranger from your brother? How would they treat you differently? Can you tell the difference between two friends and two strangers and two people who have just met? What do friends do that strangers don’t? How do two people who have just met react differently?
People show us who they are not by what they say about themselves, but through their behavior. To communicate identities to the audience, you must show Who through relationships with your fellow players.
What - Why do you usually go into a kitchen? Why do you go into a bedroom or a living room? We usually have a need for being where we are and for doing what we do, handling certain objects and for going into certain rooms. What develops the interaction of the characters, by developing the character with their setting.
The teacher divides the class into two groups, A and B, and they sit opposite each other with a common playing area between them. One student is selected from group A to pick an activity from cards provided by the teacher. The student silently reads the activity and returns it to the teacher. He/She moves to the playing area and performs the activity (planting a garden, washing the car, etc.). When the activity becomes apparent to the other students in the group, they enter the playing area one at a time and add to the activity. For example, the first student rakes leaves, the second student hoes, the third student plants seeds, and so on, until all of the players from the team have entered the playing area. When complete, the exercise is repeated alternating the group and the activity. As each new activity is developed the teacher side coaches. “Show what you are doing, don’t tell us... Give yourself time to see what is going on... Take a risk. Don’t be afraid to make mistakes.”
The teacher divides the class into smaller groups and repeats the above exercise substituting an occupation (Who) for the activity (What). For example, the first player enters as a doctor washing his hands. The second player enters as a nurse and helps him put his gloves on. The next enters as patient and so on. Once again, the teacher side coaches, “ Show us who you are. Don’t tell us.”
Combining Who, What, and Where - The above is repeated with a slight variation. The first player enters and begins an activity and the second enters and establishes a relationship to the first. Player 1 must accept and relate to any incoming player. For example: A man hangs a picture, a woman enters saying that she would like it hung lower. Player A accepts her as his wife and continues. The other players enter as children, relatives, etc. This gives rise to an event (Where) arising from character relationship (Who and What).
Who were the players or characters in the scene? What were the relationships? How did these relationships allow the scene to develop? How is role playing different from acting? Why do actors spend time learning to role-play? Why is important to show rather than tell when doing these who and what exercises?
The students sit in a circle. A volunteer assumes the role of the keeper and sits in the middle of the circle with their eyes closed. They are guarding the keys to the universe. The keys are at arms length in front of them. The other students in the circle randomly try to steal the keys without being detected. If the keeper detects any noise, he/she points in the direction that it came from. If they catch someone trying to steal the keys, the thief returns to his/her position. If they make a wrong accusation more than three times, they forfeit the right to be keeper and a new one is appointed. When someone is successful in taking the keys, they assume the role of keeper. The game is repeated.
Divide the class into groups of three or four. Each group decides on a Where, Who, and What. They draw a floor plan of the Where and include the Who and the What in an information box on the floor plan itself. They also include the time of day, the weather, and any other environmental information they wish to include. The floor plans are collected.
They are then redistributed to the groups. No group is to receive their own plan. They have three to five minutes to plan a scene utilizing all of the information given on the sheet. They must come in physical contact with all of the objects that are on the sheet.
The students assume the role of audience and one group is selected to begin. The floor plan is brought up with them and situated where all of the group members can make reference to it. They do not need to memorize the floor plan but its utilization must be clear to the audience.
The designers of each floor plan are asked to comment on the presentation. The teacher questions, “Did the players follow the floor plan that was designed? Was it clear? Did they show or tell the plan? Was the information given in the box utilized? What did the players do to demonstrate the information?”
a. The teacher instructs the students to choose a partner and find a place in the room. Decide who is partner A and B. Partner A sits down facing B who is standing.
Son/Daughter(sitting): Mom/Dad, can I have the car tonight? It’s really important.
Parent(standing): I need the car tonight.
The teacher directs a discussion on how physical positioning (standing and sitting or any variation of level) affects the drama.
The exercise is repeated alternating players and physical positions with the teacher providing the following scenarios:
Customer: I want to return this defective toaster
Clerk: This store has a no returns policy.
Student: I can’t write the test after class because I’m on the basketball team.
