Unit 1: Classroom Dynamics

Time: 13 hours

Activity 1 | Activity 2 | Activity 3 | Activity 4

Unit Description

Students engage in activities which establish the drama learning environment. Activities focus on subject-specific vocabulary and concepts, using space, listening, responding, reflection, discussion, and collaboration. Students review basic elements of tableau, role-play, and other drama forms and techniques as appropriate for the group. When learning and revisiting each skill and activity, students extend their knowledge by increasing their depth of learning and paying greater attention to detail, developing their understanding of dramatic structure (character, conflict, theme, and ideas), and communicating through appropriate methods (conventions, symbols, and metaphor).

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations: THV.01X, THV.02X, CRV.01X, CRV.02X, CRV.03X, CRV.04X, ANV.01X, ANV.02X, ANV.04X.

Specific Expectations: TH1.01X, TH1.03X, TH1.04X, TH2.03X, TH2.04X, TH3.02X, TH3.03X, TH3.04X, TH3.05X, CR1.01X, CR1.03X, CR1.04X, CR1.05X, CR1.06X, CR1.07X, CR2.01X, CR2.02X, CR2.04X, CR2.05X, AN1.01X, AN1.03X, AN1.07X, AN2.01X, AN2.02X, AN2.03X, AN2.05X, AN2.06X.

Activity Titles (Time + Sequence)

Activity 1	Getting Acquainted	150-225 minutes
Activity 2	Using Tableau, Mirrors, and Statues	150-225 minutes
Activity 3	Role Play	225-375 minutes
Activity 4	Group Collaboration	150-225 minutes

Prior Knowledge Required

Skills in the following areas:

· active listening

· collaboration: ability to concentrate, build consensus, share, give and receive constructive feedback

· reflecting/responding

· problem solving

· being seen, being heard while sharing with an audience

· supporting, listening, viewing, interactivity as an audience member

Planning Notes

Key questions which frame this unit are:

· How does a group function collaboratively?

· Why are depth and detail necessary for the communication of ideas?

· How do these activities enhance personal growth?

Purposes of the activities:

· These activities serve two related functions. They are primarily a diagnostic assessment for both teachers and students to ascertain the knowledge, attitudes, and skill levels of the group. This is reflected in the Contract for Learning in Drama (Appendix 1.2) which the class develops in Activity 4. In addition, students learn and review the basic elements of drama classroom dynamics which are necessary to begin the work in succeeding activities. The activities are framed at a level of difficulty which helps students who have previous drama experience (including Grade 9 Drama) recall and expand their knowledge, and at the same time help students without drama experience learn new basic skills. Teachers gauge the degree of readiness of students to take on more challenging work at the beginning of the course. Some groups may be ready to develop their skills within a context of a story or theme, such as being shipwrecked on a deserted island or forming a colony on a far-off planet. For Activities 1 and 2 in particular, this may provide an enriched environment. However, the ability of the teacher to use the context with a particular group is dependent upon many factors and should be approached with thought and sensitivity to the individual class.

Materials and assessment:

· Sufficient copies of Appendix 2.11 – Criteria for Observing Small Group Participation (Activities 1 and 2)

· Sufficient copies of Appendix 3.7 – Group Work Rubric, to be distributed to students in advance

· The Assessment Rating Scale (Appendix 1.3) is used throughout the unit to diagnose and track student learning and to help the student and teacher formulate a plan to improve areas of weakness. This is particularly important for students who are new to Dramatic Arts and who may lack specific skills. Students assess their own level of proficiency on a four-point scale. The teacher, through regular observation, also fills out the same form and determines the need to meet with students to create plans for improvement of student learning.

General planning notes:

· The teacher reviews all the activities and selects those that she or he feels comfortable using with a new group of students. There are specific skills and concepts developed in each exercise which the teacher articulates while working with students.

· The outcome of the unit is that the teacher and students develop the behaviours, routines, and respect for drama learning which promote ongoing success in the drama classroom.

Teaching/Learning Strategies

· drama exercises

· tableau, mirrors, statues

· whole group direct instruction

· whole group in-role drama

· whole group discussion

· small group work

· movement

· portfolio writing

Assessment and Evaluation

· Appendix 1.1 – Portfolio Checklist for Unit 1

· Appendix 1.2 – Contract for Learning in Drama (model)

· Appendix 1.3 – Assessment Rating Scale

· Appendix 2.11 – Criteria for Observing Small Group Participation

· Appendix 3.7 – Group Work Rubric

Resources

Booth, David and Charles Lundy. Improvisation. Academic Press Canada, 1985. ISBN 0774712112

Booth, David. Games for Everyone. Pembroke Publishers Limited, 1986. ISBN 092121703X

Boal, Augusto. Games for Actors and Non-Actors. Routledge, 1992. ISBN 0415061555

Jones, Brie. Improve with Improv! A Guide to Improvisation and Character Development. Colorado Springs: Meriwether Publishing Ltd., 1993. ISBN 0916260984

Krupar, Karen R. Communication Games. Collier Macmillan Publishers, London. 1973.
ISBN 0029177103

Neelands, Jonothan. Structuring Drama Work. Cambridge University Press, 1990. ISBN 0521376351

Council of Drama and Dance in Education (CODE): http://www.code.on.ca

Appendix 1.4 – Notes on Lighting

Appendix 1.5 – Subject-Specific Vocabulary

Activity 1: Getting Acquainted

Time: 150-225 minutes

Description

Students begin to establish a safe, comfortable learning environment, get to know each other, and start to introduce/review basic skills. As well, concepts fundamental to this course are emphasized in the activities. These activities are used for diagnostic assessment.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama;

ANV.04 - demonstrate an understanding of how role taking and the processes of drama are connected to their lives.

Specific Expectations

THI.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of a source, choice of roles, negotiation of action);

TH2.03 - demonstrate an understanding of the principles and elements of movement;

TH3.02 - explain how dramatic forms may effectively communicate more than one perspective;

CR1.04 - demonstrate an understanding of language that is free from bias and stereotyping;

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;

AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed;

AN2.02 - explain connections between their own lives and the metaphor or theme in 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);

AN2.06 - identify career and life skills learned in drama (e.g., public speaking, presentation skills, taking initiative and responsibility in a group).

Planning Notes

Materials:

· 50 cm x 50 cm pieces of paper (newspaper pages may be used)

Preparation and classroom management:

· Classes begin in a class-meeting format, e.g., everyone seated in a circle. This is also an appropriate format for reflection. The teacher should remind the class that it is easier to listen to each other in this format and to actively try to be non-judgmental of each other.

· Activity 1 leads toward the creation of a Contract for Learning in Drama which is developed by the class in Activity 4. The teacher should keep this in mind as planning occurs.

· The teacher MUST remind students whenever appropriate, but always before doing drama exercises which require activity, that doing drama exercises in physical and emotional safely is extremely important. Teachers must be prepared to stop any activity not being played safely and deal immediately with the problem.

· Teachers take into account any board-developed guidelines for appropriate touching, as well as common sense and the cultural diversity of the class.

· Each activity ends with time for students’ questions, comments, and reflections.

· When introducing the drama exercises “Find Your Partner,” teachers should emphasize the instruction that ‘Bs’ open their eyes when the teacher says “Go.”

