Course Profile English, Grade 10, Applied, Public

Unit 1: Hold Fast to Dreams

Time: 22 hours

Activity 1 | Activity 2 | Activity 3 | Activity 4 | Activity 5 | Activity 6 | Activity 7 | Activity 8

Unit Developers: Lois Keebler, Michael D’Ornellas

Development Date: April 2000

Unit Description

The course begins with an emphasis on the power of language, the power of reading, and the power of goal-setting to influence the lives of students in a positive way. A series of activities generates two diagnostic assessments of students’ skills in writing and reading. Students describe their goals for the course in a letter to the teacher.

A longer dramatic work set in a familiar Canadian situation provides a valuable “hook” for students in the Grade 10 Applied class. The Melville Boys by Norm Foster is a play with easily recognizable characters, humour, and serious themes. The familiar context and the issues in the play provide students with many opportunities to learn, to feel, and to think. The study of the play is accompanied by a study of poems related thematically to the play. Students read a book related to the theme “Hold Fast to Dreams” and maintain a reading response journal.

Strand(s) and Expectations

Strand(s): Literature Studies and Reading, Writing, Language, Media Studies

Overall Expectations: LIV.01P, LIV.02P, LIV.03P, WRV.02P, WRV.03P, WRV.04P, WRV.05P, LGV.01P, LGV.02P, MDV.01P, MDV.02P.

Specific Expectations: LI1.03P, LI1.04P, LI1.05P, LI2.02P, LI3.03P, LI3.03P, WR2.02P, WR3.01P, WR3.03P, WR4.01P, WR4.02P, WR4.04P, WR5.02P, WR5.04P, WR5.07P, WR5.12P, LG1.02P, LG1.04P, LG1.05P, LG1.06P, LG1.07P, LG2.01P, LG2.03P, LG2.05P, LG2.07P, MD1.02P, MD2.01P.

Subtask (Activity) Titles (Time + Sequence)

Subtask 1	The Power of Language	70 minutes
Subtask 2	The Power of Reading	70 minutes
Subtask 3	The Power of Goal-Setting	70 minutes
Subtask 4	Guided Reading of Act One /Paragraph Responses	380 minutes
Subtask 5	Practice Audiotaping an Excerpt of a Scene	140 minutes
Subtask 6	Guided Reading of Act Two/Paragraph Responses	70 minutes
Subtask 7	Developing a Script of an Audio Dramatization	300 minutes
Subtask 8	Recording a Script of an Audio Dramatization	225 minutes

Unit Planning Notes

· The teacher reads over the course profile and sets a timeframe for the units, the assignments, and a date for the Book Festival part of the culminating activity of the course. Teachers should thoroughly read Unit 1, which introduces the Independent Reading component, and read Unit 5, which describes the requirements for the Book Festival in order to prepare students for the final assessment.

· The teacher needs to plan and co-ordinate activities with the teacher-librarian for the Independent Reading component which is introduced in this unit. Together, they need to prepare a booklist of appropriate reading for each unit and schedule class visits to the library. The writers attempted to prepare a comprehensive reading list for students. [See BLM 1.2-1 (b) – Suggested Books for Independent Reading: Grade 10.] They contacted librarians and bookstore managers, researched booklists on the Internet, and talked to other teachers and friends. One issue with Grade 10 readers is whether they read adult books as well as Young Adult reading. In practice, each teacher, with the help of the librarian, will need to prepare a booklist that matches the books in their high school and the needs of their students and their community.

· The writers recommend Nancie Atwell’s book In the Middle to teachers who want to read more about incorporating independent reading in their classroom.

· The teacher also needs to plan and co-ordinate activities with the person responsible for Special Education in the school, so that help is available to students who will need it.

· The teacher needs to contact parents to ask for their support of the reading program.

· Local writers may be willing to speak to high school classes about their work.

· BLM 1.2-2 contains a summary of the Grammar Expectations for Grade 10, drawn directly from The Ontario Curriculum, Grades 9-10, English policy document. The writers have made the assumption that the Grammar Expectations for Grades 1-9 have been met.

· By the end of this course, the teacher will have addressed the expectations outlined on BLM 1.2-2. Teachers plan and integrate mini-lessons to address these expectations. “These conventions are best learned in the context of meaningful and creative writing activities that allow students to develop the ability to think and write clearly and effectively” (The Ontario Curriculum, p. 6). To support this strategy, the writers have included samples of mini-lessons. [See BLMs 12-3 and 1.2-4.] These sample lessons offer a framework on which teachers may build their own lessons to meet the stated expectations and the needs of students in their particular classrooms. The writers have included references to, and examples from, a variety of texts. These texts will be used to strengthen students’ own ability to use language as an effective tool for thought, expression, and communication. They should not be a source of ready made grammar exercises given to students out of context.

· The teacher reads the Individual Educational Plans of students and adapts the course for those students, according to suggested strategies.

· The teacher considers how to establish a safe, collaborative environment in the classroom to enhance student learning.

· This unit, Hold Fast to Dreams, is an example of an integrated study of poetry and a play and involves students in extending the play through script writing and recording a scene on tape. Teachers may use other poems and plays to achieve the same results.

Prior Knowledge Required

Students have developed knowledge/understanding and skills in thinking, communication, and application during Grades 1 to 9. By the end of Grade 9, students will have achieved at least a Level One on the Achievement Chart in The Ontario Curriculum, Grades 9 and 10, English.

Task Summary

As part of the introduction to the course, students read and discuss the course outline and expectations, and complete diagnostic assessments in language, reading, and writing. These include a speech, an informal essay about their careers as readers, and a letter to the teacher describing their personal goals for the course. After an introduction to the Independent Reading component of the course, they also choose a book for their independent reading connected to the theme “Hold Fast to Dreams” in preparation for Unit 5. Students begin a reading response journal and conference with their teacher.

Students read aloud the script of The Melville Boys, with effective use of voice. Students complete a variety of responses to the play. They write well-constructed paragraphs and scripts for an audio-dramatization of a new scene for the play. Groups of students prepare and tape an audio-dramatization of a script, including appropriate sound effects, theme song, or poem.

Culminating Activity

Students write and produce an audio dramatization of a scene based on the original play. This media work reflects a skilful use of dialogue, sound effects, appropriate music, and a song or poem.

Resources

Dawe, Robert, Barry Duncan, and Wendy Mathieu. ResourceLines 9/10. Scarborough, Ontario: Prentice Hall Ginn Canada, 1999. ISBN 0-13-012922-4

Foster, Norm. The Melville Boys. Toronto, Ontario: Playwrights Canada Press, 1984.
ISBN 0-88754-4524

Hahn, Harley. Harley Hahn’s Internet & Web Golden Directory: Millennium Edition. Berkeley, California, USA: Osborne/McGraw-Hill, 1999. ISBN 0-07-2121-94-7

Koechlin, Carol and Sandi Zwaan. Information Power Pack. Toronto, Ontario: McGraw-Hill Ryerson Ltd., 1999. ISBN 1-55138-086-2
This book provides tools which help locate and organize information, using technology, and apply thinking skills.

Mitchell, Scott and Darren Wershler-Henry. Internet Directory 2000: A Canadian Guide. Scarborough, Ontario: Prentice Hall Canada Inc., 1999. ISBN 0-13-016419-4

Saliani, Dorm. Poetry Alive: Perspectives. Toronto, Ontario: Copp Clark Pitman. ISBN 0-7730-5147-3

Sebranek, Patrick, Verne Meyerand, and Dave Kemper. Writers Inc.: A Student Handbook for Writing & Learning. Wilmington, MA, USA: Health and Company, a Houghton Mifflin Company, 1996.
ISBN 0-669-38812-2

Smith, Peter J. The Harcourt Writer’s Handbook. Toronto, Ontario: Harcourt Canada Ltd., 1999.
ISBN 0-03-922309-4

Smith, Peter J. The Harcourt Writer’s Handbook: Teacher’s Resource. Toronto, Ontario: Harcourt Canada Ltd., 1999. ISBN 0-03-922310-8

Tressler-Lewis. Mastering Effective English. Toronto, Ontario: The Copp Clark Publishing Co. Ltd., 1961. (1324)

Subtask 1: The Power of Language

Time: 70 minutes

Description

Students read the course outline and assessment plans. Students explore the impact powerful speeches have on people, their ideas, and their actions. They write a speech, concentrating on using powerful language.

Strand(s) and Expectations

Strand(s): Literature Studies and Reading, Writing, Language

Overall Expectations

LGV.02P - use listening techniques and oral communication skills to participate in classroom discussions and more formal activities, such as storytelling, role playing, and reporting/presenting, for specific purposes and audiences.

Specific Expectations

LI1.08P - use listening techniques and oral communication skills to participate in classroom discussions and more formal activities, such as storytelling, role playing, and reporting/presenting, for specific purposes and audiences;

WR5.03P - provide documentation showing their use of the writing process (e.g., lists of genres and forms used in personal and assigned writing; lists of writing goals and next steps for improvement; notes about results of peer and teacher conferences; a writing folder with examples of strengths, weaknesses, and interests in writing);

LG1.02P - use appropriate concrete and figurative language from a variety of sources to make their speech and writing vivid, precise, and interesting to its intended audience.

Subtask Planning Notes

· The teacher prepares a course outline in accordance with the expectations of the Ministry of Education, the District School Board and the school. English Departments may decide to include a policy on plagiarism.

· In the course sequence, the Book Festival is scheduled for the last week of the semester. The teacher may prefer to hold the event earlier, depending on examination considerations and other factors.

· The teacher prepares a schedule of assignments for students and plans for assessment.

· The teacher may wish to use a favourite activity to establish a collaborative atmosphere on the first day.

Teaching/Learning Strategies

Strategies

Student Groupings

· Guided Reading

· Role Playing

· Writing Process

· Students working as a whole class

· Students working individually

· Students working in pairs

1. The teacher gives students a course outline and assessment plans and explains both. Students keep this at the front of their notebook (see BLM 1.1-1).