Teacher: You must write the test. Your education is more important than basketball.
Boss: You have to work overtime tonight. It’s an emergency.
Worker: I have to go home. It’s my daughter’s birthday.
Landlord: Pay the rent. You’re two months behind.
Tenant: I won’t pay the rent until you repair the kitchen sink.
Priest: It is important that you come to Church on Sunday. The congregation is depending on you.
Parishioner: This Sunday is the playoffs. It’s a crucial game. I have to be there.
The exercise is repeated only this time the teacher randomly calls upon a group and that group develops the situation. The other groups remain in their designated areas and await their turn. The teacher instructs the students that during the scene they are to exchange physical positions within the context of the dialogue. The scene ends only when the next group is called.
b. An extension of this exercise is to have the students pick up the scene where the last group left off. They develop the same situation further using the last line as a starting point. The group are called upon randomly and non-sequentially. Groups may be called upon more than once.
a. The teacher introduces the concept of the Give and Take situation. One group of four students is assigned for demonstration. The group is divided into partnerships. The setting of a restaurant is chosen by the teacher. Two tables are set up. Partners A sit at one table and Partners B sit at the other.
Each group is assigned the role of parent and child or best friends. The groups are given an opening line.
Group A Parent: I have something I need to speak to you about.
Group B Friend: Why did you have to say that about me?
Group A begins the conversation. As the scene develops “Switch” is called. Group B begins their conversation. Group A does not stop. They continue their dialogue very quietly as Group B develops theirs. They do not mime the conversation. They continue to develop it, only their volume in barely audible. As the scene progresses “Switch” is called. Group B gives the conversation back to Group A. They continue to develop their dialogue quietly as the focus is shifted to Group A. The focus is shifted by the return to natural conversation in mid sentence. A switch is repeated a number of times so that the students get a flavour for the Give and Take necessary in drama.
b. Within their groups, students decide on a new Where (location) for the scene. They establish the Who and What in each partnership. When direction is given, students begin the scenes simultaneously as a class (all groups in the class are acting). They are to make no contact with their partner group. The teacher calls “group A”. At that point in time, all the group A’s take the scene. Group B continues, giving the scene, as per the above example. The exercise is alternated for a short period of time.
The teacher calls “Freeze”. Groups are selected at random by the teacher and the exercise is repeated, this time performing for the class. The other students do not form a formal audience. They merely adjust their positions within their own playing space for viewing.
The teacher leads the following discussion:
How does the use of Give and Take aid in the development of a natural scene? In large group settings what does it allow the actor to do? Did the situation affect the sharing (blocking) at all? Why? Was the blocking natural or staged? In relation to the audience what does the term Non-directional blocking mean? Why is it important for you to see the stage (share the stage picture) from the audience point of view?
The exercise is repeated as above, but the teacher does not direct them when to change. The students listen and instinctively pick-up on the Give from their partner group. The key for the students is to listen.
Repeated as above but students now try to Take the scene from each other. This may seem chaotic at times but will become spontaneous as the students use any means at their disposal to take the focus.
The groups and partnerships, without direction, Give and Take as the situation develops within the role play.
*These extensions can be done as a large group or students can perform them and the students viewing can get an audiences perspective on how Give and Take works.
What were some of the problems you encountered in giving the focus? When were you able to give the focus? Did you have a problem taking the focus? Why? Why not? Were you able to share the stage picture with your audience? How did give and take affect character development within the role play?
A discussion from the previous day is led by the teacher to insure a clear understanding of the idea of shifting the focus or giving and taking a scene.
As a class they decide on a Where.
The large group then divide into groups of six or eight and decide on a Who
and What.
One group is chosen for demonstration and the remaining groups assume the role of the audience.
The group chosen begins to develop their scenes giving and taking the focus from each other. The teacher encourages the students to share the stage picture with the audience. The teacher may want to direct the shift of focus in the early stages of development eventually allowing the students to shift the focus on their own.
“Freeze” is called. The teacher discusses the idea of convergence, division, and as you were.