· The teacher should be prepared to stop each drama exercise when enough learning about the drama concept has been experienced, despite how eager the students may be to continue. Reminding students that the drama exercises are not the focus of the course, but rather serve the drama concepts to be learned, is also important.

· Appropriate extensions and enrichment, include directing students to research and/or lead the class in drama exercises which are specific to their culture is important.

· If students are not being successful at a particular drama exercise, the teacher should consider using the moment as an opportunity to teach and reinforce problem-solving skills through thoughtful probing and discussion.

· There are many drama exercises appropriate for the drama classroom. Those described in the activities are examples of types of drama exercises which allow students to gain confidence and begin to relate to each other through co-operation. See Resources for other drama exercises of this kind.

Assessment/evaluation:

· The teacher could use Appendix 1.3 – Assessment Rating Scale after each activity.

· The teacher observes teamwork, leadership skills, participation, active listening, and students’ ability to apply instructions for purposes of diagnostic assessment.

· The teacher may select specific vocabulary from the list in Appendix 1.5 and create an appropriate assessment strategy to ensure students understand the meaning of the terms.

Prior Knowledge Required

· active listening skills

· knowledge of collaborative skills

· problem-solving skills

· ability to contribute positively to class discussions

Teaching/Learning Strategies

Strategy 1: Getting to Know You

The following drama exercises are a selection from which the teacher should choose to provide an enjoyable, clear focus on the drama concepts which are discussed following each. Not every drama exercise should be used.

Who knows everyone’s name?

Students are seated in a circle. The teacher challenges a few students to try to name everyone in the class, then takes a minute to ask the names of people they don’t know. The teacher instructs the clapping name exercise as follows:

Everyone taps the floor twice with open palms in unison. This is the first move. Now clap twice. This is the second move. Now put the two moves together. This creates a rhythm for the exercise (“tap-tap,” “clap-clap”). The person who begins says their own first name twice on the “tap-tap” beats and then the name of someone else in the circle on the “clap-clap” beats, e.g., Jake, Jake; Mary, Mary. The person whose name is said on the “clap-clap” immediately says their own name twice on the next “tap-tap,” without breaking rhythm, and then the name of someone else on the “clap-clap,” and so on. If anyone fails to respond immediately or breaks the rhythm, they sit out.

After trying a couple of practice rounds, students may realize that some people don’t speak loudly enough, clapping is too loud at times, or more than one person has the same first name. As problems arise, the teacher asks, “What do you want to do about that?” and the class must solve the problem. Since this is an elimination exercise, students who are “out” have to wait or the teacher may organize them into another exercise which keeps getting people added to it from the original circle.

Class discussion:

· What does the drama exercise represent in real life?

· What drama skills are being developed in this drama exercise?

Introductions

The teacher directs everyone to stand up and to find a space in the room by him/herself. They then find a partner and sit as a pair in a private, visible space. They have five minutes to find out three interesting things about each other, and prepare brief introductions. Students return to the circle. Each person introduces their partner by name and outlines the three interesting things.

Class discussion:

· What drama skills are being developed in this drama exercise?

“When I’m 64...”

Students find a space in the room by themselves. They have a few seconds to plan how they will describe themselves in a sentence which begins as, “If all goes well in my life, when I’m 64 I will be known (famous) as…” They may be literal as in “a cabinet maker,” or metaphoric as in “...a slayer of dragons.” They return to the circle to present their answers. Some may choose to illustrate their answers with movement as well. After questions and comments, for reflection the teacher might ask them to ponder the conditions that would have to exist in their lives in order for them to do that, and/or what they can do now to set the process in motion.

Class discussion:

· What drama skills are being developed in this drama exercise?

· What life or career skills can be developed in drama that may help us to achieve our goals?

· Did we use any stereotyped or biased language in our work?

· How can dramatic forms effectively communicate more than one perspective?

Vegetable Soup

The class sits in a circle except one person, standing in the middle, who is ‘it.’

The teacher goes around the circle and designates each player as one of three vegetables so that the vegetables (players) are staggered as in turnips, squash, cauliflower …, turnip, squash, cauliflower ... etc. The person in the middle is included as a vegetable but doesn’t get a vegetable name. When ‘it’ calls the name of one of the three types of vegetables, all those vegetables must get up and change places, leaving a chance for ‘it’ to get a place in the circle. Whoever is without a place is the new ‘it’. Thus, if ‘it’ calls, “turnips,” then all the turnips must change places. If ‘it’ calls “vegetable soup,” then all the vegetables have to change places. Initially, the goal is to stay out of the middle, but once the players get used to the drama exercise they can take it to another level where the goal is to get all the vegetables of the same kind seated beside each other. The “soup” could be endangered animals, math terms, holidays, TV shows, car brands, or the exercise could be played in another language.

Class discussion:

· The teacher asks the class to discuss what the drama exercise represents in real life. This can lead to a discussion of how some groups function for basic survival and how other groups operate on a more sophisticated level for other purposes. This is a good time to discuss the functions of metaphor and symbolism.

· What drama skills are being developed in this drama exercise?

Snowshoe Relay

Teams of four or five get into relay formation one behind the other, all facing the same direction with as much open space as possible in front of them. The first player on each team places his/her feet on two pieces of paper. The second player stands behind on the same two pieces. By keeping contact between their feet and the papers at all times or “shuffling,” the players move to the other side of the room. The first player stays there while the second player picks up the papers and runs back to pick up the third player. They then move across the room together and continue as above until all the players have crossed.

Class discussion:

· What drama skills are being developed in this drama exercise?

Do you love your neighbour?

The class sits in a circle with one student standing in the middle.

The person in the middle (‘it’) points directly at someone sitting in the circle and asks, “Do you love your neighbour?” The person who is pointed at may reply in one of two ways. They may say “no” in which case they and the two people on either side must change places while ‘it’ tries to sit in one of the spaces, or they might respond “Yes, but I also like people who ...” They finish the sentence with a phrase such as “wear white socks,” or “play hockey,” or “like ice cream.” Anyone in the circle to whom the phrase applies to must change places, while ‘it’ tries to sit in one of the spaces. Discussion centres on the responsibility of the players in making the drama exercise work.

Class discussion:

· What drama skills are being developed in this drama exercise?

· What problem-solving skills did you use during this drama exercise?

Find Your Partner

The teacher directs everyone to find a partner. One person is ‘A’ and the other is ‘B’. B sits down, eyes closed, and A goes to another part of the room where they stand, stationary. At a signal from the teacher, B stands and spins around. The teacher then calls “GO” and all the Bs open their eyes and run to their partners. The last pair sitting beside each other becomes obstacles in the next round. A and B keep switching for successive rounds. Play continues until one pair remains. The obstacles are there to make things difficult, but not impossible or unsafe. As their numbers increase, they begin to take control of the drama exercise. They station themselves anywhere in the room at the start of each round and although they cannot move at that point they can yell people’s names. They may almost completely surround a player. Players are not permitted to touch obstacles. The obstacles actually determine who wins the exercise, so the winners do not really win at all, but have been placed in that position by the rest of the group.

Class discussion:

· What drama skills are being developed in this exercise?

· Can you think of situations in real life where people are elevated to the position of ‘winner’ when they haven’t really won on their own merit?