2. The teacher tells students that language has the power to change lives; writing, reading, speaking, and listening can make a great difference every day of our lives. The first four classes are going to focus on the power of language.

3. The teacher introduces the idea that adults and teenagers can be in situations where their words can have a great impact on their listeners. As an example, the teacher gives students a copy of Martin Luther King’s speech “I Have a Dream” and reads an excerpt of the speech aloud. (If possible, use a taped version of the speech.) The teacher asks students what powerful words are used in this speech and what else makes the speech powerful. The teacher explains how this speech inspired people to strive for equality.

4. Alternatively, the teacher could use “A Plea for our Planet” (excerpt) by David and Severn Suzuki, which Severn presented at the Rio Earth Summit in Brazil in 1992. (Available in ResourceLines 9/10.)

5. The teacher explains that, whether on the world stage or in private lives, speaking has the power to change people’s ideas and actions. The teacher makes a list on the board as students suggest situations where speaking well can make a difference. The teacher tells students that they will write a speech, using one of the situations on the board. The teacher asks students to indicate their choice of situations listed on the board by raising their hands. Then, the teacher organizes students into pairs interested in the same situation. The pairs decide what characters could be involved in their situation. When the teacher gives a signal, students begin role playing the conversation for about five minutes. (For example, a student tries to convince the owner of a store to hire him/her for the summer.)

6. The teacher asks each student to write a speech in the role of one of the characters. The teacher provides a mini-lesson on how to write a speech, emphasizing such things as an effective introduction, a clear, organized argument, and a powerful conclusion. [See Resources.] This speech is handed in at the end of the class. [This is Initial Assignment 1.]

7. The teacher assesses each speech using the Rating Scale for Written Speech. [See BLM 1.1-2.]

Assessment/Evaluation Techniques

Assessment Strategies	Assessment Recording Devices
· Performance Task	· Rating Scale

· Students write a short speech, demonstrating their writing skills, particularly their use of powerful words. The teacher assesses the speeches using a rating scale. [See BLM 1.1-2.]

Adaptations

· Students who have difficulty with writing may have another student scribe for them. They may also benefit from using a computer.

Resources

Barker-Sandbrook, Judith and Neil Graham. Thinking Through the Essay. Toronto, Ontario: McGraw-Hill Ryerson Ltd., 1993. ISBN 0-07549066-8
“I Have a Dream” by Martin Luther King Jr. is found on pp. 165-168.

Dawe, Robert, Barry Duncan, and Wendy Mathieu. ResourceLines 9/10. Scarborough, Ontario: Prentice Hall Ginn Canada, 1999. ISBN 0-13-012922-4

Writing and Writers

www.studyweb.com/grammar/comp/speeches.htm
Studyweb offers, under “Composition”, suggested sites for Speeches; Essays; Journal Writing; Reports and Research Papers; Short Story; and Technical Writing; as well as other categories such as Writing for Magazines; About Editing; Publishing and Getting Published; Contests and Competitions.

Chart paper, one per group

Markers, one per group

Blackline Masters

BLM 1.1-1 – Course Outline

BLM 1.1-2 – Rating Scale for Written Speech

Subtask 2: The Power of Reading

Time: 70 minutes

Description

The teacher leads a class discussion about the importance of reading. Students reflect on their personal histories as readers and write a personal response entitled My Career as a Reader. Students maintain a reading response journal on their independent reading throughout Unit 1, 2, and 3.

Strand(s) and Expectations

Strand(s): Literature Studies and Reading, Writing

Specific Expectations

LI1.01P - describe information, ideas, opinions, and themes in texts they have read during the year from a variety of print and electronic sources, including novels, short stories, plays, poems, magazines, reports, biographies, and manuals;

WR3.01P - use key words in questions or prompts to organize ideas, information, and evidence in written answers;

WR5.05P - use parts of speech correctly, including the participle.

Subtask Planning Notes

· The word “career” in the reading prompt has generated excellent student response over time. Words such as “history” or “autobiography” do not seem to elicit as strong a response from students.

· The teacher assesses the speech using the rating scale and records the results for each student. The teacher assesses the personal response about reading My Career as a Reader by making private notes about students’ reading skills and interests, and writing encouraging comments on the paper. After the teacher has assessed the individual work, the teacher analyses the results of the class, with reference to the Grade 10 Grammar Expectations Summary. [See BLM 1.2-2.] The teacher decides what grammar mini-lessons need to be taught and plans when to develop these and teach them. Samples lessons are provided as models. [See BLMs 1.2-3 and 1.2-4.]

· The teacher and the librarian could prepare a list of recommended books for this unit, based on what is available in the school. The librarian may decide to gather recommended books together to make student selection easier; however, browsing in a library can unearth some interesting books too.

· The teacher works closely with the teacher-librarian to select books at an appropriate reading level for these students. The teacher and the teacher-librarian contribute suggestions to the first copy of the Grade 10 Books for Independent Reading. At the end of each course, students add books and written recommendations to the booklist.

· The teacher decides how much time can be reserved for independent reading during class. Some teachers like using the first 10 to 15 minutes of class for independent reading and reading conferences. It is recommended that these students read for a portion of every class to establish reading habits.

· Some teachers may move quietly from student to student as they are reading. Others may ask individuals to come to their desk to talk. It is important not to disturb the reading of other students.

· While students are reading during each class, the teacher holds reading conferences with individual students. The conversations should involve questions about the student as a reader, as well as about the book. Most students are interested in themselves as readers and are willing to talk about their reading habits. Possible questions are the following: Where do you read? When do you read? What helps or hinders you from becoming a good reader? Why did you choose this book? Do you know anyone who has read this book? Have you read other books by the author? When is the best time for you to read? Are you enjoying the writing style? Are you finding anything difficult in this book? Are any of the characters like you? Would you encourage other people to read this book?

· At the beginning of the independent reading, the teacher calls or sends a letter to the parent/guardian, explaining the independent reading program and asking for them to encourage their teenager during the course.

· The teacher needs to keep a record of which book the student has selected, his reading progress, and the reading conferences.

Teaching/Learning Strategies

Strategies	Student Groupings
· Response Journal	· Students working individually

1. The teacher introduces the topic of reading. Why is reading important in school? Why is reading important in the world of work? Why is reading important for adults outside of their work? When do people take time to read? How are books promoted?

2. The teacher explains the culminating task of the Book Festival. The class will promote books by hosting a Book Festival near the end of the course, where students will publicize books they have enjoyed. They will read three books (one non-fiction), and prepare promotional materials for each one. Time in class will be given to do part of the reading but some of the reading must be done outside of class. The teacher provides an outline of the Independent Reading Assignment. [See BLM 1.2-1 (a) – Independent Reading Assignment and BLM 1.2-1 (b) – Suggested Books.]

3. Before students choose their first books, the teacher asks them to think back to their histories as readers. What books did they enjoy as children? Are there particular types of books that they enjoy now? The teacher points out that although many activities may interfere with time for reading nowadays, reading is so important that people have to reserve time to read in their busy lives.

4. The teacher asks each student to write a personal response entitled My Career as a Reader. Some students may become confused about this topic, but the teacher must insist, “Yes, you have had a career as a reader.” The teacher encourages students to write about one page describing their experiences as a reader.

5. After students have handed in their assignment, they may choose their first book from the library. This book can be fiction or non-fiction but must connect to the theme of the unit, Hold Fast to Dreams. Biographies and autobiographies may be a good choice for this unit. The teacher may have a list of recommended books to give to students. The teacher tells students to bring their independent reading book to class every day.

6. The teacher informs student that they will maintain a reader response journal as they read their independently chosen book. The teacher hands out the assignment sheet, Response Journal: Reading For Meaning, BLM 1.2-1 (c) and discusses the prompts for response. Students should understand that the reader response should be an integration of two elements, their opinion, and the text. The teacher should use BLM 1.2-1(d) to give students a visual representation of this concept. Students write one response each week and submit their responses for assessment on a regular basis.

7. Independent reading occurs on a regular basis during class time. See Subtask Planning Notes.

8. When students finish reading each book, they submit their reading response journal and complete a reading conference with the teacher.

Assessment/Evaluation Techniques

Assessment Strategies	Assessment Recording Devices
· Response Journal	· Anecdotal Record

· Students write a personal essay entitled My Career as a Reader. The teacher writes encouraging comments on the essay, and records information about students' reading in an anecdotal record.

Adaptations

· The teacher can adapt the topic for students who insist that they do not read. They could write about why they do not read.

Resources

Reader’s Robot
http://www.tnrdlib.bc.ca/rr.html
Librarians and fellow readers recommend books which are ordered by genre. Particularly helpful is “Young Adult (12-16)” and “By and about Canadians.”

Blackline Masters

BLM 1.2-2 – Grade 10 English Grammar Expectations Summary

BLM 1.2-3 – Sample Lesson on Stage Direction Terms

BLM 1.2-4 – Lesson on the Participle

BLM 1.2-1 (a) – Independent Reading Assignment

BLM 1.2-1 (b) – Suggested Books for Independent Reading: Grade 10

BLM 1.2-1 (c) – Response Journal: Reading for Meaning

BLM 1.2-1 (d) – Notes for Personal Response Writing

BLM 1.2-5 – Assignment for Book Festival Component One: Reading Response Journals

Subtask 3: The Power of Goal-Setting

Time: 70 minutes

Description

Students write a letter to the teacher, explaining their goals for the course. Students use the ARRRP Approach and/or the Grade 10 Editing and Revising Checklist to improve their first assignment, and hand the second drafts in for assessment.

Strand(s) and Expectations

Strand(s): Writing

Overall Expectations

WRV.04P - revise their written work, collaboratively and independently, with a focus on support for ideas, accuracy, clarity, and coherence;

WRV.05P - edit and proofread to produce final drafts, using correct grammar, spelling, and punctuation, according to the conventions of standard Canadian English specified for this course, with the support of print and electronic resources when appropriate.

Specific Expectations

WR3.02P - use a single, controlling idea and connecting words and phrases to structure a series of paragraphs (e.g., establish chronological order with words such as in the beginning, second, and finally for a short report);

WR5.04P - edit and proofread their own and others’ writing, identifying and correcting errors according to the requirements for grammar, usage, spelling, and punctuation listed below;

WR5.07P - identify and correct sentence errors, including comma splices and run-on sentences;

WR5.13P - use punctuation correctly, including the semicolon (e.g., use the semicolon to join principal clauses and to separate elements in a list that contains commas).

Subtask Planning Notes

· One of the difficulties in teaching writing is ensuring that students apply what they have learned from one assignment to another. Teachers sometimes find themselves writing the same comments, time after time, on the same students' work. Using the same laminated checklist with colourful stickers to show areas needing improvement, the teacher can “flag” for students areas to watch for on future assignments. The teacher adds stickers to those items missed by the student's editing process, and removes stickers from items which have been improved. The goal of the students is to have no stickers on the checklist. They may use this checklist during their final examination.

· To prepare for this, photocopy the checklist on coloured paper so that students can find it easily and laminate it so that it can be used during the semester. Place a white label with the student’s name on it at the top of the page. Buy small, attractive stickers to use to indicate to the student which items need more work. Different stickers can be used for each assignment.

· You may use a separate checklist for each assignment, but this does not give you the carryover of the laminated page with its stickers. [Note: Using washable markers would be great but the ink smears and rubs off laminated pages.]

· A variation is to prepare a checklist with several columns of boxes to check. Each assignment could have a column.

Teaching/Learning Strategies

Strategies

Student Groupings

· Metacognitive Reflection

· Direct Teaching

· Writing Process

· Students working individually

1. The teacher describes to the students what strengths and needs of the class appeared in the initial assessments and what lessons will be taught as a result.

2. The teacher emphasizes the importance of students setting their own goals for the course. The teacher uses the example of athletes who spend time visualizing their peak performance before a competition. Setting goals and visualizing yourself achieving them is a powerful motivator. If people keep a challenging goal in mind, their results will surpass those of someone with no goals.

3. The teacher may wish to provide a passage which describes how a person was motivated to succeed.

4. The teacher distributes the initial assessments. Students read the rating scale and the written comments, then write a letter to the teacher, describing their personal goals for the course. Students hand the letters in to the teacher. [The teacher reads them, copies them, and returns the originals to students with encouraging written and oral comments.]

5. The teacher reviews the stages of the writing process and emphasizes that editing and revising are important steps for improving one’s final product. The teacher gives students one of The ARRRP Approach, BLM 1.3-2, or the Grade 10 Editing and Revising Checklist, BLM 1.3-1, two strategies for success, and explains how to use it to improve their writing. Students use this strategy to edit and revise their speech. [Whichever one is not introduced in this lesson could be introduced in a subsequent lesson.] If available, students could use computers to prepare their improved version. Students hand their second drafts to the teacher for assessment.

6. After they hand the assignments in, students may read their independent reading book. The teacher should encourage students to read a certain number of pages daily.

7. The teacher assesses the improved speech using the rating scale and awards it a numerical mark.

Assessment/Evaluation Techniques

Assessment Strategies

Assessment Recording Devices

· Self-Assessment

· Exhibition/Demonstration

· Anecdotal Record

· Rating Scale

· Students describe their goals for the course in a letter to the teacher.

· Students edit and revise their written speech using The ARRRP Approach or the Grade 10 Editing and Revising Checklist. The teacher assesses the assignment using the rating scale. [See BLM 1.1-2 – Rating Scale for Written Speech.]

Adaptations

· Students who have difficulty writing might record their thoughts on an audiotape.

· Most students will need help with the editing process. Small groups of students might enable some students to offer assistance to other.

Resources

Blackline Masters

BLM 1.3-1 – Grade 10 Editing and Revising Checklist

BLM 1.3-2 – The ARRRP Approach

Subtask 4: Guided Reading of Act One/Paragraph Responses

Time: 380 minutes

Description

With assistance and instructions by the teacher, students read and respond to Act One of the play The Melville Boys. They identify the thematic focus of each scene and offer responses in topic webs, short oral presentations, answers to interpretive questions, and well-constructed one-paragraph compositions.

Students read poems connected thematically to each scene and explain the connection in writing. Students identify poetic devices in these poems.

Strand(s) and Expectations

Strand(s): Literature Studies and Reading, Writing, Language

Overall Expectations

LIV.01P - read and demonstrate an understanding of a range of literary and informational texts;

WRV.02P - identify literary and informational forms suited to a variety of purposes and audiences and use the forms appropriately in their own writing, with an emphasis on stating and supporting an opinion;

WRV.04P - revise their written work, collaboratively and independently, with a focus on support for ideas, accuracy, clarity, and coherence;

LGV.01P - use knowledge of vocabulary and language conventions to speak, read, and write clearly, correctly, and competently for specific purposes and audiences;

Specific Expectations

LI1.04P - demonstrate understanding of a text by citing explicit information and ideas from it (e.g., create a character profile based on a character’s words and actions; list key steps from a technical manual to create a quick-reference guide);

WR3.01P - use key words in questions or prompts to organize ideas, information, and evidence in written answers;

WR4.04P - consider reactions of teachers, peers, and others in revising and editing written work;

LG2.01P - use listening techniques and oral communication skills to participate in group discussions (e.g., stay on topic; contribute ideas; support opinions; build on the ideas of others; solicit and classify information; identify key ideas and supporting details; and distinguish between fact and opinion).

Subtask Planning Notes

· The teacher can divide the Scenes into short sections and put the pages of the sections on the board. Students can volunteer to read the lines of a character during a short excerpt of a scene. This way more students will have an opportunity to read. The teacher should give students time to read over their parts ahead of time.

· Students who are reluctant to read a part in the play aloud can be involved in class discussion and reporting to the class about their webs. As the lessons progress, these students can be encouraged to read a small section of the play. There may be some students who will not want to read at all. Later in the unit, they may find reading onto tape is a less daunting task.

· A particularly important speech by Loretta on page 68 highlights the theme of the unit: “Everybody’s got at least one thing they’ve always dreamed of doing. Don’t you have any dreams like that?”. The teacher may wish to use this speech as a prompt for a personal response from students.

· In Act One, Scene Three, Lee reveals that he has a fatal illness. The teacher needs to treat this topic sensitively since some students may be aware of people with similar circumstances.

Teaching/Learning Strategies

Strategies

Student Groupings

· Direct Teaching

· Read Aloud

· Writing Process

· Collaborative/Co-operative Learning

· Students working as a whole class

· Students working in small groups

· Students working individually

Day One

1. Students read their independent reading book for approximately ten minutes at the beginning of class. During this time, the teacher is able to have one-on-one conferences with students about their reading. [This independent reading time happens most days, but will not be repeated in the Teaching/Learning Strategies.]

2. The teacher gives students copies of the poem “Hold Fast to Dreams” (In the Stillness is the Dancing, p. 61). Students read the poem silently to themselves and then a student volunteer or the teacher reads it aloud. The teacher initiates a class discussion about the poem by asking the following questions:

a) What different kind of dreams are there?

b) Which kind of dreams do you think the poet means?

c) Can you think of another word that means this kind of dream?

d) Why are dreams important to people?

e) Why is the image of a “broken-winged bird” effective in describing a person without dreams?

f) Is the image of “a barren field/Frozen with snow” an effective way of describing a life without dreams? Why or why not?

g) What images could convey a life with dreams?

Students write answers to these questions in their notes.

3. The teacher informs students that a way to understand the term theme is to distinguish between the word topic and the word theme. The word topic describes a general idea in a work while the theme is “what the work says about the topic”. The teacher asks students to identify the topic of this poem, then the theme. [The topic is “dreams”. The theme may be expressed as “Dreams are important in life.”] Students write down their answers in their notes. The teacher asks students how many agree with the poet’s theme.

4. The teacher tells students that they will be reading some poems and a play. The play involves two brothers and two sisters, who have dreams for their lives. The Melville Boys by Norm Foster is a Canadian play that deals with many familiar issues that touch students’ (and adults’) lives. It expresses ideas about family, friendship, and the difficulties of making one’s dreams come true.

Act One, Scene 1 (p. 1-17)

5. The teacher introduces the names of the characters of Act One, Scene One: Owen and Lee. The brothers have planned a weekend at a cottage. The teacher asks students why people like to go away on a weekend. Why would a weekend at a cottage appeal to many people? The teacher asks students to watch for what Owen and Lee are like and what reason they have for having a weekend at the cottage together.

6. The teacher puts page numbers for various sections of the scene on the board, and asks for volunteer readers. The teacher gives students time to read over the sections silently. Then the class begins reading the scene aloud with student volunteers.

7. The first few pages establish that Owen and Lee are very different characters. At the end of the scene, the teacher asks students the following questions:

a) What kind of person is Owen?

b) What speech or action reveals this?

c) What kind of person is Lee?

d) What speech or action reveals this?

e) How is Owen different from Lee?

f) What kind of relationship do these brothers have?

g) What may be their dream for this weekend at the lake?

h) How is the weekend going so far for each of them?

Students write answers in sentences in their notes. [These questions may be answered for homework, if there is not enough time in class.]

Day Two

1. The teacher checks students’ homework while students are reading their independent reading book.

2. Students share their answers to these questions in a class discussion.

3. The teacher introduces students to the idea of a topic web as a way of examining the topics and themes in the scene. The teacher informs students that they will be completing one of these for Scene Two and Three. The teacher provides a model of a topic web for Scene One and leads a class discussion about the topics, their connections with one another, and themes emerging from the scene. Students copy the sample topic web into their notes.

4. The teacher presents a mini-lesson about the structure of a paragraph: a topic sentence, sentences with supporting references from the text, and a good concluding sentence. The teacher also explains the Checklist for a Paragraph. [See BLM 1.4-1.]

5. Students write a one-paragraph answer to the following question: Do Lee and Owen have a good relationship in your opinion? Students use the Checklist for a Paragraph to improve their own work. When they are satisfied with their paragraph, they hand in their paragraph and their checklist to the teacher.

6. Students read the next scene for homework.

Day Three

1. The teacher returns the paragraphs with the checklist and written comments. Students keep the paragraphs in their notes as examples for later assignments.

Act One, Scene Two (p. 17-45)

2. The teacher begins a discussion about first impressions, using questions such as the following: Can you tell if you are going to like someone from a first impression? If so, how do you think you can tell so quickly? Sometimes, our first impressions can be wrong. The teacher gives students a copy of the poem “To the Friend I Broke Up With” to read over silently (Poetry Alive: Perspectives, p. 92). The teacher or a student volunteer reads the poem. The teacher reviews the term metaphor with students. The teacher asks students the following questions:

a) How is life like a jigsaw puzzle?

b) Can you think of another metaphor to finish the sentence “Life is____________.”?

c) Why do you think these friends did not get along?

d) What would have to happen for their friendship to continue?

3. In Scene Two, Lee and Owen meet two sisters, Mary and Loretta. The teacher asks students to think about the relationships the four characters form as student volunteers read the scene. [The teacher may decide to stop at certain points during the scene to check if students are understanding the content.]

4. Possible questions for Scene Two are as follows:

a) How are Mary and Loretta similar or different?

b) What mistake does Owen make when he first meets the girls?

c) How can you tell that Loretta’s television career is not very successful yet?

d) What sort of first impression does Loretta make on Owen? What line tells you this?

e) What jobs do these characters have? What are their attitudes to their jobs?

f) How can you tell that Lee does not want to go to the dance with the girls? What reason might he have?

g) Why does Loretta decide to go to the dance with Owen and Lee?

h) Do you think Loretta and Owen would make a good couple or are they like the pieces of a jigsaw puzzle that do not fit?

Students record their answers in full sentences in their notes.

5. Students form into small groups to make a topic web for this scene. They record their ideas on chart paper and then post their webs on the wall. After each group presents their ideas, students individually write a well-constructed paragraph on the topic “Which character from the play would you choose as your friend and why?” These paragraphs are assessed by students using the Checklist for a Paragraph, BLM 1.4-1, and handed in for assessment by the teacher who uses the same checklist for formative assessment.

Days Four and Five

1. The teacher returns the paragraphs to students, who keep them in their notes.

2. The teacher presents the lesson on stage direction terms. [See BLM 1.2-3.]

3. The teacher introduces the phrase “carpe diem” to the class and explains its meaning (Seize the day). Students read two poems, “Living Is” and “Gather Ye Rosebuds,” silently and aloud (Poetry Alive: Perspectives, p. 73 and p. 68). The teacher asks students the following questions:

a) What are the advantages of living for the moment?

b) What are the disadvantages of living for the moment?

c) Can you name any modern songs which contain the “carpe diem” theme?

The teacher draws students’ attention to the rhyme scheme of each poem.

Act One, Scene Three (p. 46-79)

4. The teacher asks students to watch for the characters’ attitudes to life this scene. Students read the scene aloud, stopping periodically to answer questions orally. They will write their answers in sentences in their notes when the scene is completed. Possible questions for this scene are as follows:

a) Why does Mary think that Loretta’s selfishness is a good thing? What do you think?

b) What is Mary’s dream?

c) Why does Lee think Mary is making a mistake, waiting for her husband who left two years ago?

d) Why does Lee tell Mary that he is dying?

e) What metaphor does he use to explain what it feels like to be dying?

f) What was Lee’s dream as a teenager?

g) What circumstances prevented him from achieving his dream?

h) Why is Lee upset with Owen?

5. The teacher asks students to work in groups to find the topics of this scene and write their ideas on chart paper. Again, the teacher has each group post their results on the wall. The teacher has each group explain their ideas, and the connections among them until the class has heard all ideas.

6. The teacher asks students to write a well-constructed paragraph on the following topic: Compare the brothers’ or the sisters’ attitudes to life. [Alternative topics are the following: Compare how Mary, Loretta, and Owen react to Lee’s illness; Compare the dreams of two characters. Compare the brothers’ reactions to the girls.] The teacher presents a mini-lesson on writing comparison paragraphs by first defining the word “compare”, which includes pointing out similarities and differences. The teacher supplies students with a Framework for Comparative Inquiry. [See BLM 1.4-2.] The teacher sets up a framework on the board and helps students develop criteria for their comparison. The teacher also demonstrates how to line up the information under each column. The teacher reminds students that their paragraph needs a topic sentence and a concluding sentence, with the comparative information in the body of the paragraph. Once students have filled in their frameworks, they have the teacher check them. Then students write their paragraph, incorporating the ideas from the framework. Students revise and edit their own work, with the help of the Checklist for a Paragraph and their previous paragraphs. Students hand the paragraphs in for assessment by the teacher using the checklist.

Day Six

1. At this point, students have written three paragraphs. The teacher gives them time to revise their paragraphs and publish their final copies using a computer. Students hand in their paragraphs for a summative mark.

2. As students finish their assignment, they may begin forming groups and choosing an excerpt of a scene for the practice audiotaping session. [See Subtask 6.]

Assessment/Evaluation Techniques

Assessment Strategies	Assessment Recording Devices
· Performance Task	· Checklist

· The teacher assesses three paragraphs on theme, using written comments and a checklist.

Adaptations

· Students for whom English is a second language may need more time to understand the dialogue. While students are writing their paragraphs and developing their topic webs, the teacher could be assisting these students with understanding the dialogue.

Resources

Link, Mark, ed. In the Stillness is the Dancing. Argus, 1972.

Dom Saliani, ed. Poetry Alive: Perspectives. Copp Clark Pitman Ltd., 1991.

Chart paper and marker, one per group

Blackline Masters

BLM 1.4-1 – Checklist for a Paragraph

BLM 1.4-2 – Framework for Comparative Inquiry

Subtask 5: Practice Audiotaping an Excerpt of a Scene

Time: 140 minutes

Description

In groups of five (four actors and a director/technician), students prepare for the culminating activity by taping an excerpt from Act One, Scene Two or Three. Their reading demonstrates skilful use of voice, an understanding of character and situation, and skill in the use of the taping equipment. This activity provides formative assessment for their final product.

Strand(s) and Expectations

Strand(s): Language, Media Studies

Overall Expectations

LGV.01P - use knowledge of vocabulary and language conventions to speak, read, and write clearly, correctly, and competently for specific purposes and audiences;

MDV.02P - use knowledge of a range of media forms, purposes, and audiences to create media works and explain their intended effects.

Specific Expectations

LG2.05P - rehearse with peers (with visual aids and technology, if used), study audio- and videotaped rehearsals, use voice and relaxation exercises, and make modifications in response to constructive criticism to ensure confident delivery in oral presentations;

LG2.07P - analyse their own and others’ oral presentations, identifying strengths and weak-nesses and developing and carrying out plans for improvement.

Subtask Planning Notes

· The teacher needs to locate equipment and obtain tapes well ahead of time. If the English Department does not have equipment, other departments may be willing to lend theirs.

· Students may need some instruction about the use of the equipment.

· Teacher must use sensitivity in the playing of these first tapes. If the first results are poor, the teacher may choose to review the tapes with the student groups, not the whole class. Written comments could be given to the groups, to be kept for the culminating activity.

Teaching/Learning Strategies

Strategies

Student Groupings

· Technology

· Read Aloud

· Students working in small groups

1. The teacher informs students that, as a way of reviewing Act One and preparing for the culminating activity, they will do a practice audiotaping of an excerpt from Act One, Scene Two or Three.

2. The teacher presents a mini-lesson about conveying emotion through tone of voice. For example, students may practise saying one word, such as “no”, “oh”, or “dance” in a variety of tones. Then, the teacher can choose a short speech and ask individual students to read the speech using different tones to convey different emotions.

3. Students form groups of four, and choose an excerpt. When taped, this should run for approximately five minutes. Each group has a tape, and a tape recorder, and may rehearse in different areas in or near the classroom.

4. Students practise reading the scene into the tape recorder, trying to interpret the characters and the situation with skilful use of voice and pacing.

5. Students tape the scene.

6. The teacher gives formative feedback to the group using the rubric. [See BLM 1.5-1 – Rubric for Audio-dramatization of a Scene.]

Assessment/Evaluation Techniques

Assessment Strategies	Assessment Recording Devices
· Performance Task	· Rubric

· The teacher provides a formative assessment of students’ reading of a scene.

Adaptations

· Students who find speaking difficult may choose a small role but every student should have a chance to record a part.

Resources

Recording tape, one per group

Tape recorder, one per group

Blackline Masters

BLM 1.5-1 – Rubric for Audio-dramatization of a Scene

Subtask 6: Guided Reading of Act Two/Paragraph

Time: 70 minutes

Description

Students read Act Two of the play, focussing on the use of dialogue in the revelation of character. Students read poems connected thematically to the scenes and identify the connections, as well as poetic devices in the poems.

Strand(s) and Expectations

Strand(s): Literature Studies and Reading, Writing, Language

Overall Expectations

LIV.01P - read and demonstrate an understanding of a range of literary and informational texts;

LIV.02P - demonstrate an understanding of the elements of a range of literary and informational forms, with a focus on novels, poems, magazines, and reports;

LIV.03P - identify and explain the effect of specific elements of style in a range of literary and informational texts;

WRV.03P - use a variety of organizational techniques to present ideas and supporting details logically and coherently in written work;

WRV.04P - revise their written work, collaboratively and independently, with a focus on support for ideas, accuracy, clarity, and coherence;

Specific Expectations

LI1.05P - analyse the information and ideas presented in texts and make inferences based on the analysis (e.g., analyse a student-created website in order to give it an appropriate title; contrast a character’s words and actions in a play to explain irony; identify the interests an author represents in an article on an environmental issue);

LI2.02P - use knowledge of elements of poetry, such as stanza forms, rhyme, rhythm, punctuation, free verse, imagery, and sound devices, to understand and interpret texts in the genre (e.g., illustrate the single image of a haiku; identify similes and metaphors in a sight poem and explain what is being compared in each example);

LI3.02P - explain how authors use stylistic devices, such as varied sentence structures, onomatopoeia, alliteration, and symbol, to communicate ideas, emotions, and information and achieve intended effects (e.g., explain how the symbolic language used in an advertisement persuades consumers to buy a product; explain how the imagery in a poem helps engage the reader’s interest);

LI3.03P - explain how authors and editors use design elements in texts to clarify and reinforce meaning (e.g., explain the use of headings in a technical manual; explain the use of frames and buttons on a web page to organize content and provide direction);

LG1.02P - use appropriate concrete and figurative language from a variety of sources to make their speech and writing vivid, precise, and interesting to its intended audience;

LG1.04P - identify when it is appropriate to use slang, dialect, colloquialisms, idioms, acronyms, technical terminology, and standard Canadian English in oral and written work;

Subtask Planning Notes

· A possible comparison question for the final examination: Compare the two relationships, Lee/Mary and Owen/Loretta.

· The teacher may decide to have students write poems as an extension activity. There may be students who would enjoy expressing their feelings and ideas about the topics in the play in poetry. These poems could be read and assessed for a bonus mark.

Teaching/Learning Strategies

Strategies

Student Groupings

· Read Aloud

· Collaborative/Co-operative Learning

· Direct Teaching

· Guided Writing

· Students working as a whole group

· Students working in pairs

· Students working in small groups

· Students working individually

Act Two, Scene One (pp. 81-96)

1. The teacher gives students a copy of the concrete poem “She Loves Me” (Poetry and Language, p. 183). Students examine the shape of the poem and relate the shape to the theme. (How does the question mark shape relate to the topic?)

2. An alternative poem is “First Person Demonstrative” (Poetry Alive: Perspectives, p. 89). Students compare the speaker of the poem and Owen in a class discussion, using a comparative framework on the board to gather ideas.

3. The teacher explains to students that Owen is having second thoughts about his future marriage and is wondering if he should marry Loretta.

4. Students read the scene aloud. Students answer the following questions orally and in sentences in their notes.

a) Why is Mary watching Lee in the boat?

b) How can you tell that Owen is worried too, even though he says he is not?

c) Why does Owen think Loretta would be a better wife than Patty?

d) Why does Loretta reject Owen’s proposal?

Act Two, Scene Two (pp. 97-113)

1. After students read the final scene aloud, the teacher leads a discussion with the class on the following questions:

a) Owen is angry. Why does Lee think he is angry? Why is he angry?

b) What complaint does Lee voice about his family?

c) Why is Lee’s illness difficult for Owen?

d) What responsibilities does Lee expect Owen will assume?

e) How does Owen react to Lee’s request at first?

f) What lines show that he has changed his mind?

g) How is the relationship between Owen and Lee at the end of this scene different from their relationship in Act One?

h) At the end of the play, what do you think is going to happen?

Students write answers to these questions. The teacher may decide to collect these answers to assess students’ ability to write clear sentence answers.

2. Depending on time and other factors, the teacher may decide to distribute copies of Dylan Thomas’s poem “Do Not Go Gentle into that Good Night.” (Collected Poems, 1934-1952, p. 159). The teacher reads the poem to the class. The following questions could stimulate a class discussion of this poem:

a) What is the situation in the poem?

b) What does the speaker want his father to do?

c) What emotions do you think the speaker of the poem is experiencing?

d) What different examples of people does he use as role models?

e) Which stanza of the poem reminds you of Lee?

f) Is Owen asking Lee to “rage against the dying of the light?” Why?

Students write answers to these questions in sentences.

Assessment/Evaluation Techniques

Assessment Strategies	Assessment Recording Devices
· Performance Task	· Rubric

· Students assesses each other’s scripts using the Rubric for Dialogue, BLM 1.7-2.

Resources

Kellow, Brian and John Krisak, eds. Poetry and Language. Toronto, Ontario, Canada: McGraw-Hill Ryerson Ltd., 1983. ISBN 0-07-54876543

Saliani, Dom, ed. Poetry Alive: Perspectives. Copp Clark Pitman Ltd., 1991.

Thomas, Dylan. Collected Poems, 1934-1952. London, England: J. M. Dent and Sons Ltd., 1996.

Subtask 7: Developing a Script of an Audio Dramatization

Time: 300 minutes

Description

Students create a polished script for the next scene of The Melville Boys with instructions for sound, a theme song, or an appropriate poem. The characters in their script and the plot they develop should be consistent with the original work.

Strand(s) and Expectations

Strand(s): Writing, Language

Overall Expectations

WRV.04P - revise their written work, collaboratively and independently, with a focus on support for ideas, accuracy, clarity, and coherence;

LGV.01P - use knowledge of vocabulary and language conventions to speak, read, and write clearly, correctly, and competently for specific purposes and audiences;

MDV.01P - describe the elements, intended audiences, and production practices of a range of media forms and explain how these factors shape media works;

MDV.02P - use knowledge of a range of media forms, purposes, and audiences to create media works and explain their intended effects.

Specific Expectations

WR2.02P - consider the characteristics of the intended audience in selecting the form and developing the content for each piece of writing (e.g., list information the audience will need and identify the most appropriate way to present it; consider the audience’s age, gender, and probable knowledge of the topic in writing a report);

WR5.04P - edit and proofread their own and others’ writing, identifying and correcting errors according to the requirements for grammar, usage, spelling, and punctuation listed below;

MD2.01P - adapt an idea or theme from a work of literature for presentation in another media form and determine what aspects have been weakened and/or strengthened by the adaptation (e.g., recast a conflict from a novel as a debate on a television or radio talk show, a theme or images from a poem as a CD cover with liner notes).

Subtask Planning Notes

· There a number of sources of radio dramas on audiotape. One source is Soundelux Audio Publishing, who can supply Old Time Radio Dramas. One of these could be played as an example of how sound effects are used.

Teaching/Learning Strategies

Strategies

Student Groupings

· Writing Process

· Conferencing

· Students working individually

1. The teacher informs students that for their culminating activity, they will each write an extension of the play. The teacher gives students a copy of the Assignment for Audio-dramatization of a Scene and explains it. [See BLM 1.7-1.] For the purposes of this assignment, their script must assume that the sisters did return. Some questions which they might consider are the following:

a) In your opinion, why would the girls decide to return?

b) In your opinion, which girl would more likely want to return?

c) How do you think Lee and Owen would react?

The teacher will assess each script using the rubric. [See BLM 1.7-2 – Rubric for Dialogue.] Then, each group of students will choose a script to dramatize on tape.

2. The teacher presents a mini-lesson about the conventions of script writing. One source of instruction is Unit 3: Script in Language and Writing 9, pp. 48-63. This source includes instructions about punctuation and grammar involved in script writing. [See Resources.]

3. The teacher informs students that as a means of enhancing their script, and emphasizing the ideas in it, they choose a song or a poem to complement their work. This should be read or played before (or during) the audio-dramatization. (An alternative strategy: students write a poem to complement their work.) The script should be at least three pages in length and include information about sound effects.

4. After students have written their drafts, they edit and revise their scripts and prepare a typed copy using a computer. They hand their scripts to the teacher.

5. After reading and assessing the scripts using the Rubric for Dialogue, the teacher returns them to students. [See BLM 1.7-2.] They read the scripts produced by their group and decide which one is most suitable for taping, in consultation with the teacher.

Assessment/Evaluation Techniques

Assessment Strategies

Assessment Recording Devices

· Conference

· Performance Task

· Rubric

· The teacher assesses the individual scripts, using strands of the Rubric for Dialogue.

Adaptations

· The teacher needs to plan variety into this script writing period of time to ensure that students who are unable to concentrate on one task for an entire period are engaged productively. The time for independent reading could be increased during this activity.

Resources

Aker, Don and David Hodgkinson. Language & Writing 9. Toronto, Ontario: ITP Nelson (Canada), 1999. ISBN 0-17-618681-6
Script writing and related grammar, pp. 48-61.

Old Time Radio Dramas. Soundelux Audio Publishing. ISBN 1-55935-183-7
“The Glass Menagerie” and other radio dramas.

Blackline Masters

BLM 1.7-1 – Assignment for Audio-dramatization of a Scene

BLM 1.7-2 – Rubric for Dialogue

Subtask 8: Recording a Script of an Audio Dramatization

Time: 225 minutes

Description

Students write and produce an audio dramatization of a scene based on the original play. This media work reflects a skilful use of dialogue, sound effects, appropriate music, and a song or poem.

Strand(s) and Expectations

Strand(s): Literature Studies and Reading, Language, Media Studies

Overall Expectations

LIV.01P - read and demonstrate an understanding of a range of literary and informational texts;

LGV.01P - use knowledge of vocabulary and language conventions to speak, read, and write clearly, correctly, and competently for specific purposes and audiences.

Specific Expectations

LG2.03P - plan and make oral presentations, adapting vocabulary and methods of delivery to suit audience and purpose (e.g., identify purpose; gather ideas and information; plan, create, rehearse, revise, and assess presentations such as interviews, dramatizations, and reports);

LG2.07P - analyse their own and others’ oral presentations, identifying strengths and weak-nesses and developing and carrying out plans for improvement;

MD1.02P - identify key elements and techniques used to create media works in a variety of forms (e.g., rapid editing in a television commercial; plot in a comedy; juxtaposition of colour and text in posters), and explain how these elements contribute to the theme or message;

Subtask Planning Notes

· Some students may want to videotape their scene. Producing a quality videotape is more difficult and time-consuming than most students realize; however, a group with prior experience with this technology may be able to complete a videotape successfully.

· Groups who finish their audio-dramatization early may use the time to work on their independent reading book or select their next book. A possible prompt for book response for this unit: Compare the dreams of a character in your book with the dreams of a character in the play The Melville Boys. The teacher needs to ensure that all students complete the reading of their book, hand in their reading response journals and have a conference with the teacher before choosing their next book.

· The teacher should keep a copy of the most successful audio dramatizations to use as models for future classes.

Teaching/Learning Strategies

Strategies

Student Groupings

· Collaborative/Co-operative Learning

· Technology

· Students working in small groups

1. Students tape the scene, after reviewing what they learned from their practice taping of Act One, Scenes Two and Three. [See Subtask 2.]

2. Students submit their tape for summative assessment.[See BLM 1.5-1 – Rubric for Audio-dramatization of a Scene.]

3. After the assessment, the teacher may use these tapes in a variety of ways. The class will enjoy hearing the different ways students extended the play. The tapes may be played to review characters prior to the exam.

Assessment/Evaluation Techniques

Assessment Strategies	Assessment Recording Devices
· Performance Task	· Rubric

· The teacher assesses the taped recordings of the script, using a rubric.

Adaptations

· This assignment could be adapted for students who would prefer to dramatize their scene for the class, rather than use the technology.

· For students who are unable to write a scripted scene, an alternate assignment could be to write a letter from one character to another and perform it as a dramatic monologue.

Resources

Recording tape, one per group

Tape recorder, one per group

Microphones, three per group

Blackline Masters

BLM 1.5-1 – Rubric for Audio-dramatization of a Scene

BLM 1.1-1

Course Outline

COURSE TITLE: Grade 10 Applied English

COURSE CODE: ENG2P

CREDIT: 1.0

MINISTRY PREREQUISITE: Grade 9 English

POLICY DOCUMENTS: The Ontario Curriculum, Grades 9 and 10, English, 1999

Program Planning and Assessment, 1999

Ontario Secondary Schools 9 to 12 - Program Requirements, 1999

DESCRIPTION/RATIONALE:

This course extends the range of key reading, writing, oral communication, and thinking skills that students need for success in all areas of the curriculum. Students will study novels, poems, magazines, and reports and will describe, design, and produce effective media works. An important focus will be the clear and coherent use of spoken and written language.

CURRICULUM EXPECTATIONS:

By the end of this course, students will:

Literature Studies and Reading

1. read and demonstrate an understanding of a range of literary and informational texts;

2. demonstrate an understanding of the elements of a range of literary and informational forms, with a focus on novels, poems, magazines, and reports;

3. identify and explain the effect of specific elements of style in a range of literary and informational texts;

Writing

4. use a variety of print and electronic sources to gather information and explore ideas for their written work;

5. identify the literary and informational forms suited to various purposes and audiences and use the forms appropriately in their own writing, with an emphasis on stating and supporting an opinion;

6. use a variety of organizational techniques to present ideas and supporting details logically and coherently in written work;

7. revise their written work, independently and collaboratively, with a focus on support for ideas, accuracy, clarity, and coherence;

8. edit and proofread to produce final drafts, using correct grammar, spelling, and punctuation, according to the conventions of standard Canadian English specified for this course, with the support of print and electronic resources when appropriate;

Language

9. use knowledge of vocabulary and language conventions to speak, read, and write clearly, correctly, and competently for specific purposes and audiences;

10. use listening techniques and oral communication skills to participate in classroom discussions and more formal activities, such as storytelling, role playing, and reporting/presenting, for specific purposes and audiences;

BLM 1.1-1 (Continued)

Media Studies

11. describe the elements, intended audiences, and production practices of a range of media forms and explain how these factors shape media works;

12. use knowledge of a range of media forms, purposes, and audiences to create media works and explain their intended effects.

COURSE CONTENT:

Unit 1: Hold Fast to Dreams

Unit 2: Voices

Unit 3: Diversity

Unit 4: Interactions

Unit 5: Independence

ASSESSMENT:

Term Work: 70%

Culminating Activities 30%

Presentation at Book Festival (15%)

Examination (15%)

(The Achievement Chart for English in The Ontario Curriculum, Grades 9 and 10, English and Program Planning and Assessment, 1999 will guide assessment.)

RESOURCE/REFERENCE TEXTS/MATERIALS

Anthologies:

Novel:

Grammar:

Poetry:

Plays: The Melville Boys

Film: Romeo and Juliet

BLM 1.1-2

Rating Scale for Written Speech

LEVEL: 1 2 3 4

Criteria

1. Distinct Voice ................................................................................

2. Distinct Tone ................................................................................

3. Clarity of Expression ................................................................................

4. Fluency ................................................................................

5. Powerful Words ................................................................................

6. Effective Sentences ................................................................................

7. Spelling ................................................................................

8. Punctuation ................................................................................

BLM 1.2-1 (a)

Independent Reading Assignment

Description

During the Grade 10 English course, you will develop your skills as an independent reader in preparation for adult life. In addition to the class books, you will choose three books which relate to themes of the course. One of these books must be non-fiction, such as a biography. You will have some time in class to read but most of your reading will be done outside of class. As you read your books, you will write your ideas in a weekly reading response journal which is a way for you to explore your personal reaction to the books and the themes. You will have conferences with your teacher to talk about your ideas. At the end of this exploration, you and your fellow students will publicize the books you have read in a Book Festival for an invited audience.

Your performance at the Book Festival is one of the culminating activities of the course and is worth 15% of your final mark. The knowledge and skills you develop during the course will prepare you for this performance. Your teacher will use The Achievement Chart - Grades 9-10, English to assess your performance which consists of the following: your reading response journal, your best piece of writing from your reading response journal, three book talks, and a media display for the Book Festival.

Sequence of Activities

Unit 1 - Hold Fast to Dreams

1. Choose a book which connects with the theme of the unit Hold Fast to Dreams

2. Have your book approved by your teacher.

3. Read your book in class and for homework.

4. Write a weekly reading response journal entry about your book (about two pages in length).

5. Have a conference with your teacher to talk about your reaction to the book.

Unit 2 - Voices

1. Choose a book which connects with the theme of the unit ,Voices. Remember to consider a non-fiction book.

2. Have your book approved by your teacher.

3. Read your book in class and for homework.

4. Write a weekly reading response journal entry about your book.

5. Have a conference with your teacher to talk about your reaction to the book.

Unit 3 - Diversity

1. Choose a book, either fiction or non-fiction, which deals with the theme of the unit.

2. Have your book approved by your teacher.

3. Read your selection in class and for homework.

4. Write a weekly reading response journal entry about your reaction to the book.

5. Have a conference with your teacher to talk about your reaction to the book.

BLM 1.2-1 (a) (Continued)

Unit 4 - Interactions

During this unit you are preparing some components of your Book Festival display. These are the following: reading response journal; best piece of writing from your reading response journal; book talk; and media display publicizing books. You will have some time in Unit 5, but try to complete the first three of these components during Unit 4.

Your teacher will use the Achievement Chart - Grades 9-10, English to assess your performance on these five components. The level which you achieve will result in 15% of your final mark. The teacher will assess your dress rehearsal performance. If you improve your presentation significantly you may request another assessment at the Book Festival.

Book Festival - Component 1: Reading Response Journal

1. Choose your best piece of writing from your reading response journal and indicate your choice with a star (*). Hand your complete response journal to your teacher, who will assess it for completion and degree of understanding and thinking. The teacher will also confirm your choice of your best “piece” from your reading response journal.

Book Festival - Component 2: Best Piece of Writing from Journal

2. Edit, revise, and publish your best piece of writing from your reading response journal using a computer. This is one of the items for the Book Festival. Your teacher will assess it using the Achievement Chart - Grades 9-10, English.

Book Festival - Component 3: Book Talk

3. Prepare and present book talks about your three books for presentation at the dress rehearsal and the Book Festival

Unit 5 - Independence

Book Festival - Component 4: Media Display

4. Prepare a media display to publicize your books. This may consist of posters, illustrations, quotations, pamphlets, audiotapes, maps, costumes – whatever would attract an audience to your display.

5. Present your books in an oral presentation to a small group of your peers and your teacher in a dress rehearsal for the Book Festival.

6. Use the student and teacher comments to improve your presentations.

7. Participate in the publicity campaign for the Book Festival.

8. On the day of the Book Festival, publicize your books with enthusiasm! Your presentation consists of your reading response journal, your best piece of writing from your reading response journal, your book review, your book talks, and your media display.

BLM 1.2-1 (b)

BLM 1.2-1 (b) (Continued)

2 - VOICES (Controversial Issues)

Bradbury, Ray. Fahrenheit 451. A science fiction world where books are burned.

Grisham, John. A Time to Kill. A good plot and revelation of prejudice in the American south.

Huxley, Aldous. Brave New World. A science fiction depiction of a pleasure-loving world

Ibuse, Masuji. Black Rain. A Japanese writer portrays the aftermath of a nuclear bomb.

Kogawa, Joy. Itsuka. Naomi moves to Toronto and becomes involved in the Japanese Canadian fight for redress.*

Kogawa, Joy. Obasan. Naomi’s childhood is torn apart by Canada’s treatment of Japanese Canadian citizens during the 1940s.*

Maguire, Gregory. I Feel Like the Morning Star. Science fiction. Teenagers in a post-holocaust world.*

Matas, Carol. Lisa’s War. Teenagers struggle with Nazi oppression in Denmark.

Morrissey, Donna. Kit’s Law. A fourteen-year-old Kit Pitman in an isolated outport in Newfoundland struggles with a tragic change of circumstances and a local menace.*

Orwell, George. 1984. Caught in a totalitarian regime, Winston Smith seeks self-expression and love.

Quinn, Daniel. My Ishmael. A 15-year-old girl meets a teacher who helps her examine her own culture.

Pfeffer, Susan. Twice Taken. A teenager girl deals with the problem of abduction.*

Reynolds, Marilyn. Detour for Emmy. A teenage girl struggles being a teen mother.*

Rostkowski, Margaret. The Best Friends. Teenagers in the time of the Vietnam War.

Swindells, Robert. Stone Cold. Homeless, frightened and alone, Link finds himself down-and-out in London

3 - DIVERSITY

Agiri, Laura. The God in Flight. Gender issues.

Badami, Anita Rau. Tamarind Mem. A portrait of two generations of women in an East Indian family.*

Black, Francesca. Girl Goddess #9.

Brown, Rosellen. Civil Wars. Multicultural.

Buck, Pearl. A Pavilion of Women. Life in China from a women’s perspective.

Chambers, Aidan. Dance on my Grave. Gender issues.

Choy, Wayson. The Jade Peony. Three characters reminisce about growing up in Chinatown, Vancouver, in the late 1930s and 40s. A Trillium Book Award winner.*

Desai, Anita. Fire on the Mountain. Generational.

Doyle, Brian. Angel Square.*

Doyle, Brian. Spud Sweetgrass.*

Esquivel, Laura. Like Water for Chocolate. In Mexico, a daughter struggles with her mother’s harsh expectations.

Garden, Nancy. Good Moon Rising. Gender issues.

Garden, Nancy. Lark in the Morning. Gender issues.

Gates Jr., Henry Louis. Coloured People. Multicultural.

Green, Bette. Summer of My German Soldier. Multicultural, Male/female relationships.

Hartling, Peter. Old John. Generational issues.

BLM 1.2-1 (b) (Continued)

Haviaras, Stratis. Where the Tree Sings. Greek freedom fighters struggle to defend their land.

Hesse, Hermann. Siddhartha. A young man seeks and finds enlightenment in India.

Highway, Tomson. Kiss of the Fur Queen. Two Cree brothers are torn from their life in northern Manitoba and thrust into a residential school. Both fight to survive and become artists.*

Holubitsky, Katherine. Alone at Ninety Foot.

Howe, James. The Watcher.

Huser, Glen. Touch of the Clown.

Khan, Ruhlsana. Dahling, If You Luv Me, Would You Please, Please Smile.

Kim, Helen. The Long Season of Rain.

Magorian, Michelle. Goodnight Mister Tom. Generational issues.

Major, Kevin. Blood Red Ochre. Male/female issues, Multicultural*.

Manioka, Lensey. Ties that Bind, Ties that Break: a Novel. Multicultural

Mates, Carol. Telling.

Miller, Isabel. Side by Side. Gender issues.

Naidoo, Beverley. Journey to Jo’burg: a South African Story. Multicultural.

Napoli, Donna Jo. Sirena. Male/female relationships.

Newbery, Yearling. The Watsons Go to Birmingham.

Patchett, Ann. The Magician’s Assistant. Gender issues, Male/female relationships.

Potok, Chaim. The Chosen. Generational.

Ricci, Nino. Lives of the Saints. A young boy in Italy comes to terms with his mother’s “crime”.*

Richardson, Bill. Batchelor Brothers’ Bed and Breakfast. The hilarious encounters among guests at a bed and breakfast in British Columbia.*

Solzhenitsyn, Alexandre. One Day in the Life of Ivan Denisovich. The story of one man’s struggle to survive in a Russian prison.

Staples, Suzanne Fisher. Shabanu: Daughter of the Wind. Multicultural.

Staples, Suzannne Fisher. Haveli. Male/female relationships. Multicultural.

Tan, Amy. The Joy Luck Club. Set in modern times in California, a group of Chinese women share their stories.

Uchida, Yoshiko. Journey to Topaz. Multicultural, Generational.

Vassanji, M.G. No New Land. An Asian family from Africa immigrate to Don Mills and find themselves caught between two worlds.*

Voigt, Cynthia. Homecoming. Generational.

Wieler, Diana. Ranvan: The Defender.

BLM 1.2-1 (b) (Continued)

NON-FICTION

1 - BEAUTY AND THE BEAST/HOLD FAST TO DREAMS

autobiography, biography

Anonymous. Go Ask Alice. A diary of a teenage girl caught in the world of drugs.

Campbell, Maria. Half-Breed.*

Canfield, Jack, Mark Victor Hansen, and Kimberly Kirberger. Chicken Soup for the Teenage Soul. A mixture of true and fictional stories on life, love, and learning.

Christopher, Matt. On the Course with Tiger Woods.

Epstein, Edward. Michelle Kwan - Born to Skate.

Freedland, Michael. The Secret Life of Danny Kaye. How the famous comedian made his dream come true.

Kingwell, Mark. Dreams of Millennium: Report from a Culture on the Brink. An analysis of our culture as we reach the millennium.*

Klein, Naomi. No Logo. An analysis of our world of brand names where beauty for some causes nightmare conditions for others.*

Merritt, Susan. Her Story 11: Women from Canada’s Past.*

Pipher, Mary. Reviving Ophelia: Saving the Selves of Adolescent Girls.

Wolf, Naomi. The Beauty Myth.

2 - VOICES

autobiography, biography

Demczyna, Antonina. From East to West. An inspiring true story of a young girl’s struggle in a German prisoner-of-war factory, her marriage, and her journey to Canada.*

Frank, Anne. The Diary of Anne Frank. A Jewish girl, in hiding during World War II, deals with the problems of confinement, war, and growing up.

Harr, Jonathan. A Civil Action. The gripping story of how a lawyer discovered the crime behind a leukemia outbreak in an area of the United States.

McCourt, Frank. Angela’s Ashes. A boy growing up in poverty in Ireland.

3 - DIVERSITY

autobiography, biography

Angelou, Maya. I Know Why the Caged Bird Sings.

Connelly, Karen. Touch the Dragon. A Thai Journal. A Canadian teenager keeps a diary during her time in Thailand.*

Miller, Orlo. The Donnellys Must Die. The class between a family and a community in early Ontario.*

Wong, Jan. Red China Blues.*

BLM 1.2-1 (c)

Response Journal: Reading for Meaning

Modern reading theory emphasizes that the reader is a “meaning-maker”, not an empty vessel to be filled with meaning by a teacher.

Your response journal is a place for you to explore what meaning the book has for you. Once a week, stop and reflect about your reading. Write about one page of your thoughts. Continue to write a response journal at points according to your teacher’s instructions. If you need some ideas about what to write...

A. Your Reading Process

What goes on inside your mind as you read? What predictions are you making? What problems are you encountering? How do you solve these problems? What sections of the book read quickly? Why? What images remain in your mind? Are you aware of colours, sensory details? Are you enjoying the process?

B. Kinds of Reading Satisfaction

1. Reading for Plot

a. What short-term and long-term predictions can you make?

b. Did a certain event change your interpretation of past events?

2. Empathizing with characters.

c. With which characters do you empathize? Why?

3. Linking book to real life.

d. Do situations remind you of events in your own memory bank?

e. What areas of real life are illuminated by this book?

4. Reflection on the significance of events and behaviour (theme)

f. What wisdom about people, the world, living, are you learning?

5. Seeing the book as art

g. How do the parts of the book form an artistic pattern? Are you aware of patterns? Does the ending give a feeling of completion?

6. Linking the book to other books, poems, stories, movies, songs.

h. Does your book remind you of other creative works? In what way?

BLM 1.2-1 (d)

Notes for Personal Response Writing

The Personal Response to literature is a written response that integrates reading and writing skills. The criteria that are derived from this description of the reading process describe the degrees to which readers of different abilities interpret, explore and extend meaning of the text. The criteria that are derived from the description of the writing process describe the degrees to which students integrate their values and their experience with their understanding of the text. The diagram below is a useful way to view this process.

Questions should:

· relate to the text.

· require students to make a judgement which demonstrates their values and experiences.

BLM 1.2-2

Grade 10 English Grammar Expectations Summary

ENG2D GRAMMAR	ENG2P GRAMMAR
first and third person (WR2.04D)	(WR2.03P)
appropriate level of language(WR2.04D)
identify idioms, euphemisms, slang, dialect, acronyms, academic language, technical terms, and standard Canadian English and explain why the usage is effective in its context (LG1.01D) identify ways in which technology, other languages, and media have influenced the English language (LG1.02D)	(WR2.03P) identify when it is appropriate to use slang, dialect, colloquialisms, idioms, acronyms, and technical terminology, and standard Canadian English(LG1.04P) (LG1.01P)
footnotes or parenthetical documentation works cited (WR5.01D) punctuating quotations (WR5.13D)	(WR5.01P)
the infinitive and gerund (WR5.05D)	the participle (WR5.05)
compound- complex sentences, using prepositional, adjective and adverb phrases; infinitive, participial, and gerund phrases; and noun, adjective, and adverb clauses (WR5.06D)	compound- complex sentences, using adjective and adverb phrases and noun, adjective, and adverb clauses (WR5.06P)
active and passive verb voice (WR5.07D)	(WR5.O9P)
semicolon (WR5.11D)	(WR5.13P)
use the comma, dash, and parentheses correctly to set off non-restrictive elements in a sentence (WR5.12D)
agreement of subject and verb, pronoun and antecedent, consistency of verb tense and voice (LG1.05D)	+ agreement of collective nouns used as subjects with their verbs (WR5.08P) (LG1.05P)
identify and correct sentence errors (LG1.06D)	(WR5.07P)

BLM 1.2-3

Sample Lesson on Stage Direction Terms

Expectations

· to identify...technical terms...and explain why the usage is effective in its context (LG1.04P)

· to identify technical stage direction terms in the play The Melville Boys and explain why the usage is effective in its context

Instructions

1. The teacher draws a diagram of a stage on the board, and has students identify orally stage direction terms which they already know. The teacher records these on the diagram.

2. Students copy the diagram and the terms in their notes.

3. Students scan the play for unfamiliar stage direction terms and lists them with the page number where they found them. They write a tentative definition beside each term, then check the meaning in a dictionary.

4. When a student has verified the meaning of a term, the teacher asks him/her to add this new term to the note on the board, and continues this until all new terms have been defined.

5. Students add the new terms to their notes.

6. As the play is read, the teacher reviews the meaning of the stage directions.

Assessment

The teacher prepares a quiz of these terms for students to write.

BLM 1.2-4

Lesson on the Participle

Expectation

· use parts of speech correctly, including the participle (WR5.05P)

Resources

The Harcourt Writer’s Handbook, pp. 152-153

The Harcourt Writer’s Handbook: Teacher’s Resource, “Participles and Participial Phrases”, p. 70

Writers Inc., 736, 737, 074,754

ResourceLines 9/10, p. 314.

Instructions

1. The teacher explains to students that they have been using participles in their writing but may not have known the term participle.

2. The teacher writes a definition of the term participle on the board and students copy it into their notes.

3. The teacher writes a simple sentence on the board, and asks students to suggest participles to add to it.

4. Students write their own sentences, using participles.

Assessment

The teacher gives students a passage containing participles and asks students to underline the participles which they find.

BLM 1.2-5

Assignment Sheet for Book Festival Component One: Reading Response Journals

Aim

Your reading response journals will demonstrate your understanding of your reading, your thinking about your reading, and your ability to express your ideas. Your reading skills and communication skills will develop as you practise them over the 12 weeks.

Instructions

1. Each week you will express your response to your reading in a written journal, one to two pages in length which you will hand in to your teacher for feedback.

2. Use Reading for Meaning, BLM 1.2-1 (c), if you need a prompt for your journal.

3. In your conferences with your teacher, you will share your ideas about your reading.

4. By the end of 12 weeks you will have 12 reading responses to hand in for summative assessment by the teacher.

5. You will choose your best reading response and indicate your choice with a star (*).

6. Your reading journals are included in your Book Festival presentation.

Assessment

The teacher will use the Achievement Chart – Grades 9-10 English to assess your reading response journals with particular emphasis on the final entries which should demonstrate growth from the initial ones. The criteria on the chart used for the reading journals are the following:

K1 - knowledge of texts

K2 - understanding of information, ideas, concepts and themes

K3 - understanding of relationships among ideas, concepts, and themes

K4 - understanding of the uses and effects of aesthetic elements

T1 - critical and creative thinking skills

T2 - inquiry skills

C1 - communication of ideas

A3 - application of reading strategies

A6 - making connections between experiences and ‘texts’

BLM 1.3-1

Grade 10 Editing and Revising Checklist

TITLE

o Is there an original title?

o For longer assignments, does the title page have an original title, the writer’s name, the course, school, the teacher’s name and the full date?

SPELLING

o Have I used a dictionary or a spell checker?

PUNCTUATION

o Have I used correct punctuation?

o Have I used the semicolon correctly?

o Have I corrected any comma splices?

o Have I used the comma, dash, and parentheses correctly to set off non-restrictive elements in a sentence?

o Have I used punctuation correctly when quoting short passages?

VOCABULARY

o Have I been consistent in the use of an appropriate level of language?

o Have I selected words and figurative language to make my writing vivid, specific, and interesting?

PRONOUNS

o Do pronouns agree with their antecedents?

o Have I selected first or third person to suit the form, purpose, and audience?

o Have I been consistent in the use of the first or third person?

VERBS

o Have I used active or passive verb voice appropriately and consistently?

o Do subjects agree with their verbs?

o Have I avoided mixing past and present tenses of verbs inappropriately?

o Do collective nouns used as subjects agree with their verbs?

o Have I used the participle correctly?

o Have I used infinitives and gerunds correctly?

SENTENCES

o Are my sentences complete?

o Have I eliminated any run-on sentences?

o Have I varied sentence structure?

o Is the meaning of each sentence clear?

BLM 1.3-1 (Continued)

PARAGRAPHS

o Is there one idea per paragraph?

o Are ideas adequately supported by relevant details and facts?

ORGANIZATION

o Are my ideas and information presented in a logical order?

o Have I included an introductory paragraph and a concluding paragraph?

o Does the introductory paragraph have a clear thesis, a device to engage the reader’s interest, and an overview of the main points to be covered?

o Have I used connecting words and phrases to show how the thought is developed?

o Have I used headings when writing a report?

DOCUMENTATION

o Have I identified borrowed information, ideas, and quotations with footnotes or parenthetical documentation?

o Are quotations incorporated smoothly?

o Have I provided a “Works Cited” which conforms to the style recommended by my teacher?

AUDIENCE

o Have I considered the reactions of teachers, peers, and others in revising and editing this work?

BLM 1.3-2

The ARRRP Approach

The ARRRP Approach provides you with a means to improve the quality of your writing assignment. The word is an acronym that simplifies the revision process into five steps:

A - Add (Support for your opinions with facts, details, argument.)

R - Rearrange (Change the sequence of the sentences and the paragraph to improve coherence.)

R - Remove (Remove unnecessary words and sentences that interfere with the meaning of the piece.)

R - Rewrite (Rewrite sentences that you know to be ugly.)

P - Proofread (Check for spelling and grammatical errors. Your word-processing program may be of help here.)

In your groups read one another’s work and try to make a revision suggestion for each of the five steps:

1. Suggest additions to improve the work.

2. Suggest a change in the sequence of the sentence.

3. Remove unnecessary words, phrases, sentences.

4. Rewrite sentences that are clumsy or draw a line under it to highlight it for the writer.

5. Correct spelling and grammatical errors.

Return the revised copy to the writer.

(This approach is adapted from Bridges.)

BLM 1.4-1

Checklist for a Paragraph

o Is the paragraph interesting to read?

o Is there a topic sentence identifying a theme in the scene?

o Are there sentences giving supporting references from the text?

o Is there a concluding sentence?

o Is there variety in sentence structure?

o Are there connecting words to show how one sentence relates to another?

o Is the spelling correct?

o Is punctuation correct?

o Is the paragraph indented?

BLM 1.4-2

Framework for Comparative Inquiry

Criteria

Categories

Summary (Similarities/Differences)

New Order

BLM 1.5-1

Rubric for Audio-dramatization of a Scene

Expectations Focus	Criteria	Level 1 50-59%	Level 2 60-69%	Level 3 70-79%	Level 4 80-100%
Knowledge/ Understanding	· Character	- reflects limited understanding of the situation, own character or other characters	- reflects an understanding of main elements of own character - demonstrates limited understanding of other characters	- interprets the characters and situation accurately - reveals an understanding of other characters and the situation	- projects own character in a skilful, sensitive manner - shows insightful understanding of the situation and of other characters
Thinking/ Inquiry	· Interpretation	- shows limited focus on interpretation of the character	- acts and interacts with other characters with apparent consistency	- uses an interpretation of the character to control the portrayal	- interprets the character clearly, consistently, and believably
Communication	· Audience	- communicates with limited sense of audience and/or purpose	- shows an awareness of audience and medium through use of voice	- shows a connection with the audience through use of voice and the medium	- uses the medium and voice to make a clear connection to the audience
Application	· Voice · Use of Technology	- uses voice with limited skill: voice inaudible, monotone - shows limited understanding of audio technology; limited sound quality	- supports interpretation with audible, characteristic voice - recording demonstrates some understanding of the audio technology and the acoustical environment	- varies pitch, tone and volume to reflect interpretation of character - uses and adapts the audio technology and the environment to support students’ performance	- uses pitch, tone, pacing and volume to skillfully render the character - adapts and uses the audio equipment skillfully to produce a believable media work

Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity.

BLM 1.7-1

Assignment for Audio-dramatization

Purposes:

1. To write an audio script which extends the characters, plot and themes of the play The Melville Boys and uses the conventions of script writing successfully.

2. To tape an audio dramatization of the scene with appropriate sound effects and music.

3. To express the emotions of a character through tone and pace of voice.

INDIVIDUAL WORK

Plan/Create:

1. Each student plans a central conflict for the scene and considers contrasting reactions of characters.

2. Each student writes a rough draft of the audio script, using the conventions for script writing.

3. Each student edits and revises the rough draft carefully. (Read the scene out loud.)

4. Each student uses a word processor to prepare the final copy for assessment.

Assessment 1:

1. The teacher reads and assesses each script, using the rubric for dialogue.

2. Each student receives his/her assessment, which is used for a numerical mark.

GROUP WORK

Plan/Create:

1. A group of students chooses one of their scripts to dramatize, in consultation with the teacher.

2. The groups cast the parts of the scene.

Rehearse/Revise:

1. Students rehearse their parts.

2. Some revision may be necessary as students work with the script.

3. Students perform their script for the teacher for formative assessment.

4. The group decides on sound effects and music, and arranged to obtain this.

5. The group records their audio dramatization a number of times until students are pleased with their results.

6. Students give the audio tape to the teacher.

Assessment:

The teacher listens to the audio tape and assesses each performance, using the Rubric for Audio-dramatization of a Scene.

BLM 1.7-2

Rubric for Dialogue

Expectations Focus	Criteria	Level 1 50-59%	Level 2 60-69%	Level 3 70-79%	Level 4 80-100%
Knowledge/ Understanding	· Character · Situation	- reflects a limited understanding of the characters - reflects limited understanding of the situation	- reflects an understanding of the characters - demonstrates a limited understanding of the situation	- interprets the characters and situation accurately - demonstrates considerable understanding of how the context shapes the characters in conversation	-dialogue shows an insightful understanding of the situation, the characters, and their motives
Thinking/ Inquiry	· Interpretation	- reflects limited sense of the character	- shows an uneven interpretation of the characters	- demonstrates a consistent interpretation of the characters	- interprets the character clearly, consistently
Communication	· Coherence	- conversation has limited connection with the text	- structure and sequence of the conversation somewhat consistent with the text	- conversation is structured to support interpretation of the characters and is integrated into the text	- conversation is organized to communicate an insightful view of the character
Application	· Writing Conventions · Proofreading	- uses required conventions with limited accuracy - limited use of proofreading skills	- uses the required conventions with some accuracy and effectiveness - moderate use of proofreading skills	- uses the important conventions accurately and effectively - consistent use of proofreading skills	- uses writing conventions skillfully - thorough use of proofreading skills

Note: A student whose achievement is below level 1 (50%) has not met the expectations for this assignment or activity.