When “converge” is called the sub teams must interact with each other. When “divide” is called the sub teams split and the students find a new partner to continue the scene with. When “as you were” is called you will find your original partner and continue the relationship originally established in the beginning. Once there is a clear understanding of the concept the teacher directs the students through the role-play.
The above exercise is repeated. The groups are divided unevenly meaning that one of the sub-groups will contain only one person. The challenge is for the single person to shift the focus without having anyone to converse with. Once the students are somewhat comfortable with this, the sub-groupings may become larger. For example the actors can be gathering around an accident scene or at a family picnic. The teacher is to constantly side-coach the students to share the stage picture to attain a natural non-directed blocking of the scene.
The teacher discusses the idea that the actor must have a reason for entering and exiting a scene.
What is the actor trying to communicate? There should be a sharp focus for a brief moment. This clarifies many details and relationships for the audience about the context of a play.
The teacher forms groups of five or more and the students decide on a Where that will necessitate many entrances and exits. A good example is a party or a waiting room. They then sub-divide and establish the Who and What. Every player must enter and exit the scene at least once, more if the scene will allow it. The players may also couple up for the entrances and exits. The students choose which way they will enter and exit. They may dance in, fall in, walk in, etc. They are to take the focus briefly when entering and exiting.
A group is selected and the remaining groups form the formal audience. The exercise is repeated for all of the groups.
The exercise is repeated but this time the emphasis is reversed. The players on stage must change their focus and adjust their blocking so that the audience will have an awareness of an actor as he/she exits or enters. The focus is taken by the actor and given by the remaining players using focus and blocking.
The students write in their journals on the following. This may be evaluated as a test or simply as a journal entry.
· Why is the shifting of focus key in the development of the Given Circumstances?
· What is meant by the term blocking?
· What is the importance of non-directional blocking and how does it help the audiences understanding?
· What is meant by sharing the stage picture? Why is this important to the audience?
· The students’ ability to identify and employ methods of creating and sustaining roles, (specifically through the use of the Given Circumstances of a character and of a dramatic situation) is assessed through informal teacher observation.
· Both teacher and peer evaluation measures the student’s understanding and application of the principle of “willing suspension of disbelief”.
· The students’ understanding of the vocabulary of dramatic arts as a tool for discussing and critiquing their performances and the performances of others is evaluated by the students and their peers through discussion and reflection.
· The teacher evaluates all areas in this activity through informal observation and through reading of student journals.
· Provide extra instruction for students with no prior theatre experience, e.g., working in role, improvisation, etc.
· Adapt the number of required activities according to the ability of the group.
· Arrange peer assistance for students with special needs during warm-up activities, main exercises, and journal writing.
· Pair students together so that one students’ strengths can help compensate for another students’ area of challenge.
· Consult with Special Education staff concerning students with special needs.
Berry, Cicely. Voice and the Actor. London: Virgin Publishing Ltd., 1993.
Lundy, Charles and David Booth. Improvisation. Toronto: Harcourt Brace, 1985.
Spoilin, Voila. Theatre Games for the Classroom - A Teacher’s Handbook. Illinois: Northwestern University Press, 1986.
Appendix 1.2 – Checklist for Daily Drama Participation
Appendix 1.3 – Checklist for Journal Evaluation
Time: 600 minutes
In this part of the unit students concentrate on the use of their voice as a dramatic tool. A short radio play or a portion of a radio play is work-shopped, developed, and presented for evaluation. An examination of the role that radio has played in our lives historically and theatrically is briefly examined.
Ontario Catholic School Graduate Expectations
A Discerning Believer
Actively reflects on God’s Word as communicated through the Hebrew and Christian scriptures.
Integrates faith with life.
An Effective Communicator
Reads, understands, and uses written materials effectively.
Presents information and ideas clearly and honestly and with sensitivity to others.
A Reflective Creative Thinker
Creates, adapts, evaluates new ideas in light of the common good.
Thinks reflectively and creatively to evaluate situations and solve problems.
Makes decisions in light of gospel values with an informed moral conscience.
A Self-Directed, Responsible, Life Long Learner
Demonstrates flexibility and adaptability.
Takes initiative and demonstrates Christian leadership.