· What obstacles do you face in school and how do you deal with them?

· Think of situations where seemingly unfair things happen. How do we deal with these things? What problem-solving skills could you use in these situations?

. Portfolio question: List the names of people you know now in the class but didn’t know before. Put a star beside their names. Write one positive impression you have of each person.

Strategy 2: Making Things Work

Team contest

The class forms teams of four or five and gets a point for solving each problem (below) correctly. The first team seated in a circle gets a point. The contest continues with the first team to arrange themselves:

· alphabetically by first names;

· alphabetically by last names;

· oldest to youngest by birth month (e.g., January, February, etc.);

· using day of month of birthday, January 1 to December 31, ignoring actual age;

· by those who live closest to the school to those who live farthest away;

· by street or rural address.

Some of the categories can be attempted without speaking.

Class discussion:

· Are there two or more students with the same birthday?

· Why are things like hair colour or shoe size a poor way to gather real information about people?

· What were some of the leadership roles that surfaced during the activity (e.g., active listener, organizer, etc.)? See Booth and Lundy, Improvisation, pp. 76, 77, 81 and discuss these roles.

Knots

The class forms groups of approximately eight. Each group forms a circle, holding hands. Moving slowly and carefully, without letting go, the group members make themselves into a knot by stepping over and going under arms and legs and otherwise twisting themselves into a huge mass. The knot is successful if the group can untie itself without letting go. This can be tried without speaking or can be turned into a team challenge by sending one person from each group out of the room followed by each group tangles itself into a knot. After making sure everyone is comfortable, the individuals return and must untie another group’s knot by verbal instruction. The last knot untied and the first person to untie a knot each get a point for their group.

Class discussion:

· The discussion which follows centres on the leadership skills used and the skill of the group in communicating.

Extension/enrichment:

· Students may research, individually or in small groups, to find other drama exercises which centre on co-operation and leadership skills and try them with the class.

Strategy 3: Using the Space

Walking in space

Students walk randomly, by themselves to ‘fill’ the empty spaces in the room. The idea is to walk through an empty space so that the room always seems full. The teacher then calls a number and students form groups of that size. This can be turned into an elimination exercise where students who can’t form a group are out. However, the activity can also be used to begin presentation work. Instead of forming groups which are the number called, students are asked to form groups which represent the number called.

Class discussion:

· What does the number three mean to us?

· What numbers are considered symbols of luck?

· Students repeat the exercise, this time representing shapes, always being mindful to fill the space. Repeat the discussion as above. The teacher might refer to some of the representations: “What does this image say to us?”

Extension/enrichment:

· In groups of four or five, the students walk randomly. When the teacher says “GO,” the students form groups which fill the space in the room to the maximum and freeze. The teacher reminds them that they must look like a group (i.e., somehow linked). Repeat, but this time the teacher asks them to also fill the space vertically. The exercise is repeated, but this time students are asked to represent a feeling. These representations can be shared. The teacher introduces the concept of a basic tableau.

. Portfolio Question: Select five drama exercises played in class. For each drama exercise, describe the drama concepts/skills you learned.

Assessment/Evaluation Techniques

· Appendix 1.1 – Portfolio Checklist for Unit 1

· Appendix 1.3 – Assessment Rating Scale

· Anecdotal diagnostic and formative teacher observation (see the Assessment Matrix in the Course Overview)

Accommodations

See the Accommodations in the Course Overview for suggestions on appropriate accommodations to suit a wide range of needs.

· To assist visual learners, subject-specific terms and vocabulary related to drama work could be posted on a bulletin board. Symbols could be used where appropriate to clarify the meaning of the terms, e.g., freeze, tableaux, focus, concentration, give and take, energy, etc.

· ESL students can be paired up with peer mentors. In whole class work, the ESL students may mirror the mentor’s actions and activities until she or he understands the activity and then work on his/her own. In small groups, the ESL student works in the same group as his or her mentor in order to ask questions and get clarification as the work progresses. The peer mentor may model the work until the ESL student is able to work on his/her own. If the peer mentor speaks the ESL student’s first language, she or he may explain exercises in the ESL student’s first language when appropriate or necessary.

· Students who have difficulty following the teacher’s verbal instructions could be included for shorter time spans. When not directly participating in the exercise, they could be given the task of observing the exercise from the sides of the room and then reporting their observations.

· The teacher should move about the room in order to be closer to a student with auditory problems when giving instructions for an activity or commenting on student work.

Resources

Booth, David and Charles Lundy. Improvisation. Toronto: Harcourt Brace, 1985. ISBN 0774712112

Boyd, Neva L. Handbook of Recreational Games. Dover NY, 1975. ISBN 0486232042

Brandes, Donna and Howard Phillips. Gamesters’ Handbook, Book 1: Hundreds of Games for Teachers & Group Leaders. Transatlantic Publications, Inc., 1995. ISBN 0748703411

Brandes, Donna and Stanley Thomas. Gamester’s Handbooks: Hundreds of Games for Teachers & Group Leaders. Transatlantic Publications, Inc., 1995. ISBN 0748703225

Orlick, Terry. The Cooperative Sports and Games Book. Random House, 1978. ISBN 0394734947

Orlick, Terry. The Second Cooperative Sports and Games Book. Random House, 1982.
ISBN 0394748131

Appendices

Appendix 1.1 – Portfolio Checklist for Unit 1

Appendix 1.3 – Assessment Rating Scale

Appendix 1.5 – Subject-Specific Vocabulary

Activity 2: Using Tableau, Mirrors, and Statues

Time: 150-225 minutes

Description

Students experience a variety of exercises in tableau, mirrors and statues. Through these exercises they learn basic elements and principles of stage movement, scene development, and conventions of presentation. They demonstrate their understanding by planning, rehearsing, and presenting a series of tableaux.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - demonstrate an understanding of the conventions of role playing and structuring dramatic works;

THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values);

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;

CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives;

ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community;

ANV.04 - demonstrate an understanding of how role taking and the processes of drama are connected to their lives.

Specific Expectations

TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience;

TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action);

TH2.03 - demonstrate an understanding of the principles and elements of movement;

TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime);

TH3.04 - demonstrate an understanding of the conventions of a specific form or genre (e.g., conventions of mask, mime, puppetry);

TH3.05 - identify dramatic conflict or tension within a source;

CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol;

CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama;

CR2.01 - demonstrate an understanding of the effect of various forms in the interpretation and communication of a source or idea (e.g., puppetry, clowning);

CR2.02 - demonstrate an understanding of the function of design, lighting, and sound in the communication of a drama;

CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama;

CR2.05 - identify and explain the function of a variety of media (e.g., electronic music, lights, costumes, videotape, slides) in presenting a drama;

AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances 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).

Planning Notes

Materials:

· 10-12 pictures of various artworks, books, newspaper photos, or magazines in a reasonably large format. The images should contain three or more people in interesting physical poses. For students requiring greater challenges, the images can be of inanimate objects or landscapes.

Preparation, assessment, and classroom management:

· If the class and teacher have sufficient experience and confidence in using drama techniques, the teacher could consider using the materials and strategies in this activity, but providing a source (story, a newspaper article, etc.) to contextualize them.

· It is essential that the students wear comfortable clothes for this activity.

· This activity continues to lead toward the creation of a Contract for Learning in Drama which will be developed by the class in Activity 4. The teacher should keep this in mind as planning occurs.

· The exercises need to be conducted in an empty space, or one which is as clear of obstacles as possible.

· When in a frozen position, students try to keep all body parts still, including their eyes. The only movements they should allow themselves are breathing and blinking.

· The student is responsible for maintaining physical control and supporting his/her body weight.

· The exercises in Strategies 1, 2, and 3 review basic techniques in creating tableaux, mirror work and sculptures. However, students who are new to these techniques will be able to acquire the necessary knowledge to be successful in the unit.

· Depending on the students’ prior drama experiences, the teacher works as quickly or as slowly as necessary to establish basic concepts and routines using Strategies 4-8.

· When teaching focus, the teacher uses basic concepts of light to illustrate the work. If stage lights are not available, the teacher can use a slide projector or an overhead projector. Refer to Appendix 1.4.

· The teacher starts all drama work in “neutral” (a relaxed body stance without attitude).

· During the mirror exercises, the teacher gives regular side-coaching reminders to move slowly and to stay within the sight line of his/her partner. Playing music with a slow rhythm in the background can be very helpful in slowing down students’ actions.

· The sculpting exercise can be adapted to deal with touching. Instead of students touching each other to create their sculpture, the sculptor can give verbal directions to students playing the clay, such as, “Raise your left arm up to your shoulder. Make a fist with your hand. Flip it over so that your palm is facing up. Move it 50 centimetres lower. Stop. Bend your elbow a bit.” Students may be encouraged to listen and react more carefully if the directions they are given are clear and concise.

· The teacher should select specific vocabulary from the list in Appendix 1.5 and create an appropriate assessment strategy to ensure students understand the meaning of the terms.

Prior Knowledge Required

· active listening skills

· collaborative skills: ability to concentrate, build consensus, share, give and receive constructive feedback

· responding and problem solving in role

· basic presentation skills

· basic audience skills: listening, viewing, interactivity

· all skills taught and/or reviewed previously in this course

Teaching/Learning Strategies

Strategy 1: Spontaneous Tableaux

The teacher reviews how an action may be frozen to create individual, paired, and small group tableaux and briefly outlines the relationship between the audience and the tableau. Students walk randomly about the room. The teacher calls out a number and students join to create a group of that number. When in their groups, the teacher calls out a title and students create without discussion, a frozen image which illustrates the title. Titles might include: The Ice Storm, The Wedding, Watching TV, Home Run, Receiving the Report Card, The Flower Garden, Gardening, Loading the Dishwasher, The Driving Lesson, The Subway, At the Bus Stop, On the School Bus, The Awards Ceremony, etc. Students work in groups of three or four. While the teacher describes an imaginary picture, the students re-create it with their bodies without discussion. Specific body positions are described in detail (e.g., a child sits at a school desk with a pencil in his/her right hand. His/her head is turned to the right, and the eyes are looking backward over the right shoulder......” The teacher announces the title of the picture at the end of the activity.

Students re-create, in tableau, the scene in a picture from either a work of art, a newspaper, a book, or a magazine. The teacher may wish to provide pictures of an ice storm or family to help contextualize later activities. (See Resources.) Students may play inanimate objects as well as the people in the visual source. Students study the picture by observing the stance, gesture, and expression of the character(s) which they will play. After a few moments, each student tries to capture the character’s attitude and physical shape by re-creating the position of the person in the picture. Finished tableaux are shared with the class. The teacher introduces the concept of starting in neutral and moving in slow motion to get into the shape of their role.

Extension/enrichment 1:

· Students are given an emotion and create a tableau individually. Emotions may include fear, joy, jealousy, disappointment, anger, happiness, surprise, and others. Students work in pairs and with no discussion create a tableau demonstrating another emotion. Students work in small groups and with no discussion create a group tableau reflecting a third emotion. They discuss the opposite emotion and create a second tableau to represent it. Students share two tableaux which illustrate the two opposite emotions with a silent transition to link them.

Extension/enrichment 2:

· In small groups, students discuss and create a tableau to reflect a concept, such as peace, war, time, energy, etc.

Extension/enrichment 3:

· The teacher suggests a title to the class. One at a time, students enter the tableau and fill in possible characters or objects that might be found in the picture.

Class discussion:

· Did the group sustain their frozen positions for sufficient time to allow the audience to view and understand the scene?

· What can you do to maintain concentration if you think you’re going to move or laugh?

· How do facial expressions affect the quality of the picture?

· When would you use exaggerated gestures as opposed to making realistic ones?

· How do you decide which technique to use to show focus? height? space? lighting? levels?

· What makes an interesting picture?

· How do we know what the picture is about?

· What are some ways in which tableau can be used in drama?

. Portfolio questions:

1. How are still images (tableaux) used in movies?

2. How can a tableau help the audience understand ideas and feelings in drama?

3. Why do you think tableaux were first used in the theatre? Do some research to find some of the earliest examples of tableau in ancient works of art and include some evidence of your research in your portfolio.

Strategy 2: Mirroring

The teacher leads a mirror exercise to develop students’ concentration by reflecting their partner’s actions without showing who is the leader and who is the follower. Students should start a double arm-length apart and move slowly. Slow-paced, quiet music helps students concentrate. For additional practice groups may be enlarged to two or three mirrors reflecting one person’s actions (e.g., trying on clothes in a three-way mirror).

Extension/enrichment 1:

· The teacher side-coaches students while working on a mirror exercise. The teacher talks the class through getting dressed for an event, applying character make-up, cooking a meal, etc.

Extension/enrichment 2:

· Students switch roles without giving any indicators about who is the leader and who is the follower. Some students may be asked to demonstrate their mirror work for the class. The class can try to guess who is the leader and who is the follower.

Strategy 3: Statue Sculpting

The teacher gives students a title, emotion, concept (e.g., anger, loneliness, working, relaxing, emptiness, etc.). Students work in pairs: A and B. A stands/sits in neutral and plays the clay. B plays the sculptor and moulds A by moving A into a pose that reflects the teacher’s suggestions. The teacher encourages the sculptor to find positions which are visually interesting and not impossible for the clay to maintain.

Extension/enrichment:

· Students may sculpt their own ideas or one person may sculpt two people into one scene. The rest of the class views each sculpture and gives it an appropriate title.

Class discussion:

· What can a sculptor do to create an effective sculpture?

· How can the students playing the clay help the sculptor?

· How can a sculpture help the viewer or audience understand ideas and feelings in drama?

. Portfolio questions:

1. What is the difference between being sculpted into a gesture and creating a gesture on your own in a tableau?

2. Why might a group use sculpting to create a tableau in a drama presentation?

Strategy 4: Understanding Elements of Tableaux

The teacher gives the following directions to the class: “Everyone sit closely together. Amir, move to the other side of the room. Stand facing away from the group. The rest of the class, look at Amir. Add tension to your body. Raise your right hand and point at Amir. Imagine this is one big tableau. If an audience was looking at it, where would they look first at and why? In what way does Amir get the focus? Is the focus still as strong if Amir sits down? What happens to the focus if Amir looks at the group, and the group looks down into their hands which are in their lap? Where is the focus now? How did the group get the focus? How can the use of light help to create focus?”

The teacher continues to demonstrate how focus is achieved in tableaux by using contrast, height, colour, line, shape, emotion, and performer’s eye line. Students work in groups to demonstrate their understanding of the techniques for creating focus centring on each of the above elements.

Strategy 5: Transitions Between Tableaux

The teacher reads the title of a book with which students are not familiar. Students work in small groups to plan and produce three tableaux which illustrate what they think the book might be about. After viewing students’ work, the teacher leads a discussion about the ways in which transitions can be used between tableaux including slow motion movement, moving consecutively, moving in unison, moving neutrally, etc. Students apply this technique to their tableaux and discuss the results.

Class discussion:

· In order for the meaning of a tableau to be communicated, who needs to suspend their disbelief more: the audience or the actors?

· How can we continue to suspend our disbelief while making transitions from one tableau to another?

Strategy 6: Narration

The teacher illustrates various methods of adding text to a tableaux by using one narrator, dialogue between pairs of performers, speaking in unison and the impact of each technique. Students re-create a series of tableaux they created in a previous strategy and add narration. Students are instructed to bring the conflict or tension within the tableau to life in the narration.

Strategy 7: Using Story

The teacher uses one or more of the following assignments to illustrate ways in which tableaux can be used to communicate the group’s interpretations of an idea:

· create a series of tableaux which show what the group thinks the story is going to be about;

· create a series of tableaux which illustrate how a story or poem might end or what the next scene might be;

· create a series of tableaux that show an updated version of a myth or legend;

· create a series of tableaux to show the climax;

· create a series of tableaux to show the atmosphere;

· create a series of tableaux which illustrate a different solution to a problem in a story;

· create a series of tableaux which interpret a piece of music;

· create a series of tableaux which illustrate safety rules in working in drama.

Strategy 8: Bringing Tableau to Life

If the teacher has contextualized the activities in this unit around a theme or topic, this is an opportunity to create works connected to that context. Students create a tableau on a theme of the teacher’s or students’ choice. At a signal, students bring the tableaux to life for several seconds. The action is carried out for only a few moments. The class discusses ways of keeping the energy of a tableau ready to come to life, and how the dialogue was used to bring the tension within the tableau to life.

Extension/enrichment:

· Students plan and share their ideas with the class by deciding on a theme/idea for a series of four to six tableaux. They rehearse the series, including transitions, begin and end the scene in neutral, give each tableau a title or narration, and present the sequences to the class.

Assessment/Evaluation Techniques

· Appendix 1.1 – Portfolio Checklist for Unit 1

· Appendix 1.3 – Assessment Rating Scale

· Anecdotal diagnostic and formative teacher observation (see the Assessment Matrix in the Course Overview)

Accommodations

· To assist visual learners, subject-specific terms and vocabulary related to drama work could be posted on a bulletin board. Symbols could be used where appropriate to clarify the meaning of the terms (e.g., freeze, tableaux, focus, concentration, give and take, energy, etc.).

· Students who have difficulty following the teacher’s verbal instructions due to behavioural or emotional disorders could have instructions written out for them or could be coached by a “study buddy.” When not directly participating in the exercise, they could be given the task of observing the exercise from the sides of the room and then reporting their observations.

· The teacher should move about the room in order to be closer to a student with auditory problems when giving instructions for an activity or commenting on student work.

Resources

Abley, Mark. The Ice Storm: An Historic Record in Photographs of January, 1998. McClelland and Stewart, 1998. ISBN 0771061005

Appendices

Appendix 1.1 – Portfolio Checklist for Unit 1

Appendix 1.3 – Assessment Rating Scale

Appendix 1.4 – Notes on Lighting

Activity 3: Role Play

Time: 225-375 minutes

Description

Students engage in role-playing activities. They learn how to create a role or attitude in a particular situation. Students engage in invention and exploration of possibilities of the people they create in context. They investigate possibilities through creative problem solving and begin to scrutinize and take responsibility for their choices. Students and teachers both take on roles which reflect a particular point of view and/ or attitude.

Strand(s) and Expectations

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;

CRV.03 - create drama through research or the interpretation of a source;

CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives;

ANV.04 - demonstrate an understanding of how role taking and the processes of drama are connected to their lives.

Specific Expectations

TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience;

TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation);

TH2.04 - demonstrate the use of movement, gesture, and nonverbal communication to express ideas in a drama (e.g., mime);

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;

CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama;

AN1.07 - demonstrate an understanding of universal meaning in drama.

Planning Notes

Materials:

· Prepare index cards which suggest roles, e.g., father, mother, etc. (Strategy 6).

Preparation, assessment, and classroom management:

Prior Knowledge Required

· expectations of mutual acceptance of ideas and creative problem solving

· all skills taught and/or reviewed previously in the course

Teaching/Learning Strategies

Strategy 1: Experts

The teacher directs students to make a circle within a circle where every student has a partner opposite themselves in the circle. Label the inside circle As and the outside circle Bs. The As play the role of experts in the field of outer space travel; they speak for a minute on this topic. The inside circle Bs play the role of television interviewers and interview their partners. Bs opening line is: “Tell our viewers about space travel.” Reverse roles, so As become the experts in a new field and Bs are the interviewers.

Students in the outside circle move two partners to their right. Change the roles of experts to new

fields such as: video game development, time travel vacations, virtual reality, anti-aging cream sales, extraterrestrial visits, extra-sensory perception. Shift the circle each time to ensure new pairs.

Strategy 2: Entering the Where

The teacher or students make new groups of three, labelling themselves 1, 2, 3. Working with a list of locations (such as the shopping mall, the beach, the hockey game, the fall fair, the kitchen, the restaurant etc.), the groups show people in that specific location (the “where”). Students enter the scene one at a time without speaking to show the place. The groups can do this simultaneously. The teacher may ask some groups to share their work with the class.

Class discussion:

· How did you show the specific “where” to the audience?

Strategy 3: Investigating the What and Who

Students work in new pairs, A and B. A is a pet shop owner and B wants to buy the most exotic pet he or she can find. They play the scene without speaking, with significant detail. A begins the scene alone and B enters the shop.

Students replay the scene with the teacher coaching, adding more details. A is a pet shop owner who is very proud of his/her business and has a great deal of respect for animals. He or she is very attached to the animals in the shop and sometimes resists selling them unless the buyer can convince him that the pet is going to be very well cared for. B is a parent who is in a hurry and wants to buy a very special birthday present for his or her child.

Class discussion:

· How does the scene improve when more details are added?

· How did you show that you were the shop owner?

· What age were you? Did you use anything to show this?

· How did you maintain your concentration?

· How do things change when you give the roles an attitude, i.e., the proud pet shop owner and the hurried parent?

Strategy 4: Combining the Where, the Who, and the What

The teacher or students make groups of three which develop a scene that shows people engaged in a task in a particular time and place. Decide the roles, the location and what happens in the scene. Each character enters separately. The group should be prepared to share the scene with the rest of the class as audience.

. Portfolio questions:

1. What makes role-play enjoyable?

2. How does adding details improve the work? What are those details?

Strategy 5: Warm-up Exercise – “Families”

The teacher issues cards to students which have on them the names of family members, such as Mother, Father, Brother, Sister, Dog, Canary, or other appropriate family members. On a signal, students wander around the room, exchanging their card with as many others as possible, as quickly as possible. They must not hold more than one card at a time. The teacher calls “Freeze.” When the teacher says “Go,” students must find their original card (it has by now passed through many other hands), trading it for the one they now have and rush to sit together with their original group in the order listed above.

Class discussion:

· At what points in the exercise were you relaxed?

· When were you excited?

· How is this exercise related to role-playing?

Strategy 6: Small Group Drama

The teacher directs students into new groups of four or five. They decide which role each of them will play to create a family which represents at least three generations, i.e., grandparents, parents, and children. They develop an improvised scene which shows the family in their kitchen talking about a socially-positive accomplishment of the child (e.g., a good report card). The son or daughter is very proud of his or her accomplishment and shares it with the family. The scenes are rehearsed briefly; some may be shared.

Class discussion:

· What universal thoughts and feelings were shared in the role playing?

· What do all families have in common?

· How does drama help us to understand our world and our own lives better?

· Do we play roles in life or just in drama class?

Strategy 7: Teacher in Role

The teacher explains the idea of creating a whole group drama structure in which all of the players have a role. The drama centres on the ice storm which paralysed Canada and the Eastern US in 1998. The teacher conducts a class discussion to determine what students already know about the event and what they think might happen if another such event occurred again. Resources could be shown (see Resources). The teacher explains that he or she will also be playing roles, the first one being a radio newscaster.

Strategy 8: Scene Replay

Students return to the family scene that takes place in the kitchen (Strategy 6). Out of role, they decide whether or not they want to modify or specify the location of their family dwelling for this particular drama. They may wish to decide if they are living in a specific locale such as an apartment in Montreal, a farm house in Vermont, a mechanized dairy farm in eastern Ontario or a suburb of Kingston. They replay the scene and the teacher freezes the action. The teacher uses a voice-over as the radio announcer giving the details of the storms beginnings. “This is the 6 pm news. Eastern Ontario, Quebec, and Upper New York State are experiencing freezing rain. Motorists are being advised to stay off the roads. A severe weather warning has been issued for Eastern Ontario, Ottawa, Montreal, and the Eastern townships. Freezing rain will continue for at least 24 hours.” Students continue to role play the scene and their characters pay little attention to the news.

Strategy 9: Increasing the Tension

The teacher changes the time to 10 pm and asks the role players to find a place in their home where they are engaged in some use of technology, e.g., watching television, talking on the phone, using the computer or microwave. The teacher dims the lights to indicate a power outage and watches carefully to see the reaction of each role player. The class is asked to freeze.

Class discussion:

· How dependent are we on electric power?

· What do we do when we have power outages?

· Do you remember experiencing a power outage some time in your own life?

· How did you handle it?

Strategy 10: Flash Forward

Students return to their previous roles in the family and find their own individual space to rest and sleep in role, as part of the drama. The teacher instructs the class to listen very carefully for details as she or he narrates a voice-over which describes the storm that is building outside and indicates that most of the families continue to sleep through the storm... “At midnight, the wind builds in the trees and whips through the countryside and the streets of the cities. Freezing rain continues to accumulate. The weather forecaster is shocked to look at the satellite pictures and begins to construct a new report. Extra hydro workers are asked to come in on overtime to check out the lines. Police are asked to assist in plans to develop alternative paths for traffic. The next morning, as people awake, they begin to realize that they will not be going to work or school. They begin to worry about the temperature in their homes. The power is still off and the average temperature hovers around 15 degrees in most homes. People can’t make coffee. Nobody can have a shower and people are beginning to worry. If the power isn’t turned on soon, food from refrigerators will have to be dumped. Some peoples’ water pipes begin to freeze. News reports are difficult to get. Neighbours begin to talk to their neighbours.”

In pairs, students role play the conversations among the neighbours, brief snippets of which may be shared with the class. Students should have a few seconds prior to sharing to decide which part of their conversation is most interesting and significant.

Class discussion:

· In what ways can we help each other in our communities?

· Some sociologists say that because most families today have so much technology, we have become so self-sufficient that we think that we don’t need communities anymore. What do you think about this?

· When the real ice storm happened in 1998, how did we see that Canadians helped each other?

· How important is concentration and focus in this kind of work?”

· How important is listening to others in this kind of work?

· How does role play in drama help us understand ourselves as human beings on this planet?

· What happens in our drama when we willingly suspend our disbelief?

Extension/enrichment:

· Create pairs: As and Bs. A is one who needs help in the ice storm; B is one who is willing to help. Create a tableau to show how people looked when they helped each other during or after the storm. Create a caption that describes the tableaux. Join two sets of pairs to create a group of four. Repeat, adding each player into the picture one at a time.

Assessment/Evaluation Techniques

· Appendix 1.1 – Portfolio Checklist for Unit 1

· Appendix 1.3 – Assessment Rating Scale

· Anecdotal diagnostic and formative teacher observation (see the Assessment Matrix in the Course Overview)

Accommodations

· To assist visual learners, subject-specific terms and vocabulary related to drama work could be posted on a bulletin board. Symbols could be used where appropriate to clarify the meaning of the terms (e.g., freeze, tableaux, focus, concentration, give and take, energy, etc.).

· The teacher’s narration could be typed and given to students who have auditory difficulties.

· The teacher should move about the room in order to be closer to a student with auditory problems when giving instructions for an activity or commenting on student work.

Resources

Abley, Mark. The Ice Storm: An Historic Record in Photographs of January, 1998. McClelland and Stewart, 1998. ISBN 0771061005

Abley, Mark. Stories from the Ice Storm. McClelland and Stewart, 1999. ISBN 0771006535

Magazine Articles

Wilson-Smith, Antony. “Ice Age.” Macleans, (January16, 1998.): pp. 12-22.

Nolen, Stephanie. “Survival Skills.” Macleans, (January 26, 1998.): pp.18-21.

Appendices

Appendix 1.1 – Portfolio Checklist for Unit 1

Appendix 1.3 – Assessment Rating Scale

Activity 4: Group Collaboration

Time: 150-225 minutes

Description

Groups of students create and present an improvised scene which is connected to an initial tableau image. The same groups then repeat this process with specifically-assigned group process roles and analyse the impact of group process on product and working environment. Students then create a rubric focussing on group skills or create a list of rules for classroom co-operation.

Strand(s) and Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works;

CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama;

ANV.04 - demonstrate an understanding of how role taking and the processes of drama are connected to their lives.

Specific Expectations

TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action);

TH2.03 - demonstrate an understanding of the principles and elements of movement;

CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol;

CR1.04 - demonstrate an understanding of language that is free from bias and stereotyping;

CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness;

CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama;

AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama;

AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances 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);

AN2.06 - identify career and life skills learned in drama (e.g., public speaking, presentation skills, taking initiative and responsibility in a group).