Applies effective communication, decision-making, problem-solving, time and resource management skills.
A Collaborative Contributor
Works effectively as an interdependent team member.
Respects the rights, responsibilities, and contributions of self and others.
Exercises Christian leadership in the achievement of individual and group goals.
A Responsible Citizen
Accepts accountability for one’s own actions.
Respects the environment and uses resources wisely.
Strand(s): Theory,
Creation, Analysis
Overall Expectations
THV.02 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works;
THV.03 - identify and describe various dramatic forms (e.g., ritual, storytelling, mime) and describe the historical original of these forms;
CRV.02 - demonstrate an understanding of group responsibility in the creation of drama;
CRV.03 - create drama through research or the interpretation of a source;
ANV.01 - generate and apply criteria to evaluate their own dramatic presentations;
ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community.
Specific Expectations
TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama;
TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action);
TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech;
TH2.02 - demonstrate an understanding of the basic process of voice production;
TH3.03 - demonstrate an understanding of historical and cultural origins of various dramatic forms (e.g., storytelling, pageantry, dance, mask making);
TH3.05 - identify dramatic conflict or tension within a source;
CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation);
CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama;
CR1.07 - identify and use effective styles of collaboration in drama;
AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion);
AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama;
AN2.05 - demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork).
· Resources can be used in a variety of ways. The teacher can decide to divide up one large script or choose short scripts. Presentation should be approximately five minutes in length.
Teachers should concentrate on encouraging the students to use the voice and sound effects as dramatic tools.
· Background information, listening to radio theatre and play selection is be dealt with briefly. Spend most of the instructional time developing vocal technique.
· Several suggestions for radio plays have been listed in Resources.
· Teachers provide examples of authentic radio plays to introduce the students to the genre.
· The Internet and the public library are valuable resources for examples of script and authentic radio plays for listening.
· Teachers provide sound-effect CD/tapes, tape recorders, and microphones for student use.
· There are several suggestions for warm-ups and activities to enhance the rehearsal schedule. Each teaching situation will be different.
· An extension of this unit would be for the students to write their own radio plays using a specific source, e.g., stories from scripture.
· Objects to help with sound effects, e.g., rhythm instruments, whistles, bells, bubble paper, etc., are collected by the students.
· Try to connect with local community resources (radio stations) for support and insight into radio as a current technology.
· The discipline and skill necessary to work successfully within a group.
· Effective listening skills
The teacher leads the students through this first warm-up to introduce them to the concept of using only the voice as their instrument of communication. They must be able to select those vocal techniques which will help the audience to experience a story “through their ears”. The focus of this warm-up is to show the “Who” of the story by voice and sound alone.
The teacher tells the students to create a character and to write a list of the characteristics that they will try to convey about their character (e.g., age, weight, temperament, appearance).
In groups of three or more, using the character that each student has created, the students improvise a scene by using voice and sound effects alone. The other students, while listening to the presentation, make their own list of characteristics of the character as the action progresses. When the action is over, the students in the audience and the actors compare their lists. The teacher leads a discussion into the effectiveness of their presentations. What vocal techniques were used by the students to present an effective characterization?
The warm-up can be furthered by changing the focus to “Where”. Here the individual characteristics will be less important and background sound will be more elaborate.
The teacher has the students listen to an example of a real radio play. Plays can be obtained from most public libraries. The Internet is also a valuable resource. Plays can be downloaded for listening. Examples of resources and e-mail addresses to assist teachers in finding suitable plays for listening can be found in Resources. Teachers should find resources of an appropriate length. The students are listening, at this point only, to become familiar with the genre of radio theatre.
The importance of radio theatre in the entertainment industry of the 1930s and 1940s is discussed. The historical relevance of radio is discussed as well. See Appendix 2 – A Look At Radio Broadcasting for background information. Students can also go to the Internet sites suggested to examine radio theatre today.
The following topics may be dealt with as discussions or as written journal entries.
The radio is the source from which most people heard about such historical events as the crash of the Hindenburg zeppelin, the Japanese attack on Pearl Harbor, the landing of Allied troops at Normandy during World War II, and, more recently, the Three Mile Island nuclear accident and the space shuttle Challenger disaster. The students probably have a list of more current events that were first learned about in a radio broadcast. The teacher asks the students to consider the following questions either in discussion or journal writing:
a. How does the medium of radio differ from television as our source of information. Where is it more effective or less effective? Why is radio still the first place that most people hear about important world events?
b. How do actors develop their characters in radio? How is the story developed and enriched by sound? What unique techniques are employed in radio that are different than those employed in theatre?
c. In radio, the audience has to create its own image of what is happening. Do you enjoy this aspect of radio? In having to use your own imagination, is the work more personally satisfying? How would you compare this to reading as a medium for information gathering and as a tool for enjoyment?
The teacher directs the students in the creation of an environment using sound. The teacher forms teams of four to six players. Group members agree upon a Where (e.g., a railroad station, jungle, harbor, etc.) and develop the soundscape of their environment. Because there is no on stage action, players may stand out of sight of the audience, or the audience may close their eyes or turn their backs. The teacher may also have the groups tape their soundscapes and present the taped version to the group/audience. The students should use more than their voices in the creation of sound. Discuss the creation of possible sound effects. Encourage variety. If a microphone is available, have the students experiment with more subtle sound effects.
In groups the students are given a script or part of a script to present in the form of a radio play/broadcast. (See Planning Notes and Resources for suggestions.) Resources can be used in a variety of ways. The teacher can divide one large script and have the different groups tell their part of the story, or choose short scripts. The presentation should be approximately five minutes in length.
Note: The concentration is on encouraging the students to effectively use voice and sound as dramatic tools. Avoid overwhelming the students with scripts that are too long. The time restrictions of the course only allow for developing a short scene well.
Once the teacher assigns groups and gives them their scripts, the groups begin their first read-through. They are reading at this point only for meaning. The decision of who will play which roles is determined after the first read-through. The groups are designed so that each student takes on more than one speaking role and is also responsible for part of the soundscape of the drama.
The teacher instructs the students to do some rapid impression writing about their role in the radio play. They write their first thoughts on the character that they will be playing and how the group will effectively organize their time. Some thoughts for consideration are:
· Describe your character (e.g., age, physical appearance, relationship with the others in the play, etc.). How will you develop the character?
· What sounds, other than voice, are necessary in the development of your script? How might you create these sounds?
· How will you present this? Would you like to perform live or would your group like to tape the presentation? What advantage do you see in your choice of format?
· Will it be difficult handling more that one role? What plans need to be made to insure that each role is developed effectively?
Rehearsal of the radio play lasts two or three days. The following warm-ups and activities will help the students in developing the techniques needed to enrich their Radio Plays. Teachers can use them to suit their individual teaching situations.
An actor’s voice is basic to his/her craft. The following warm-ups will help the students with articulation, inflection, pitch, pronunciation, tempo/rate, and volume.
a. Students breathe in slowly and then breathe out slowly. They place their hands around their rib cages and feel how air fills their lungs and pushes out the rib cage. Repeat the exercise. They count aloud by two’s, by five’s, and by tens.
They start softly and become loud. Then they start loudly and become soft.
They count like a drill sergeant, like a romantic, like a child.
They count happily, sadly, angrily, like they are bored.
They sing their numbers like an opera singer, like a rock star, like a record playing at the wrong speed.
Note: Occasionally, have the students try to breathe in and talk at the same time. It’s impossible and reinforces the importance of proper breathing techniques.
b. Students repeat the sequence, “ah, oh, ooh, eeh” two to three times. They should extend their jaws, making their mouths like a rubber band that stretches with each sound. At least two fingers’ worth of distance should be between the upper and lower teeth. Students then add consonants at the beginning or end of the vowel sounds, e.g., fah, foh, fooh, feeh.
c. Students repeat a short, difficult tongue-twister six times.
Sample tongue-twisters:
· selfish shellfish
· rubber baby buggy bumpers
· red leather, yellow leather
· knapsack straps
· specific Pacific
· unique New York
· Burgess’s Fish Shop Sauce
· Men munch much mush
· black bug’s blood
· Rush the washing, Russell!