Planning Notes

Materials:

· list of themes/titles for scene creation (two per group)

· role cards (one per student)

· five large sheets of chart paper, masking tape, markers

· newspaper advertisements for jobs

· sufficient copies of Appendix 2.11 – Criteria for Observing Small Group Participation

Prior Knowledge Required

· tableau, improvisation, and role-playing skills from Activities 1, 2, and 3

· group skills and experience

· limited experience with improvising in role

· understanding of the functions and structure of a rubric

· all skills taught and/or reviewed previously in the course

Teaching/Learning Strategies

Strategy 1: Group Tableaux/Improvisation Scenes

Students form groups of approximately four to six and are given copies of Appendix 3.7 – Group Work Rubric. The teacher gives each group a thematic statement such as: The Million Dollar Cheque, Happy School Day, Spaceship Landing, Winter Fun, The Ice Storm, Summer Fun, No Accident, Friends Again, Family Vacation – or other titles which might suggest a topic for a short scene. Students work collaboratively to create a short scene based on their thematic statement or title. The scenes begin in a tableau, come to life as a planned improvisation and end in a tableau. All group members must contribute to the creation and presentation of the work. Students have fifteen minutes to plan and prepare, after which they share their work with the rest of the class. Scenes should not exceed two minutes in length when presented.

Class discussion:

Following presentation, in whole group discussion, students comment on the group process used in the creation of their work. Questions include:

· Who took a leadership role within your group? Who took an effective ‘followership’ role?

· What role did you take within your group?

· How did you demonstrate respect for other group members?

· Was there any stereotyping or biased language in our work?

(The teacher may refer the students to Improvisation by Booth and Lundy, pp. 76-77, “Task and Maintenance Functions within Groups”; see also p. 81, “Co-operation vs. Competition”.)

Extension/enrichment: Reviewing Job Ads

· Students are divided into new groups of four to five. Each group is given piece of chart paper and some pages of job ads (employment opportunities) from major newspapers and the local newspaper. Students circle the words in these ads that have anything to do with group skills, creativity, or co-operation (e.g., “Team Leader”), etc. Students make a list on chart paper of these skills sought in the workplace and post the list on the wall. The teacher guides the discussion to help students understand the connections between their drama skills and the uses of, and demand for, these skills in the workplace.

. Portfolio question: How would group skills used in drama help you when working on a job outside of the classroom, in a family situation, or in another class?

Strategy 2: Group Tableaux Scenes with Role Cards

Individual role cards with group functions are given to each student. New themes or titles are given to the same groups of students who repeat the process in Strategy 1, taking on the roles indicated on their role cards. Groups present their tableaux and scenes. Students reveal the content of their role cards to the class, then discuss the way in which the group process changed during the creation of the second presentation.

Note: The teacher makes clear the distinction between role playing and serving a group function role.

Class discussion:

· How did your group’s process change this time?

· What specific elements of your group behaviour changed?

· Why do groups function better when people pay attention to their function within the group process?

· How would you describe the changes in the reactions of others toward them?

· How do you think we could positively alter the way we work in groups in the future?

. Portfolio question: How is role playing or acting different from taking on a particular attitude during a group activity?

Role Cards:

Organizer: states goals for the group; defines tasks; outlines approaches; whenever appropriate, restates or clarifies the goals of the group

Solidarity builder: builds goodwill and positive feeling within the group; whenever appropriate, helps people get along with each other or build trust

Tension reliever: keeps things light by using appropriate amounts of humour; maintains a positive atmosphere

Supporter: agrees and offers supportive comments whenever possible

Initiator: constantly offers things to try; suggests problem-solving strategies; volunteers to take on tasks; an idea giver; a creative thinker

Analyst: offers opinions; states what the group needs to solve problems

Questioner: asks probing questions to make sure that the details are taken into consideration; a good listener; a thoughtful questioner

Clarifier: makes sure that everyone understands what is going on all the time; restates for the group the individual tasks and clarifies the roles, responsibilities, and information needed for every group member

Cheerleader: uses positive, encouraging language to support the efforts of all group members during the creative process; is sincere so efforts will have an effect

Mediator: intervenes positively to resolve conflicts of interest between group members; may need to restate the opposing points of view respectfully and help people to see other people’s points of view

Extension/enrichment:

· A group of four to six student volunteers are given one each of the following role cards before improvising a scene for the class in which a group of characters attempts to plan a picnic in the park while behaving with “bad” group skills.

Role cards:

Naysayer: takes every opportunity to put other people down and ridicule their suggestions (tone is simply superior and demeaning, not personally insulting or vulgar)

Blocker: says ‘no’ a lot and doesn’t accept anyone’s suggestions; rarely offers a reason or alternative suggestion; doesn’t think anything is ever going to work

Clown: seeks the attention of the group all the time with off-topic ‘fooling around’

Ghost: doesn’t get involved in anything the group is doing; doesn’t do anything that the group wants to do; doesn’t interact with any group members; withdraws; daydreams

Dominator: bossy; their way or no way; thinks their ideas are the only ones that matter

Fence-sitter: can’t make a decision about anything but likes to tell everyone that they have thought about everything; thinks of reason for and against everything but goes nowhere

Smooth talker: pretends to have superior knowledge, but doesn’t offer to share it; a perfectionist and certain that the ideas presented in this group are not good.

Powder Keg: emotionally out of control; responds with extreme anger to any provocation

Chatterbox: never stops talking, but never listens to others for more than a moment; never talks about anything the group is concerned with; it’s all about them and their talk is off topic.

After the improvised role play, students reveal the contents of their role cards to the audience and the whole class discusses the group process. The teacher helps students recognize that these fictional characters are embodiments of negative group behaviours that any and all of us may use at different times in group situations. Although the results of this improvisation may be comic, the teacher emphasizes that negative group functions are destructive to group functioning and should be consciously avoided.

Students are assigned the following reflective questions for completion in their portfolio. (This may need to be completed for homework.)

. Portfolio questions:

1. What role function do you need to concentrate on during your next group process? In what ways might this group process impact your life outside of the drama class?

2. Make a list of the five most important things to remember when working in groups.

3. What did you learn about working in groups that you didn’t know before?

4. If someone in your group is not using effective group skills, how might you help them to function more effectively?

5. Which group skill do you do best?

Strategy 3: Creating the Learning Contract for Drama

Note: Depending upon the needs of the class and the philosophy or experience of the teacher, this strategy may be introduced earlier in the unit.

Students form four groups of equal size. The teacher informs the class that an effective and pleasant drama classroom is also a safe and positive collaborative learning environment. The teacher asks the class, “What do we need to do to create and maintain this environment?” Students will most likely suggest that a list of rules would help. The teacher should guide the discussion toward the development of a set of guidelines or a ‘Contract’ for everyone in the drama class. Students should recognize that all class members need to agree to participate in class according to principles articulated by the group.

Each group is given the responsibility of developing a part of the class contract. They are given a large sheet of chart paper, a marker, and masking tape. The group is given fifteen minutes to create guidelines in response to one of these questions:

· What are the guidelines for creating and maintaining a positive environment?

· What are the guidelines for creating and maintaining a learning environment?

· What are the guidelines for creating and maintaining a safe environment?

· What are the guidelines for creating and maintaining a collaborative environment?

When groups have completed their work, the whole group assembles and a spokesperson from each group shares the work with the rest of the class. The teacher refers to the Contract for Learning in Drama (Appendix 1.2) and prompts students to compare this model with their own work. A fifth sheet of chart paper may be used to create a contract that is a combination of the elements that the whole class wishes to keep from the four groups’ charts. The teacher may print or laminate the contract and hang it prominently in the classroom.

Extension/enrichment:

· Students work in groups of four or five to create their own rubric for assessing the group process within their class. Appendix 3.7 may be used as a model.

Assessment /Evaluation Techniques

· Appendix 1.1 – Portfolio Checklist for Unit 1

· Appendix 1.2 – Contract for Learning in Drama (Model)

· Appendix 1.3 – Assessment Rating Scale

· Appendix 2.11 – Criteria for Observing Small Group Participation (Activities 1, 2, and 4)

· Teacher observation of scenes (Activities 3 and 4)

· Appendix 3.7 – Group Work Rubric

Accommodations

· The teacher may need to pre-teach vocabulary and check for comprehension if students require reading accommodations.

· Step-by-step instructions may be written on the board or a print copy may be provided.

· Ask students to paraphrase or retell instructions.

· Coach and reinforce appropriate responses and group behaviour at each step.

Resources

Solomon, Muriel. Working with Difficult People. Prentice-Hall, 1990. ISBN 0139573828

Johnson, David W. and Frank P. Johnson. Joining Together: Group Theory and Group Skills (4th Edition). Prentice-Hall, 1991. ISBN 0135118581

Appendices

Appendix 1.1 – Portfolio Checklist for Unit 1

Appendix 1.2 – Contract for Learning in Drama (model)

Appendix 1.3 – Assessment Rating Scale

Appendix 1.5 – Subject-Specific Vocabulary

Appendix 2.11 – Criteria for Observing Small Group Participation

Appendix 3.7 – Group Work Rubric

Appendix 1.1

Portfolio Checklist for Unit 1

Activity	Portfolio Entry	Assessment (Complete/Incomplete)
Activity 1	List the names of people you know now in the class but didn’t know before. Put a star beside their names. Write one positive impression you have of each person.
	Select five drama exercises played in class. For each drama exercise, describe the drama concepts/skills you learned.
Activity 2	How are still images (tableau) used in movies?
	How can tableau help the audience understand ideas and feelings in drama?
	What is the difference between being sculpted into a gesture and creating a gesture on your own in a tableau?
	Why do you think tableaux were first used in the theatre? Do some research to find some of the earliest examples of tableau in ancient works of art and include some evidence of your research in your portfolio.
	Why might a group use sculpting to create a tableau in a drama presentation?
Activity 3	What makes role playing enjoyable?
	How does adding details improve the work? What are the details?
Activity 4	How would group skills used in drama help you when working on a job outside of the classroom or in another class?
	How is role playing or acting different from taking on a particular attitude during a group activity?
	What role function do you need to concentrate on during your next group process? In what ways might this group process impact your life outside of the drama class?
	Make a list of the five most important things to remember when working in groups.
	What did you learn about working in groups that you didn’t know before?
	If someone in your group is not using effective group skills, how might you help them to function more effectively?
	Which group skill do you do best?

Appendix 1.2

Contract for Learning in Drama (model)

OUR GOAL in the drama classroom is to create and maintain a safe, positive, collaborative learning environment.

Safe Environment

· We observe safety rules and maintain physical safety at all times.

· We have the right to withdraw from activities that are emotionally threatening.

· Personal feuds are left outside the drama class.

· We can express our thoughts; there won’t always be a single, right answer to a question.

· We respect ourselves, others, and the learning environment.

· Role playing is never an excuse for sexist, racist, demeaning or violent action or language.

· We work to build comfort and a feeling of safety.

Positive Environment

· Active support is shown to others.

· Everything is taken seriously.

· We respect the right of others to hold a different viewpoint from our own.

· Questioning is used gently to probe for truth, always with a constructive intent.

· Trying new approaches (taking risks) is positive progress.

· We accept that we will all make mistakes and learn from them.

Collaborative Environment

· We will work to build trust.

· Nobody dominates the group; we are equally responsible for its success.

· We use positive group skills.

· Talking and listening time is needed to learn from each other.

· We show active respect for each other.

· We use self-discipline and accept responsibility for the tone of our learning environment.

Learning Environment

· Our purpose is to learn through drama and learn about drama.

· We seek deeper meanings by asking questions and working thoughtfully.

· We make personal connections to our work in class.

· We strive to make our work relevant to us.

· We balance action and reflection.

· We are in the drama class to learn.

Appendix 1.3

Assessment Rating Scale

Student:

Activity 1: Getting Acquainted

Criteria	1	2	3	4	Comments
works with purpose and initiative
offers ideas
is sensitive to the contributions of others
takes responsibility for the work
is sensitive to the needs of others
asks questions to further understanding
reflects on meanings created during and after the activity

Activity 2: Tableau, Mirrors and Statues

Criteria	1	2	3	4	Comments
concentrates while in role
demonstrates how to achieve focus on stage
understands use of body language to communicate ideas
observes critically and interprets body language in tableau

Appendix 1.3 (Continued)

Activity 3: Role Playing

Criteria	1	2	3	4	Comments
maintains concentration and focus
uses language and behaviour consistent with role
listens attentively to other players and responds appropriately
distinguishes between personal view and the character’s point of view
suspends disbelief

Activity 4: Group Collaboration

Criteria	1	2	3	4	Comments
works with purpose and initiative
offers ideas
is sensitive to the contributions of others
takes responsibility for the work
is sensitive to the needs of others
asks questions to further understanding
reflects on meanings created during and after the activity

Appendix 1.4

Notes on Lighting

(Activity 2)

If stage lights are not available, there are things that can be done to provide lighting effects.

The regular classroom lights can be used to provide a blackout to signal the beginning and the end of a presentation. This can be enhanced by installing dimmer switches to turn the lights on and off.

A slide or an overhead projector will cast light on a specific place. Special effects can be added for the slide projector by making “gobos” out of aluminum foil cut into a shape and placed in an empty slide frame (available at photography shops). The light, shining through the foil with the desired pattern, creates the larger version when projected. For example, small holes punched in the foil will create the effect of stars. Alternatively, an actual slide can be used to provide a background as scenery or to create atmosphere.

Cardboard cut into shapes can be used with an overhead projector. Thin, coloured tissue paper will cast a coloured light.

Teachers and students must be aware of all formal and common sense issues surrounding electricity and possible fire hazards.

Students must be reminded that the primary function of lighting is to light the performers. Special effects are always secondary to this.

Appendix 1.5

Subject-Specific Vocabulary

The following vocabulary is used in Dramatic Arts. Teachers may wish to review the meanings of these words with students as the need arises. Definitions are available in numerous drama, media, or television texts.

action	neutral
aside	objective
attitude	obstacle
cast	pace
character	plot
climax	point of view
concentration	rehearsal
conventions	relax
cue-to-cue	role
dialogue	run-through
director	sculpting
energy	sight line
eye line	slow motion action
flash back	soliloquy
flash forward	spontaneous
floor plan	stage directions
focal point	staging
focus	statues
frame	subtext
freeze	suspension of disbelief
gesture	symbol
gobo	tableau
improvisation	techniques
improvise	tension
intent	text
masking	transitional movement
metaphor	transitions
moment	volume
monologue
motivation