· good blood, bad blood
· toy boat, fruit float
· fresh fried fish
· pre-shrunk shirts
d. Students repeat longer tongue-twisters two or three times.
· Slippery southern snakes slide swiftly down ski slopes
· Wee Willy whistles to wise Wilbur Whale
· A real red rooster roosts in the rain
· Beautiful brooks babble between blossoming banks.
· Ten terrified tomcats tottering in the tops of three tall trees
· The sixth sheik’s sixth sheep is sick
e. Colour Your Nursery Rhyme
The teacher writes a nursery rhyme on the board (e.g., “ Mary Had A Little Lamb”). The teacher reads the nursery rhyme in a variety of ways, and the students repeat and imitate the teacher, each time, in chorus.
Sample ways of reading include:
· with suspense
· angrily
· sadly
· incredulously
· suspiciously
· nervously
· in a depressed manner
· happily
· like a TV newscaster
· like an advertisement
· as a rock song
· in an operatic voice
· very softly
· very loudly
Variation: Have the students work on one of the variety of ways that the nursery rhyme can be said and present it to the class.
f. Soundtrack
The students establish the soundscape of an improvised scene. The
teacher organizes groups of six or more students and they agree upon the
“Where”, “Who” and “What” of the scene. Half of the group plan an improvised
scene on stage, while the other half of the group watch the improvisation and
then create the sound effects needed.
When the sound has been prepared, the on-stage actors start their dialogue and the sound effects support the action on stage (e.g., doors shut or creak, a car starts and stops, brakes screech, people walk, run, knock on doors, winds blow, coffee cups or glasses clink). The list is endless and includes whatever is needed to reinforce the stage action.
All students should experience both the on stage acting and the creation of the sound effects. This warm-up can be done twice to accommodate this. This can be run as a whole class activity or the teacher can instruct the students to plan the work in smaller groups and then present it to the class.
g. Using
A Chorus
As a class, the group decides on the “Who”, “What” and “Where” of a new scene.
The teacher divides the class into two groups. One group takes the role of the on-stage actors and the other is the chorus. One student takes on the role of the chorus conductor.
The choral group stands or sits to one side of the acting area. They agree on the various sound effects needed for the scene and they divide themselves into sections – like an orchestra. Each of these sections create a different sort of audible support. For example, the “orchestra” for a scene set in a forest might include sections that provide the sound of birds, wind, wild animals, and echoes, as well as hummers, singers, or whistlers to establish the mood.
Before beginning, the conductor is given time to practise with the “orchestra”, cuing sections by pointing to them, and heightening or lowering the intensity of sounds by raising and lowering his/her arms.
While the conductor is working with the chorus, the on- stage group develops their improvisation.
When ready, the action begins on stage, and the conductor leads the choral group in supplying the background effects. The conductor is the connection between the on stage players and the choral group.
Well-known children’s stories can be the basis for the drama in this activity. Stories from scripture (e.g., Noah’s Ark, The Ten Commandments, The Israelites escaping from slavery/splitting of the Red Sea, etc.) lend themselves naturally to this work. Having the actual text and including a narrator is another way of handling the scenes. This warm-up should be done several times to give the students the opportunity to take on the various roles – acting, sound effects, and conductor.
Note: Some basic background information on vocal productions can be found in Basic Drama Projects. The teacher needs to be aware of how much background the students already have on voice production. Students with no drama background may need some beginning exercises.
The students will need two or three days to work on polishing their work. If students are taping their performances, accommodations must be made so that the students have the necessary equipment. Students should be given points of concentration for each rehearsal period. Some examples are:
a. Concentrate
on the soundscape of your play. Without script, what is it that the audience
hears? How do you use sound effects? Do the sounds coincide with the dialogue
or are they isolated?
Does the soundscape exist in isolation, that is, without the characters
dialogue? Does it set the mood and develop the story? Think of movie
soundtracks and their effects on the dramas. Do you use music or any
commercially prepared sound effects? Why is sound such a powerful vehicle in
drama?
Add to the soundscape of your work.
b. Examine the characters and their relationships in your play. How do they speak to one another? Are their attitudes and relationships clear by the voice that they have been given? Work on developing believable characters and relationships.
c. Students individually examine their scripts and define what primary emotion their character is feeling. Does that emotion change during the play? Is the intensity always the same?
How will the audience know the changes in intensity (e.g., hatred to anger to rage)?
Pinpoint the turning/changing points. How will you accomplish these changes?
In acting groups, students work on the emotional believability of their character.
d. Tempo/Rate - The teacher instructs the groups to concentrate on the tempo/rate of their work.
Does the rate express the emotion of the characters. A slow rate usually suggests sorrow, deliberation, reverence, doubt. A fast rate usually suggests excitement, anger, nervousness, happiness. The rate is affected by the pauses between words and the length that is attached to vowel sounds.
The students need to examine the rate at which their own characters speak and the tempo of the interaction between characters. What does it add to the drama?
During the rehearsal process, the following reflection/journals may be assigned as the teacher feels they apply to the day’s activities.
a. The teacher gives the students the evaluation outline and discusses the criteria. See Appendix 2.2: Radio Play Evaluation. The students write in their journals, reflecting on their group’s readiness and their level of success in matching their expectations.
b. The students reflect upon one or more of the following questions, and write their response in a journal.
· How is re-enacting an improvised scene similar to re-enacting a historical event of the Bible? How does dramatically “exploring” an event from scripture help in your understanding of that event? Why is it necessary to explore the roots (e.g., Hebrew scripture) of one’s faith? How is this similar to an actor exploring the background (the “who”) of the character they are portraying?
In their acting groups, the teacher instructs the students to run a final rehearsal. The teacher once again has the students examine the evaluation outline and its criteria.
Presentations of the Radio Plays begins. Presentation styles may vary as some students may have pre-recorded their performances.
The teacher evaluates the performances using Appendix 2.1
The teacher instructs the individual students to write about their role in the drama. Using the following points, students are asked to reflect on their successes during the assignment.
· My role in the group dynamic
· Development of my character
· My additions to the soundscape
· The students’ understanding of the elements and principles of dramatic expression (e.g., voice and movement) is assessed through class discussion and roving conferences.
· Teacher observation and reading of student journals evaluates the students’ understanding of the radio play as a valid dramatic form.
· The teacher and the students use Appendix 2.2 as a means of evaluating the students’ ability to meet group responsibilities while creating a drama.
· By informal observation and roving conferences, the teacher assess the students’ understanding of the diverse career and life skills (particularly in the communication industry) that can be acquired through a study of dramatic arts.
· The students’ understanding of the control of volume, tone, pace, and intention in expressive speech is assessed by teacher and peer conferencing, and evaluated by the teacher through Appendix 2.2.
· Provide extra instruction for students with no prior theatre experience, e.g., working in role, improvisation and techniques in voice production
· Adapt the number of required activities according to the ability of the group.
· Arrange peer assistance for students with special needs for warm-up activities, main exercises, as well as journal writing.
· Pair students together so that one students’ strengths can help compensate for another students’ area of challenge.
· Students with learning challenges and ESL students may require their own copy of taped radio theatre allowing them individual instruction and remediation with the staff of the Special Education Department or a peer tutor.
Lundy, Charles and David Booth. Interpretation. Toronto: Academic Press Canada, 1983.
Novelly, Maria. Theatre Games For Young Performers. Colorado: Meriwether Publishing Ltd., 1985.
Public Library – examples of Radio Plays for student listening
Radio Personalities – find local personalities to discuss radio today
Spolin, Voila. Theater Games For The Classroom - A Teacher’s Handbook. Evanston: Northwestern University Press, 1986.
Tanner, Fran Averett. Basic Drama Projects. Idaho: Clark Publishing Co., 1966.
Tanner, Fran Averett. Creative Communication. Idaho: Clark Publishing Co., 1985.
Web Sites - Radio scripts
Audio Theater Mind Movies Radio
Drama
AudioTheater.com
CBC Radio One
http://radio.cbc.ca/index. html
Niftic Old Time Radio and Such
niftic.com/otr/
Old Time Radio
scifiguy.com
Radio Classics
radioclassics.com
Radio Fiends
radiofiends.com/index.shtml
Web Sites - History of Radio
Early Radio History
ipass.net/
Radio Days: A Soundbite History
otr.com/
Radio’s Golden Age
radioguide.com./sdrad/mag19/goldyear.html
Web Sites - Radio Studios
CBC Radio Drama Studio
http://www.radio.cbc.ca/facilities/drama.html
Appendix 2.1 – A Look At Radio
Appendix 2.2 - Radio Plays Evaluation
Appendix 2a - Radio Plays Evaluation Rubric
In its heyday, the 30s and 40s, AM radio was as popular as TV is today. Most homes had large, furniture-sized radio consoles. It was around these radios that families met to be entertained by such classics such as The Lone Ranger, Burns & Allen, or The Shadow
Prior to World War II, radio was the chief source of entertainment in Canada and the United States. Broadcasting for entertainment became so popular that advertiser’s competed for radio spots knowing its value in reaching a huge number of listeners.
It was also the way that people heard news from around the world. The radio was the place that most people heard about such historical events as the crash of the Hindenburg zeppelin, the Japanese attack on Pearl Harbour, and the landing of Allied troops at Normandy during World War II.
After World War II television rapidly began to replace radio as the chief source of home entertainment. Many millions of families could afford to buy television sets. The size of the television audience attracted huge financial support from advertisers and the focus on radio changed forever.
Original radio drama thrived in Canada because the government supported public radio through the Canadian Broadcasting Corporation. Canadian radio drama experienced a golden age of literary and dramatic expression in the 1940s, 50s, and 60s. The National Endowments for the Arts and Humanities and listener subscriptions and charitable foundations keep radio drama alive today.
*****Some award winning examples of Canadian Radio Drama******
Mourning Dove
Searching Paradise
The Diamond Lane
Somebody Talking To You
“There was no TV to dull the
imagination in those days. There was so much more participation. It was larger
than life. Today we get so much visual that we don’t have to use our minds.
Radio is infinite. It’s whatever you want to bring to it.”
Rod Page (a San Diego radio personality)
Group:
Criteria
a. Concentration during performance
Level 1 2 3 4
b. Interpretation of character
Level 1 2 3 4
c. Voice - Articulation, Characterization/Emotion, Projection
Level 1 2 3 4
d. Soundscape - Enrichment of the Drama
Level 1 2 3 4
e. Group Dynamic - Use of rehearsal time
Level 1 2 3 4
Teacher Comment
Level /4
|
Criteria |
Level 1 50-59% |
Level 2 60-69% |
Level 3 70-79% |
Level 4 80-100% |
|
Concentration Level 1 2 3 4 |
- demonstrates a limited ability to stay focussed and not break character during performance |
- demonstrates a moderate ability to stay focussed and not break character during performance |
- demonstrates a considerable ability to stay focussed and not break character during performance |
- demonstrates a thorough ability to stay focussed and not break character during performance |
|
Characterization/ |
- understanding and portrays the character with limited effectiveness |
- understands and portrays the character with moderate effectiveness |
- understands and portrays the character with considerable effectiveness |
- understands and portrays the character with thorough effectiveness |
|
Interpretation |
||||
|
|
||||
|
Level |
||||
|
1 2 3 4 |
||||
|
Voice-Projection, Articulation Characterization/ |
- uses voice with limited effectiveness |
- uses voice with moderate effectiveness |
- uses voice with considerable effectiveness |
- uses voice with thorough effectiveness |
|
Emotion |
||||
|
|
||||
|
Level |
||||
|
1 2 3 4 |
||||
|
Contribution - Role in Group Dynamics |
- is reliable, supportive, and co-operative with limited effectiveness |
- is reliable, supportive, and co-operative with moderate effectiveness |
- is reliable, supportive, and co-operative with considerable effectiveness |
- is reliable, supportive, and co-operative with thorough effectiveness |
|
|
||||
|
Level |
||||
|
1 2 3 4 |
Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity.