Course Profile Bridge to English, ESL
Level 5, Catholic
Unit 2: “The Play’s the Thing” – Drama
Time: 20 hours
Activity 1 | Activity 2
| Activity 3 | Activity 4
| Activity 5 |
Activity 6 | Activity 7
| Activity 8 | Activity 9
The drama unit exposes students to the elements of performance, as well as to a cultural and historical study of theatre. Students analyse and respond to a modern play by reading, answering questions, producing a literary essay, and staging a scene. In addition, students learn theatre vocabulary. To enhance students’ understanding of staging a play, they attend and respond to a theatrical performance in the community. As well, a selection of Shakespearean passages exposes the students to Elizabethan English. Students analyse a variety of social contexts, biases, themes, and historical eras to understand the mores of the time, the appropriate style of language, conventions, and cultural references. Through these activities students have the opportunity to evaluate the inherent values and beliefs of the play being studied, those of the Catholic Church, as well as to ponder their own beliefs and society’s values as they relate to Christian living.
Ontario Catholic School Graduate
Expectations: OSCGE 1c, d, j, 2a, b, c, 3c, e, f, 4a, f, 5a, e, g, 6b, c, 7b, c, e, f,
g.
Strand(s): Oral and Visual Communication,
Reading, Writing, Social and Cultural Competence
Overall Expectations: EORV.01, .02,
.03, .04; EREV.01, .03, .04, .05, .06; EWRV.01, .02, .03, .04; ESCV.01, .02.
Specific Expectations: EOR1.01, .02,
.03, .04, 2.01, .02, 3.01, .02, 4.01; ERE1.01, .02, .03, .04, .05, 2.01, .05,
3.01, .02, .05, 4.04; EWR1.01, .03, 2.01, .02, 3.01, .03; ESC1.02, 2.01.
|
Activity 1 |
Around the World in Two Classes |
120 minutes |
|
Activity 2 |
A Bard’s Eye View |
120 minutes |
|
Activity 3 |
The Language of Conflict |
60 minutes |
|
Activity 4 |
In the Beginning… |
180 minutes |
|
Activity 5 |
A Conflict on the Streetcar |
120 minutes |
|
Activity 6 |
Telling the Truth? – Cruel Intentions |
240 minutes |
|
Activity 7 |
An Essay Named Streetcar |
120 minutes |
|
Activity 8 |
“All the World’s a Stage” |
120 minutes |
|
Activity 9 |
Exit…Stage Left |
120 minutes |
· The play selected for this unit is A Streetcar Named Desire by Tennessee Williams, chosen specifically for the simplicity of twentieth-century English language, the multicultural North American setting, the issue of abuse, and the Christian concepts of forgiveness, compassion, and moral living. However, the teacher is encouraged to make an alternate choice with preference given to Canadian literature or literature representing the students’ backgrounds. Here is a list of Canadian contemporary playwrights worth investigating: Michel Tremblay, Michel Marc Bouchard, Francois Archambault, Kimberley Orton, R.H. Thomson, Jason Sherman, Rex Deverell, Rahul Varma, Judith Thompson, Rachel Wyatt, John Mighton, and Daniel MacIvor.
· The teacher should check the school Library/Resource Centre for books on the history of theatre which contain maps, pictures of stage productions, costumes, and make-up techniques that support the class activities.
· Some common classroom art supplies for the making of trophies/awards are needed.
· The teacher should book the school stage or drama room, if available, for staging scenes. In addition, the school AV technician could help with lighting. Some prior thought needs to be given to props and costumes.
· Community theatres should be called for a list of theatrical productions during the season; the teacher should choose a suitable play for the age group, language proficiency, and thematic appropriateness. If going to the theatre is not feasible, then a school play or videotape of a Shakespearean or modern play is a good alternative. The film version of A Streetcar Named Desire follows the study of the play very well.
· Transportation to and from the theatre needs to be priced and booked.
· Safety practices regarding the use of electrical equipment (camcorder, lights, extension cords, and microphones) and bus and street safety while on a field trip need to be addressed.
· Fund raising activities could be considered if the cost of the theatre ticket and transportation is too high for the students, but the teacher needs approval from school administration.
· Students should have achieved academic skills and English language proficiency equal to ESLDO (Level 4).
· Students need familiarity with note taking, answering questions through written analysis, co-operative group work, and the structure of the five-paragraph essay.
Students are given the opportunity to work independently, with partners, in small groups, and with the whole class. Teachers initiate brainstorming, conferencing, critical viewing/listening, essay writing, field trip, group discussions/debate, homework, issue-based analysis, journal/log writing, modelling, note taking, oral presentations, peer teaching, roleplay, rehearsal/repetition/practice, and visual/graphic organizers.
Diagnostic, formative, and summative types of assessment are used as well as a broad range of strategies such as in-class question/answer, organizer/table, essay, self-reflection, presentation, in-class discussion, and creation of product. Assessment tools include rating scale, checklist, and anecdotal comment.
The Bible
Brockett, Oscar G. History of
the Theater (Fifth Ed.). Newton: Allyn and Bacon, Inc., 1987.
ISBN 0-205-10487-8
Fox, Levi. The Shakespeare Handbook. Boston: G.K. Hall and Co., 1987. ISBN 0-8161-8905-6
Loxton, Howard. The Arts: Theater. Austin: Steck-Vaughn Co., 1990. ISBN 0-8114-2359-X
Shakespeare, William. Assorted works (excerpts) and simplified, modern English versions.
Students. Their personal exposure to theatre and knowledge of their cultural mores.
Sunderman, Marlies. ASAP: A School-Based Anti-Violence Program. London Family Court Clinic, 1994.
The Holy See. Catechism of the Catholic Church. New York: Bantam Doubleday Dell Publishing Group, Inc., 1995. ISBN 0-385-47967-0
Williams, Tennessee. A
Streetcar Named Desire. New York: (Signet) Penguin Books USA Inc., 1974.
ISBN 0-8124-1779-8
Time: 120 minutes
Students explore the elements and history of drama, world-wide, through a co-operative group activity. They begin to understand the similarities in the development of drama and the cultural differences, as well as the impact of politics and religion on this art form. Students add new vocabulary/literary terms dealing with drama and staging a play to their personal glossary, relate personal exposure to theatre in their first cultures, become aware of careers in the theatre, and prepare a homework assignment synthesizing information from the group work.
Ontario Catholic School Graduate Expectations
2b – reads, understands and uses written materials effectively;
2c – presents information and ideas clearly and honestly and with sensitivity to others;
4f – applies effective communication, decision-making, problem solving, time, and resource management skills;
5a – works effectively as an interdependent team member;
5e – respects the rights, responsibilities and contributions of self and others;
7f – respects and affirms the diversity and interdependence of the world’s peoples and cultures;
7g – respects and understands the history, cultural heritage and pluralism of today’s contemporary society.
Strand(s): Oral and
Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations
EORV.02 – communicate orally, using patterns of English grammar and pronunciation with the accuracy necessary for continued success in subject classrooms;
ESCV.02 – learn effectively in a wide variety of teaching and learning situations.
Specific Expectations
EOR1.03 – communicate orally for a variety of education and career-related purposes;
EOR1.04 – negotiate solutions to problems, interpersonal misunderstandings, and disputes;
ERE1.01 – use knowledge of the personal, historical, and cultural backgrounds of authors and audiences to explain themes, situations, and characters represented in texts;
ERE1.02 – demonstrate understanding of some cultural references in Western and Canadian literature;
ERE2.01 – use a variety of strategies to determine the meaning of unfamiliar words;
ERE2.05 – take advantage of opportunities to use new words;
ERE3.02 – identify characteristic elements of a range of literary genres;
EWR1.03 – write to analyse, interpret, and evaluate information and ideas;
ESC1.03 – participate effectively in the full range of learning and teaching situations in school.
· Materials: bristol board or cardboard/coloured paper, markers, scissors, masking tape or stapler/tacks, classroom wall or bulletin board, string/yarn, eight manila envelopes, a copy of Appendix 2.1.2 – History of the Theatre (cut up into sections according to headings).
· The teacher should make available visual aids:
· maps (Ancient Greece 325 BC; Roman Empire 395 AD showing the division of Western and Eastern Empire; Moslem Empire 700 AD; India, Southeast Asia, China and Japan of today).
· library books containing pictures/drawings of theatres/stages, costumes, masks, make-up techniques (of historical and international flavour).
· Label eight manila envelopes as follows: Origins/Occasions, Theatres/Stages, Actors/Actresses, Types of Plays, Costumes, Make-up and Props, Themes, Music/Dance and Gestures. After copying Appendix 2.1.2 – History of the Theatre, the teacher cuts up the different sections/squares of information and places them into the appropriate envelope.
· Inquire about and incorporate students’ personal exposure to theatre (from their first cultures) in discussions and class work.
· Review or teach bias (gender, age, cultural, religious) and tie it into the discussion and class work of the history of dramatic arts (e.g., the exclusion of women as actors).
· Arrange classroom desks into eight centres.
· Students come prepared with vocabulary/literary terms pertaining to drama listed/written/included in their personal glossaries, translated into their first language if necessary, learned and understood.
· The teacher should be prepared to review co-operative group work skills especially for newly arrived students who have not taken any previous ESL/ELD courses.
· Prepare a checklist for assessment of co-operative group work skills and accurate completion of timeline task or use and adapt tools in this and other ESL/ELD Course Profiles.
· Prepare a marking scheme for the list of comparisons and contrasts (Step 8).
· Access the Ministry Profile for Dramatic Arts for additional information and ideas.
· Check out special performances and festivities each March for World Theatre Day (March 27). In 2000, a Canadian playwright, Michel Tremblay, was given the honour of writing the international message in which he states that the modern role of theatre is “to accuse. Denounce. Provoke. Disturb.” Thus, students need to realize that theatre exposes injustice in societies, reveals the essence of being human, “questions, undermines, and changes the status quo.” The role of the audience is to be self-critical: “capable of being moved as it recognizes its own turmoils and troubles, and able to weep for and laugh at itself.”(Crew, R. “World Theatre Day unites all humanity.” The Toronto Star, Section J [March 25, 2000]: 13.)
· Basic understanding of time delineation into BC (Before Christ or BCE, Before Common Era) and AD (Anno Domini or CE Common Era)
· Familiarity with co-operative group work skills
· Basic awareness of world geography
1. The teacher prepares a date- or timeline on a wall or bulletin board in the classroom by cutting bristol board (cardboard or coloured paper) into 10 x 5 cm portions, and writing the following dates using markers: 1500 BC, 1000 BC, 800 BC, 400 BC, 0, 100 AD 300, 500, 700, 900, 1100, 1300, 1500, 1700, 1900. An option is to take string or yarn and under each date tape/pin/extend it vertically to the floor/bottom of bulletin board.
2. Students arrange themselves into groups of two to four (depending on the size of the class) at the eight centres. The teacher could decide the grouping, giving careful consideration to personalities (outgoing/introverted), leadership, cultural sensitivities, gender issues, and oral language proficiency/comfort level.
3. Students, with teacher guidance, review co-operative group work skills.
4. Students show the teacher their personal glossaries wherein they have included new terms dealing with drama (as prior homework) and have an opportunity to ask for additional clarification (see Appendix 2.1.1 – Drama Terminology).
5. The teacher draws a web diagram with the word Theatre in the center circle on the board and students do the same in their notebooks. Students are encouraged to draw upon their knowledge and personal exposure to theatre from their first cultures.
6. Students discuss and complete the web diagram with teacher assistance making sure to include the following information:
· locations: theatre building, street, garden, auditorium, corner of a classroom;
· types of dramatic performances: plays, puppet shows, opera, ballet;
· artistic elements: acting, music, dance, costumes, make-up, sets;
· technical elements: special effects, lighting, laser, sound, computerized controls;
· purpose: to tell a story, amuse, frighten, enlighten, make you think;
· differences from TV/film: you are there, a group feeling that intensifies your reactions/emotions, two-way communication (you and actors), no two theatrical performances are exactly the same, photographic realism not attempted as theatre is the combination of the performance and your imagination;
· origins: prehistoric peoples probably acted out thoughts and feelings before they had language for communication, early hunters dressed as animals for rituals perhaps to create magic, in many cultures folk plays and dances were a part of ancient rites symbolic of sacrifice and rebirth.
7. The teacher then draws students’ attention to the wall/bulletin board with the timeline and explains that they will open the envelopes at the eight centres and read, organize, and place the information on the timeline. Each piece of paper in the envelope/shoe box contains a country/empire or geographic region, a date, one of the eight headings (same as on the envelope), and information about the history and development of theatre.
8. When all the information (pieces of paper) have been placed on the timeline, students scan the data and complete an individual written assignment consisting of a list of ten similarities and five differences in the development of theatre cross-culturally (world-wide). Make sure to point out the impact of religion on theatre (support or suppression), times of political unrest or stability (theatre thrive), as well as bias.
· The teacher observes and assesses students’ knowledge and understanding of theatre/drama using a web diagram. (Diagnostic: ERE1.04; 2.05; 3.02)
· The teacher observes and evaluates co-operative group skills and timeline task completion using a teacher-prepared checklist. (Formative: EOR1.03, .04; ERE2.01, .05; ESC2.01)
· The teacher evaluates students’ comparisons/contrasts of international theatre development using a teacher-prepared marking scheme. (Summative: ERE1.01, .02; EWR1.03)
· Consider students’ ability to achieve expectations, language fluency, or orientation (new arrivals) and group with students able to provide direction and support.
· Students capable of enrichment could assist the teacher in researching/preparing the information for the manila envelopes (history of the theatre).
Brockett, Oscar G. History of
the Theater (Fifth Ed.). Newton: Allyn and Bacon, Inc., 1987.
ISBN 0-205-10487-8
Crew, R. “World Theatre Day unites all humanity.” The Toronto Star, (March 25, 2000): 13.
Fox, Levi. The Shakespeare
Handbook. Boston: G. K. Hall and Co., 1987.
ISBN 0-8161-8905-6
Loxton, Howard. The Arts:
Theater. Austin: Steck-Vaughn Co., 1990.
ISBN 0-8114-2359-X
2.1.1 – Drama Terminology
2.1.2 – History of the Theatre
Time: 120 minutes
In this activity, students explore the life and times and works of William Shakespeare as well as become familiar with Elizabethan English. Students work individually and in small groups, brainstorm, discuss, make oral presentations, take notes, complete a cloze exercise, and write a letter. With selected passages from Shakespeare’s plays, students have a chance to reflect upon the transition from adolescence to adulthood which often causes conflict between the individual’s wants and the values and desires of the family and hopefully results in moral maturity. Catechism of the sacrament of matrimony is explored.
Ontario Catholic School Graduate Expectations
1j – recognizes that “sin, human weakness, conflict and forgiveness are part of the human journey” and that the cross, the ultimate sign of forgiveness, is at the heart of redemption;
4g – examines and reflects on one’s personal values, abilities, and aspirations influencing life’s choices and opportunities;
6c – values and honours the important role of family in society;
7c – seeks and grants forgiveness.
Strand(s): Oral and Visual
Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations
EORV.01 – initiate, sustain, and conclude conversations and discussions on a wide variety of topics of personal, social, and academic interest;
EREV.03 – extract information from a variety of texts used in subject classrooms;
EWRV.02 – write in a variety of forms, adopting a voice suitable for the intended audience;
ESCV.01 – demonstrate understanding of a range of local, national, and global issues.
Specific Expectations
EOR1.01 – make effective presentations on classroom topics, with some teacher guidance;
EOR3.02 – discuss and analyse instances of miscommunication;
ERE1.03 – compare the treatment of common literary themes in a range of fiction materials;
ERE2.01 – use a variety of strategies to determine the meaning of unfamiliar words;
EWR1.01 – write coherently on a range of academic topics, using appropriate forms.
· Materials/Equipment: library resource books on Shakespeare, the Globe Theatre, and Queen Elizabeth; information on current runs of Shakespearean plays at Stratford; and community productions (e.g., Shakespeare in the Park).
· There have been several good films recently involving Shakespeare, his times, and works which should be suggested to students for their viewing pleasure and edification: Shakespeare in Love, Elizabeth, Hamlet (Mel Gibson’s and Kenneth Branagh’s), Much Ado About Nothing (Kenneth Branagh).
· Borrow a class set of Catechism of the Catholic Church from the Religion Department at school or find one book and create overhead transparencies or photocopies (respecting the restrictions of Cancopy) for class use.
· Make class copies of:
· the cloze passage (Appendix 2.2.1 – Shakespeare: Poet, Playwright, Psychologist);
· the chart listing the complete works of Shakespeare (Appendix 2.2.2 – The Bard’s Works);
· the list of Shakespearean language (Appendix 2.2.3 – Thou Doth Speak Funny!);
· the Prologue from Romeo and Juliet (Appendix 2.2.4 – Prologue);
· Shakespearean excerpts (Appendix 2.2.5 – Excerpts);
· the Hamlet passage (Appendix 2.2.7 – A Father’s Advice);
· the Romeo and Juliet passage (Appendix 2.2.8 – A Father’s Fury).
· Make one copy of the information on the Elizabethan era (Appendix 2.2.6 – Elizabethan Times) and cut it up into sections (according to headings).
· Make an overhead transparency of a graphic organizer (web, mind map, or venn diagram).
· Prepare a rating scale for the pair and/or group work on the Polonius’ passage (Step 8) or use and adapt other tools in this and other ESL/ELD Course Profiles.
· Prepare a marking scheme for the letter to Juliet (Step 9) or use and adapt existing tools in this and other ESL/ELD Course Profiles.
· A good comparative accompaniment to Polonius’ advice to his son is Rudyard Kipling’s poem If.
· Familiarity with poetry (verse, line, metaphor)
· Familiarity with letter writing (format)
· Familiarity with cloze exercises
· Ability to work in small groups
· Experience with oral presentations
1. The teacher writes “The Bard”, William Shakespeare (1564-1616) on the board and displays books and pictures about Shakespeare around the classroom. An explanation of the word Bard is required.
2. The teacher asks why Shakespeare is still so popular 400 years after his death. Students’ answers are written on the board and could include: interesting characters, universal themes, and poetic language.
3. The teacher distributes a cloze passage to students and informs them that they will investigate Shakespeare’s popularity (see Appendix 2.2.1 – Shakespeare: Poet, Playwright, Psychologist). Next, the teacher reads aloud while students complete the cloze passage by filling in the blanks with the words they hear. Upon completion, the teacher asks again why Shakespeare is still so popular and students respond orally using the cloze passage as a source for their answers.
4. The teacher draws students’ attention to the chart of Shakespearean works (see Appendix 2.2.2 – The Bard’s Works). The students read the play titles and notice that Shakespeare wrote works of poetry also. Next, students explore Elizabethan English with a list of vocabulary typically found in Shakespearean plays (see Appendix 2.2.3 – Thou Doth Speak Funny!). They practise reading, pronouncing, and discussing meanings of the words. This list of Shakespearean language could be added to their glossaries.
5. Students are given copies of the prologue (Appendix 2.2.4 – Prologue) from Romeo and Juliet and they read aloud with teacher assistance. They answer the following questions (orally or written, teacher’s choice):
a) Where does the story take place?
b) What is the mood or atmosphere? Why? Which words emphasize this mood?
c) What happens to the lovers?
d) What does “star-crossed” suggest?
e) Give a synonym for “strife”.
f) What stopped “their parents’ strife”?
g) How long is the play?
6. The students then study iambic pentameter by looking at two excerpts, one from Macbeth and the other from Sonnet 18 (see Appendix 2.2.5 – Excerpts ). The teacher points out that the word “iambic” comes from Latin, but is based on ancient Greek (and reminds students of the development of drama in Greece - Activity 1), for verse using a pattern of short syllable followed by a long one, or an unaccented syllable followed by an accented one (metrical foot); that “penta” comes from ancient Greek meaning “five” and “metre” from “metron” meaning measure. Thus, an iambic pentameter is a line of English verse consisting of ten syllables forming five iambic feet (also a line of Latin or Greek verse consisting of five feet). Using the two Shakespearean excerpts, students mark the short/long or unaccented/accented syllables to count out five iambic feet per line. The teacher assists by reading aloud slowly and exaggerating the stress. Students add the definition of iambic pentameter to their personal glossaries. As an extension activity, students can examine the metaphor in the Macbeth excerpt and explain the comparisons (e.g., What is life?).
7. The teacher informs students that, at the time of William Shakespeare, life was very different from today. The ruler of England was Queen Elizabeth and the era is often called Elizabethan (1558-1603). The teacher then distributes information on Elizabethan times to each student (see Appendix 2.2.6 – Elizabethan Times). Students take turns presenting their information to the rest of the class. Students practise taking point-form notes. An extension to this activity could involve a comparison of social norms of Elizabethan and modern times vis-à-vis ethics, obedience, love, sex, and suicide.
8. The teacher asks students what kind of advice their parents give them. Using a graphic organizer on an overhead transparency or the board (web, mind map, or venn diagram), the teacher writes some of the student responses: advice on education, careers, friends, going out, dating, and driving. The teacher then explains that the Shakespearean passage they will listen to and read comes from the play Hamlet. In it, Polonius, the king’s advisor, gives his son, Laertes, advice about life before he leaves on a journey. The teacher distributes copies of the passage (see Appendix 2.2.7 – A Father’s Advice) and reads aloud for students. The teacher then assigns lines to be analysed by pairs or small groups of students, looking for the father’s advice and then translating it into modern English. Each pair or group then presents its findings (e.g., Lines 1-2, “…There—my blessing with thee/And these few precepts in thy memory…” = Remember my advice). Upon completion, students examine and discuss the validity of the advice for today.
9. The teacher asks students about dating and marriage customs of their cultures. Then, the teacher explains that freedom to choose one’s partner based on “falling in love” is basically a modern Western phenomenon. In earlier times, marriages were arranged by the families of young men and women in order to better the financial position or social status of the bride or groom and, in turn, their families. Some families did consider such things as shared interests, goals, age difference, and personalities; others did not, as the most important result of marriage was the alliance of the families and children to continue the line. This is a good opportunity for the teacher to expose students to the teachings of the Catholic Church on the sacrament of matrimony. Using the Catechism of the Catholic Church, Article 7 (paragraphs 1601-1666), students explore how marriage fits into God’s plan, into the pedagogy of the law, in the life of Jesus, the issues of virginity, consent, mixed marriages, fidelity, fertility (children), and indissolubility (divorce). The teacher could assign the different paragraphs to be read and students could orally report their findings. A class discussion could ensue comparing and contrasting the Church’s views on marriage to that of students’ first cultures/religions. Next, the teacher distributes copies of the passage from Romeo and Juliet (see Appendix 2.2.8 – A Father’s Fury) and indicates that Juliet’s parents have just finished arranging a very good marriage for her to handsome, wealthy Paris. Juliet, however, has already fallen in love and secretly married Romeo Montague; his family is an enemy of Juliet’s family. In the passage Juliet’s father, Lord Capulet, cannot understand why Juliet refuses to marry the man he has chosen for her and gets angry at her disobedience and ingratitude; Juliet tries to explain but neither of her parents will listen. The teacher reads aloud or asks students to read the different parts. Discuss the actions, motivations, miscommunications, and emotions in the scene. The teacher then asks students to write a letter to Juliet, giving her advice on how to handle the situation.
· Using a rating scale, the teacher assesses the pair/group work and oral presentations of A Father’s Advice – Appendix 2.2.7. (Formative: EOR1.01)
· Students’ letter writing, advice to Juliet, is assessed using a marking scheme. (Summative: EWR1.01)
· Provide simplified and modern English versions of the passages with the Shakespearean.
· As enrichment, assign roles, lines, or entire passages to be read by students and provide assistance.
Fox, Levi. The Shakespeare Handbook. Boston: G.K. Hall and Co., 1987. ISBN 0-8161-8905-6
School copies/editions of:
Shakespeare, William. Hamlet; Macbeth; Romeo and Juliet; Sonnets
(simplified, modern English versions of Shakespeare’s texts could be
substituted)
The Holy See. Catechism of the Catholic Church. New York: Bantam Doubleday Dell Publishing Group, Inc., 1995. ISBN 0-385-47967-0
Appendix 2.2.1 – Shakespeare: Poet, Playwright, Psychologist
Appendix 2.2.2 – The Bard’s Works
Appendix 2.2.3 – Thou Doth Speak Funny!
Appendix
2.2.4 – Prologue
Appendix
2.2.5 – Excerpts
Appendix 2.2.6 – Elizabethan Times
Appendix 2.2.7 – A Father’s Advice
Appendix 2.2.8 – A Father’s Fury
Time: 60 minutes
For most young students, it is not necessarily easy to recognize an abusive situation. This activity makes students aware of, and in some cases introduces them to, the various forms of abuse potentially found at home, school, and community by exploring stories from the Bible. By examining visual and written examples and terminology, students continue becoming responsible citizens who give witness to Catholic social teachings by promoting peace, justice, and the sacredness of human life. Further, students understand that compassion and personal dignity are the ethical values one uses to combat the various forms of abuse, especially in relationships. Also, students will practise note-taking and create a word list with definitions for their glossary.
Ontario Catholic School Graduate Expectations
1c - actively reflects on God’s Word as communicated through Hebrew and Christian Scripture;
1d - develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good.
Strand(s): Oral and
Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations
EORV.02 - communicate orally, using patterns of English grammar and pronunciation with the accuracy necessary for continued success in subject classroom;
EREV.05 - use independently a variety of strategies to build vocabulary;
EWRV.01 - wrote in a variety of forms, adopting a voice suitable to the intended audience;
ESCV.01 - learn effectively in a wide variety of teaching and learning situations.
Specific Expectations
EOR1.02 - express, support, and elaborate a point of view in sustained discussions about classroom topics;
EOR1.04 - negotiate solutions to problems, interpersonal misunderstandings, and disputes;
EOR2.01 - monitor their speech for accuracy and correct common grammatical errors;
EOR2.02 - use conventions of oral language appropriately;
ERE2.01 - use a variety of strategies to determine the meaning of unfamiliar words;
EWR3.01 - use a variety of spelling strategies, rules, and patterns to spell words correctly;
ESC2.01 - participate effectively in the full range of learning and teaching situations in the school.
· Create a scenario involving a violent domestic situation. Select three to four students the day before to explain the role play. The scenario should depict physical and verbal conflict. This activity requires the teacher and students involved in the role play to be sensitive to the subject matter as there may be students in the classroom who are experiencing abuse at home.
· Prepare an overhead transparency or a laminated model of the types of abuse with definitions. It should include physical, sexual, psychological/emotional, and verbal abuse. Another list should also be created with the terms unconditional love, compassion, and personal dignity.
· Photocopy the handout titled “Hallway Survey” from ASAP: A School-Based Anti-Violence Program on page 84 or create a handout with the headings “Physical Abuse”, “Verbal Abuse”, and “Emotional Abuse” going across the page (write some examples under each heading such as hitting, pushing, and punching for physical abuse, put downs, yelling, swearing, sexual comments, and threats for verbal abuse, and peer pressure, ordering someone around, and embarrassing or humiliating remarks for emotional abuse) and Monday, Tuesday, Wednesday, Thursday, and Friday going down the page.
· Arrange to have a set of Bibles in the class to read “The Parable of the Good Samaritan”.
· Familiarity with note-taking
· An understanding of what is deemed violent
· Finding Biblical references
1. Begin the class with a role play depicting a violent domestic situation as created by the teacher. The scenario should at least depict physical and verbal abuse.
2. Immediately after the role play, students write down what they witnessed as well as personal reactions to the situation presented.
3. Allow students to share their written responses. Also, ask students who volunteered in the role play to describe their feelings in playing the role that they did. At this point, have the class decide the kinds of abuse presented in the role play.
4. Next, students write in their personal glossary the words used to describe the different kinds of abuse. Make sure the following are listed in the glossary under the heading “Abuse in Relationships”: physical, sexual, psychological/emotional, and verbal. Ask students to give examples for each term.
5. After the definitions are written, hand out “School Survey” from ASAP: A School-Based Anti-Violence Program — a survey which has students note the types of abuse that they witness in the hallway of their own school. Students are to complete each “day” during the course of school hours. Students are invited to consider how they can use this activity as an opportunity to pursue Christian Leadership (e.g., publishing findings, inspiration for a morning reflection, sharing with other classes). See Activity 6 for details on when to review the survey.
6. Once awareness of types of violence is complete, read the story “Parable of the Good Samaritan” found in the Gospel of Luke 10:25-37. In pairs, students pick out the types of abuse and crime depicted and how the victim is treated prior to the Samaritan entering the story. Also, have students focus on the actions of the Samaritan. As a class, take up the responses. Provoke answers by asking “What did the Samaritan do?”, “What is the motivation behind his actions?”, “How do you think the victim felt after the attack and then after the Samaritan’s help?”, and “Why do people hesitate to get involved?” Encourage students to relate answers to Church teachings on social justice.
7. Next, explain that the Samaritan is living out the words and teachings of Jesus which reflect unconditional love and compassion. These terms should be defined in their personal glossary. Use this story to explain the concept of “Personal Dignity”: the idea that all people have the right to a sense of self-esteem and personal power and which is an element in promoting the sacredness of human life. Discuss why it is needed to combat abuse.
8. Explain that abuse, compassion, and personal dignity are the focus of A Streetcar Named Desire, the play used in the next activity.
· In-class question and answer during the Bible story discussion (Formative: EOR1.02, 2.01, 2.02)
· Observations: informal observation on individual and group work (Formative: EWR3.01, ESC2.01)
· Pair non-Christian students with Christian students when reading the Bible story.
Bible
Sunderman, Marlies. ASAP: A School-Based Anti-Violence Program. London Family Court Clinic, 1994.
Time: 180 minutes
For the majority of students, A Streetcar Named Desire will be their first major study of a dramatic play. In this activity, students become aware of the importance of the opening scenes of a play. In doing so, students practise answering questions through written analysis, continue to perfect the role of a collaborative contributor, and practise speaking in front of the class.
Ontario Catholic School Graduate Expectations
2b - reads, understands and uses written materials effectively;
5a - works effectively as an interdependent team member.
Strand(s): Oral and Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations
EORV.02 - communicate orally, using patterns of English grammar and pronunciation with the accuracy necessary for continued success in subject classrooms;
EREV.01 - read and respond to literature;
EWRV.04 - use the sentence patterns and conventions of standard Canadian English in their writing with the degree of accuracy necessary for continued success in subject classroom at the college and/or university preparation level.
Specific Expectations
EOR1.01 - make effective presentation on classroom topics, with some teacher guidance;
EOR2.01 - monitor their speech for accuracy and correct common grammatical errors;
EOR2.02 - use conventions of oral language appropriately;
ERE1.04 - analyse literature and classify it by type and theme;
ERE3.05 - record needed information from texts used in classroom subjects;
EWR3.03 - use appropriately, and with a high degree of accuracy, complex syntactical structures such as the infinitive and/or the gerund as object; phrasal verbs and participial phrases.
· Provide a copy of the play A Streetcar Named Desire for each student.
· Use audio tapes to listen to the play while students follow along.
· Photocopy the scene questions found on Appendix 2.4.1 – Questions for Scenes One to Four.
· Make available chart paper and markers for drawing the opening set as well as for the character sketch of Stanley.
· Understanding setting
· Answering questions through written analysis
1. Place students in groups of three and have them draw the opening scene, or set, as described in the stage directions at the beginning of the play. Allow students to present their set to the class. Discuss why the stage direction at the beginning of the play is so descriptive.
2. Use the audio tapes or select students to read roles for scene one. Stop the tape periodically to review what has happened as well as to check for understanding of the scene. Also, discuss any symbols, images, etc. appropriate to the scene.
3. Once scene one is complete, work on scene one questions as a class. Write answers on the board. Create a model answer for the questions as an illustration for how students are to answer the questions for the rest of the scenes.
4. Next, write on the board the definition as well as an example of a character sketch. Then, in groups of four, have students re-read the stage direction on page 29 of the Signet edition of the play which gives a descriptive passage on the character of Stanley. If another edition is used, it is the stage direction immediately before Blanche meets Stanley for the first time in scene one. Using chart paper, the students write down words or phrases, either from the play or paraphrased, to create a character sketch of Stanley. Allow students to also draw what he may look like as a result of the sketch.
5. Have each group present their findings to the class.
6. Create a class discussion on the importance of the opening scene of a play. Ask them what things the opening scene may have established for the rest of the play (i.e., mood, setting, and characters).
7. Based on the information gathered regarding Stanley’s character, have students write down in a short paragraph what they think is Stanley’s first impression of Blanche in scene one. Allow students to share their responses. Then, discuss how first impressions may contain biases by asking the question “Can a person make an accurate impression of another person in just one meeting? Why or why not?” Write down words or phrases on the board to support the negative effects of biases in a list form under the heading “Biases as Viruses”. The teacher may also want to focus on what the students think are biases towards teenagers and biases towards an individual whose first language is not English.
8. Move on to scene two. At the end of the scene have students work on scene two questions. Review answers once completed.
· In-class questions and answers: for scene one questions and during the discussion on first impressions and biases (Formative: EOR1.01, 2.01, 2.02, ERE3.05)
· Creation of product: the set drawing and the character sketch of Stanley (Summative: EWR3.03)
· Group students performing below expectations with enriched students.
· Allow students with difficulty in answering in written form to use audio tapes for answering questions.
Williams,
Tennessee. A Streetcar Named Desire. New York: (Signet) Penguin Books
USA Inc., 1974.
ISBN-0-8124-1779-8
Ellis, Rabb, director. Drama Soundbook: A Streetcar Named Desire. Caedmon 2 audio cassettes, stereo. A-357. ISBN0-89845-396-8
Appendix 2.4.1 – Questions for Scenes One to Four
Time: 120 minutes
This activity allows students to analyse a specific abusive situation along with its repercussions in the play A Streetcar Named Desire. Through written and oral communication/debate and reflection on moral living in light of gospel values, students continue to become discerning believers formed in the Catholic Faith community who celebrate the signs and sacred mystery of God’s presence.
Ontario Catholic School Graduate Expectations
2c - presents information and ideas clearly and honestly and with sensitivity to others;
5e - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Oral and
Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations
EORV.01 - initiate, sustain, and conclude conversations and discussions on a wide variety of topics of personal, social, and academic interest;
EREV.01 - read and respond to literature;
EREV.03 - extract information from a variety of texts used in subject classrooms;
EWRV.01 - write in a variety of forms, adopting a voice suitable to the intended audience;
ESCV.02 - participate effectively in the full range of learning and teaching situations in the school.
Specific Expectations
EOR1.01 - make effective presentations on classroom topics with some teacher guidance;
EOR1.02 - express, support, and elaborate a point a view in sustained discussions about classroom topics;
EOR2.01 - monitor their speech for accuracy and correct common grammatical errors;
EOR2.02 - use conventions of oral language appropriately;
ERE1.05 - use a variety of methods to demonstrate understanding of their personal reading;
ERE3.01 - use a variety of cues to extract meaning from a textbook;
EWR1.01 - write coherently on a range of academic topics, using appropriate forms;
ESC2.01 - participate effectively in the full range of learning and teaching situations in the school.
· Continue using the audio tapes for reading or continue to choose students to read certain roles.
· Create a checklist to evaluate scene three questions and a rating scale for the journal response.
· Provide a sample, on the board, of how the students are to chart the activity titled “Recognizing the Abuse”. Place the forms of abuse as sub-headings, leaving half a page of space for students to write responses.
· Issue a cue card to every student in the class to be used for the Stella/Blanche argument. See Teaching/Learning Strategies for more details.
· Answering questions through written analysis
· Debate skills/sustaining an argument
1. Listen to/read scene three. Stop periodically during the scene to discuss what is happening.
2. Since students have had practice answering questions from the previous two scenes, the questions for scene three are to be completed for homework and handed in for evaluation. After finishing the scene, place students in pairs. They are to create a chart in their notebooks using the terms of abuse as sub-headings with the title “Recognizing the Abuse” (they are to leave at least half a page of space for each heading because they may go back to fill in more information as the play progresses). Groups scan through scene three and write down the examples of abuse under the appropriate subheadings. As a class, take up the answers.
3. Next, listen to/read scene four. At the end of the scene, assign scene four questions for homework.
4. Divide the class in half. On one side, have the students prepare an argument as to why Stella should leave Stanley using Blanche’s comments regarding the abusive incident in scene three. Remind students on this team to use the information regarding compassion and personal dignity as learned in Activity 3. On the other team, students are to argue why Stella should stay with Stanley using Stella’s comments to Blanche in scene four. Pass out a cue card to each student. Have them write down their support for the argument on the card. Each student then presents the argument to the other side. Create a forum for rebuttals.
5. Conclude the debate by summarizing the arguments and by posing the question “How does God want us to treat each other in a relationship?” (e.g., husband/wife, boyfriend/girlfriend). Students write this down and respond by writing a half-page reflection. Next, place students in groups of three and have each person share his/her response to the group. Then, as a group, have them write down, in point form, examples of how God is present within a human relationship with that significant other.
· Written description: scene three questions (Summative: ERE3.01; EWR1.01)
· In-class question and answer (Formative: EOR1.02, 2.01, 2.02)
· Organizer/table: “Recognizing the Abuse” chart (Formative: ERE1.05, 3.01; EWR1.01)
· In-class discussion: informal observation of the debate (Formative: EOR1.01; ESC2.01)
· Self-reflection: the reflection paper on relationships and God’s presence within them (Formative: EWR1.03)
· Assist students who have difficulty in forming a comment/argument for the debate session.
· Give students needing further assistance more time to hand in scene three question.
Williams, Tennessee. A
Streetcar Named Desire. New York: (Signet) Penguin Books USA Inc.,
1974. ISBN-0-8124-1779-8
Ellis, Rabb, director. Drama Soundbook: A Streetcar Named Desire. Caedmon 2 audio cassettes, stereo. A-357. ISBN 0-89845-396-8
Time: 240 minutes
In this section of A Streetcar Named Desire, students observe and chart the behaviours of the characters in the play. Students then have the opportunity to compare how characters’ actions may be similar to those of their peers (see “Hallway Survey” in Activity 3). This analysis of human interaction continues to make students aware that they must be responsible citizens who should promote peace, justice, and the sacredness of human life. Students continue practising note taking, using graphic organizers (grid), and research skills by finding specific examples in the play for presentation.
Ontario Catholic School Graduate Expectations
6b - recognizes human intimacy and sexuality as God given gifts, to be used as the creator intended;
7e - witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society.
Strand(s): Oral and
Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations
EORV.02 - communicate orally, using patterns of English grammar and pronunciation with the accuracy necessary for continued success in subject classrooms;
EREV.01 - read and respond to literature;
EWRV.01 - write in a variety of forms, adopting a voice suitable to the intended audience;
ESCV.01 - demonstrate understanding of a range of local, national, and global issues;
ESCV.02 - learn effectively in a wide variety of teaching and learning situations.
Specific Expectations
EOR1.01- make effective presentations on classroom topics, with some teacher guidance;
EOR1.02 - express, support, and elaborate a point of view in sustained discussions about classroom topics;
EOR2.01 - monitor their speech for accuracy and correct common grammatical errors;
EOR2.02 - use conventions of oral language appropriately;
ERE1.05 - use a variety of methods to demonstrate understanding of their personal reading;
ERE3.01 - use a variety of cues to extract meaning from a textbook;
EWR1.03 - write to analyse, interpret, and evaluate information and ideas.
· Create graphic organizers (grid) with the headings “Truths Revealed” and “Lies Told” written across the page and scenes five to nine down the side. Leave space for information from each scene.
· Refer to Activity 5 (Recognizing the Abuse chart) when reviewing scenes ten and eleven.
· Provide a class set of Catechism of the Catholic Church when discussing and exploring the Catholic Church’s view on the topic of rape and love as a fundamental passion in combating rape.
· Provide chart paper and markers for students to work on the Stella Kowalski scenarios.
· Create a rubric evaluation for the one page response at the end of the play.
· Note-taking skills
· Research skills
· Definitions of kinds of abuse
1. Listen to/read scenes five to eleven. Stop periodically to review and/or clarify the actions of the characters.
2. Handout graphic organizer (grid) “Telling the Truth?” See Planning Notes for description. After each scene is read, students fill out the columns “Truths Revealed” and “Lies Told”. Once the scene is charted, review as a class.
3. At the completion of charting scene ten and the reading of scene eleven, have students work on Recognizing the Abuse chart (Activity 5) for scenes ten and eleven. When reviewing the answers, be sure to focus on the physical and psychological/emotional abuse imposed on Blanche by Stanley. Then, have students explore the idea that to scar a human’s life, both physically and mentally, goes against the Catholic belief that individuals should be treated as sacred beings, as well as the belief that human intimacy and sexuality is a gift from God to be used as the creator intended, by reading sections 2356 of Catechism of the Catholic Church which deals with the topic of rape. As a class, discuss why rape is considered a sin. Further, discuss how love is the most fundamental passion is combating this type of sin by reading sections 1765, 1766, and 1772. Have students respond to why love is so important within a relationship.
4. Then, have students review the “Hallway Survey” on abuse as mentioned in Activity 3. Allow students to be honest and candid when reporting their observations. Attempt to draw comparisons to the behaviours of the observed students to those of the characters of the play. Then, as a class, create a collective report on the incidents of abuse from their surveys (i.e., the total number of abusive language heard and total number of physically abusive incidents). Invite the school chaplain to work with the class to create a reflection, regarding the findings, on the concern of abuse within the school. This reflection is to be read during the morning prayer. Choose a student, or have the class elect a peer, to read the reflection on the given morning.
5. Students were invited to consider other ways of using this experience as an opportunity for Christian Leadership (Activity 3). Discuss their suggestions and encourage them to implement them as an extension activity.
6. Keeping in mind the “Parable of the Good Samaritan” and the idea of compassion, focus on the belief that forgiveness is a part of the human journey of redemption by having students write a one-page response on the question “Could forgiveness have helped Stanley and Blanche?”. (Students could look at the idea that Stanley could have forgiven Blanche about the loss of Belle Reve and about the lies she tells throughout the play as well as not interfering with the relationship between Blanche and Mitch. Conversely, students could look at the idea of Blanche forgiving Stanley for his crude manner and lack of sophisticated vocabulary.) Have them use examples from the play, the survey, and the parable story. Collect for evaluation.
7. Next, place students in groups of three. Using chart paper, have the students explore the role of Stella Kowalski by speculating and predicting what might have happened in the following scenarios: “What if Stella did not go back to Stanley at the end of scene three?” “What if Stella had believed Blanche about the rape in scene ten?” “What if Stella had spoken to Mitch to dispel the rumours about Blanche?” Give each group one scenario to complete. Several groups may have the same scenario depending on the class size. Each group presents findings to the class.
· Organizer/table: “Telling the Truth?” grid (Formative: ERE3.01; EWR1.01)
· Composition: one-page response paper around the idea of forgiveness (Summative: ERE1.05, EWR1.03)
· Observation: informal observation of group work during the speculating and predicting of certain scenarios regarding certain characters (Formative: EOR1.01)
· Presentation of the speculating and predicting scenarios (Summative: EOR1.01, 2.02)
· Pair proficient students with less proficient students when working on the graphic organizer for scenes five to nine and when working on the scenarios.
· Conference with students needing further assistance when working on the response paper.
Williams, Tennessee. A
Streetcar Named Desire. New York: (Signet) Penguin Books USA Inc.,
1974.
Ellis, Rabb, director. Drama Soundbook: A Streetcar Named Desire. Caedmon 2 audio cassettes, stereo. A-357. ISBN 0-89845-396-8
Catechism of the Catholic Church. Toronto: An Image Book Published by DoubleDay, 1995.
ISBN 0-385-47967-0
Time: 120 minutes
A Streetcar Named Desire is a play which presents the timeless and universal topics of relationships, abuse, and trust. In this activity, students have the opportunity to use the skills learned in Unit 1 to respond to and create a major literary essay. Students express and evaluate the meaning of dignity and compassion in human interaction through various essay topics. Besides practising their essay writing skills, students are given the opportunity to practise peer editing.
Ontario Catholic School Graduate Expectations
1c - presents information and ideas clearly and honestly and with sensitivity to others;
3f - examines, evaluates, and applies knowledge of interdependent systems for the development of a just and compassionate society.
Strand(s): Oral and Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations
EREV.01 - read and respond to literature;
EREV.06 - use a range of research strategies independently to gather information for a variety of purposes;
EWRV.02 - use the writing process independently to produce a final written or electronic version of an essay or a piece of creative writing;
EWRV.03 - organize and link ideas logically and effectively in written texts such as narratives and essays;
EWRV .04 - use the sentence patterns and conventions of standard Canadian English in their writing with the degree of accuracy necessary for continued success in subject classrooms at the college and/or university preparation level.
Specific Expectations
ERE1.04 - analyse literature and classify it by type and theme;
ERE4.04 - acknowledge borrowed information, ideas, and quotations;
EWR1.01 - write coherently on a range of academic topics, using appropriate forms;
EWR1.03 - write to analyse, interpret, and evaluate information and ideas;
EWR2.01 - use a variety of connecting words and phrases to express logical relationships between and among ideas;
EWR2.02 - use a variety of strategies to proofread, edit, and correct writing, focusing on effective style, relevant and interesting content, accurate spelling, and correct use of conventions.
· Create three to four essay topics for A Streetcar Named Desire or use the essay topics found in Appendix 2.7.1 – Essay Topics.
· Create a criterion-referenced marking scheme to evaluate the essay.
· Create a checklist for students to use when peer editing each others’ essays.
· Allot time during class for students-teacher conferencing.
· Paragraph-writing skills
· Familiarity with essay structure (Unit 1)
1. Students complete a web diagram (or other graphic organizer) on one of the essay topics found in Appendix 2.7.1 or others suggested by the teacher. Once complete, students cluster points made from the web diagram into specific categories such as “symbols”, and “abusive situations”.
2. Using the clusters, students develop a thesis statement for their essay and decide what three main points to use as support. Refer to Appendix 1.2.1 – Thesis Statement Editing Checklist.
3. Introduce the use of quotes in a paragraph in order to support examples by showing a model paragraph on the overhead projector. Use quotes from A Streetcar Named Desire.
4. Next, students work on developing the main points through body paragraphs (usually three). Refer to Unit 1. Allow for a large portion of class time to be used for students to work on this part of the essay. Conference with students when developing their main points. For homework, students complete a rough draft of the body paragraphs.
5. Have students choose a partner. In pairs students are to peer edit the thesis statement and the body paragraphs. Present criteria or a checklist for students to use when editing their partner’s work. Criteria to consider could be: “Is the thesis clear and arguable?”, “Does each body paragraph have a clear topic sentence?”, and “Are examples used to explain the main point?”. Allow for ample class time for students to complete the editing.
6. Students then work on the introduction and conclusion of the essay. Students can ask questions before they work on the final draft.
7. Students hand in the five-paragraph essay, according to agreed timelines, with their rough work.
· Essay (Summative: ERE1.04, ERE4.04, EWR1.01, EWR2.01
· Observation: peer editing (Formative: EWR2.02)
· Provide extra time both during and outside of class time for conferencing and peer editing for students performing below expectations.
Essay writing resources in Appendix 1.1.1 – The Writing Variables; Appendix 1.3.1 – Strategies for Writing an Effective Introduction or Conclusion; Appendix 1.3.2 – Checklist for Sample Introduction and Conclusion
Appendix 1.2.1 – Thesis Statement Editing Checklist
Appendix 1.2.2 – Formal Essay Outline
Appendix 2.7.1 – Essay Topics
Time: 120 minutes
Having finished reading and studying the play A Streetcar Named Desire, students work in groups to stage a scene or parts of a scene. The students’ knowledge and understanding of the technical and artistic elements of theatre and more specifically play performance culminates with this activity. Students develop an appreciation for their own talents/gifts and how they can be used to contribute to society. They have a chance to extensively practise conventions of oral language in the learning of their lines, develop confidence while presenting in front of an audience, work effectively as an interdependent team member, and support the qualities of excellence, originality, and integrity in their work and the work of others through peer assessment.
Ontario Catholic School Graduate Expectations
1d – develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good;
3c – thinks reflectively and creatively to evaluate situations and solve problems;
4a – demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;
5g – achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.
Strand(s): Oral and
Visual Communication, Reading, Social and Cultural Competence
Overall Expectations
EORV.02 – communicate orally, using patterns of English grammar and pronunciation with the accuracy necessary for continued success in subject classrooms;
EORV.03 – analyse a variety of social contexts to determine the appropriate style of language and non-verbal behaviour to use in them;
EREV.01 – read and respond to literature;
ESCV.02 – learn effectively in a wide variety of teaching and learning situations.
Specific Expectations
EOR1.01 – make effective presentations on classroom topics, with some teacher guidance;
EOR2.02 – use conventions of oral language appropriately;
EOR3.01 – analyse social contexts and adapt style of speaking to suit the setting and audience;
ESC1.02 – evaluate the effectiveness of own and peer’s reports, letters, or speeches on current issues;
ESC1.03 – participate effectively in a full range of learning and teaching situations in the school.
· Materials/equipment: suitable props, costumes, camcorder, videocassette tape, trophies (Best Actor/Actress, Best Supporting Actor/Actress, etc. – home-made).
· Make arrangements where the scenes will be staged, either in an area of the classroom, the drama room, or the school stage. (If using the school stage it could be worthwhile to ask the assistance of the school audio-visual technician, drama teacher, or school play tech team to work the lighting or show students how to do so.)
· Prepare a list of props and costumes ahead of time and ask students to bring them.
· Book the school camcorder and decide whether the teacher or a tech crew of students will videotape the performances. Address safety practices when using electrical equipment.
· Prepare a criterion-referenced rating scale suitable for peer assessment of presentations whereby students vote for best performances (e.g., The Thespian Awards); consider such criteria as knowledge of lines (committed to memory should rate the highest), appropriate emotion, gestures, voice, and costume.
· Make homemade trophies out of ordinary classroom art supplies or ask students ahead of time to create some.
· Familiarity with stage directions (from reading the play)
· Awareness of acting skills (from Activity 1)
1. Students choose their groups and a scene or part of a scene to perform from the play studied in class. The number of students per group should reflect the number of roles in a scene.
2. They rehearse for 60 minutes and have another 60 minutes for the actual performances (which should not exceed 15 minutes each); this may be videotaped. Remind students of safety practices when handling electrical equipment.
3. Remind students to arrange a set, props, and costumes for their performance based on the staging directions in the play.
4. Hand out the rating scale to be used for peer assessment during the performances. Read and discuss the criteria. Inform the students that they will be voting for Best Actor/Actress and Best Supporting Actor/Actress by completing the rating scales for each other. Assign each student one actor/actress to assess, making sure that students in the same group are not given a fellow group member to assess as they will be performing at the same time.
5. Observe and assist students during rehearsal time. Students need to rehearse their lines for homework as well.
6. In chronological sequence of the scenes, the groups present their performances. The audience (groups not performing) completes the peer assessment rating scales. Students are encouraged to be sensitive towards others and to appreciate the uniqueness of each individual’s talents and worth. The teacher (or assigned student) videotapes the performances (optional).
7. The teacher gathers and collates the results of the peer assessment rating scales to determine award winners. The viewing of the videotape, sharing of the peer assessment, and the presentation of awards is conducted in Activity 9.
· Students view dramatic presentations of the scenes from the play studied and assess the efforts of classmates through peer assessment. (Summative: EOR1.01, 2.02, 3.01)
· Students not comfortable with speaking roles can be accommodated as technical crew: set arranging, lighting, and video recording.
· Enrichment students could draw up a list of props and costumes needed for each group.
Script of Play:
Williams, Tennessee. A
Streetcar Named Desire. New York: (Signet) Penguin Books USA Inc., 1974.
ISBN-0-8124-1779-8
School audio-video technician, drama teacher, school play technical crew
Time: 120 minutes
In the first part of this activity students celebrate their performances (Activity 8) by viewing clips from the videotape, share the results of their peer assessment, and receive awards for their best efforts. In addition, they prepare to see a professionally staged play. Etiquette in the theatre and bus and street safety are discussed, and the role of media advertising and the process of finding a play, reserving and buying a ticket are investigated. The main elements of drama and staging a play are reviewed and reinforced with individual and group assignments to be completed while watching the performance. Students are encouraged to be alert to bias and to adopt a holistic approach to life by integrating learning from various subject areas and experiences, such as going to the theatre.
Ontario Catholic School Graduate Expectations
2a – listens actively and critically to understand and learn in light of gospel values;
3e – adopts a holistic approach to life by integrating learning from various subject areas and experience;
7b – accepts accountability for one’s own actions;
7g – respects and understands the history, cultural heritage and pluralism of today’s contemporary society.
Strand(s): Oral and
Visual Communication, Reading, Writing, Social and Cultural Competence
Overall Expectations
EORV.04 – create and analyse a variety of media works in forms appropriate for different purposes and audiences;
EREV.04 – demonstrate understanding of the elements of a range of fiction and non-fiction forms of writing;
EWRV.01 –write in a variety of forms, adopting a voice suitable for the intended audience;
ESCV.01 – demonstrate understanding of a range of local, national, and global issues.
Specific Expectations
EOR3.01 – analyse social contexts and adapt style of speaking to suit the setting and the audience;
EOR3.02 – discuss and analyse instances of miscommunication;
EOR4.01 – explain the relationship between media forms and their intended audiences;
ESC1.03 – participate effectively in the full range of learning and teaching situations in the school.
· Materials/Equipment: TV/VCR, videocassette (from Activity 8), trophies (from Activity 8), peer assessment rating scales (from Activity 8), several Arts & Entertainment sections from weekend newspapers (for example, 4 is enough for 4 groups), programs and tickets from events such as plays if possible.
· The teacher and/or students capable of enrichment activities research the bill at local theatres for suitable dates, times (matinees), and plays (well ahead of time). Research transportation costs and discuss with the class. The cost of tickets and transportation needs to be affordable to students. Fund-raising activities to cover costs can be a class endeavour.
· Books transportation, reserve the play tickets, and collect money from the class (this can be done by students as discussed above).
· Verify the school board’s policy for field trips. School field trip procedures must also be observed.
· Be prepared to address safety issues: bus safety, street safety, and emergency procedures.
· If a theatrical performance is not feasible, a video of the play studied in class or a Shakespearean performance is a good alternative; a school play performance is also an alternative.
· Make copies of cloze passage for the class (Appendix 2.9.1 – Theatre Etiquette).
· Assign individual or group assignments for viewing purposes and for reinforcing the elements of theatre and drama. Suggested topics/questions are as follows: What were the lighting techniques used? What effect did they have? How did the lighting add to the atmosphere of the play? Other elements that should be examined are the sets and props (setting), costumes, characters (actors), themes/issues in the play, music, entrances and exits (use of the curtain), special effects, audience involvement, etc. The teacher can make a copy of Appendix 2.9.2 – Theatre Notes to record student’s name, topic/question assigned, and space for teacher anecdotal notes upon completion of the assignment.
· Familiarity with theatre - play performance (Activities 1-8)
· Some knowledge of bias
1. Students view video clips of their play performances as the Thespian Award recipients are announced. The peer assessment rating scales are given to each student.
2. The teacher reminds students of the play they are going to see and hands out a cloze passage on theatre etiquette. Students examine a chart on bus and street safety (see Appendix 2.9.1 – Theatre Etiquette). Students fill in the blanks of the cloze passage as the teacher slowly reads aloud. Then, individual students read back (aloud) the cloze passage as the others correct their work. The teacher can emphasize and discuss certain points of etiquette with students at this time. The students examine safety issues (see Appendix 2.9.1) through discussion and inquiry: What could happen if…?
3. The teacher gives each student (or pairs/small groups) an assignment for viewing the play. The assignment consists of a question on the elements of play performance and reviews and reinforces what has been studied in this unit. In addition, students are asked to keep record of any bias found in the play (gender, age, cultural, religious). Students are to be prepared to answer their question with accuracy and specific examples orally during intermission, after the play while waiting for the bus, on the bus ride back to school, or in written form as homework (teacher’s choice). Students take along paper and a pen to write down notes.
4. Students and teacher view a play.
· The teacher uses formal observation and anecdotal notes to assess students’ ability to identify and comment on elements of drama and the theatre (see Appendix 2.9.2 – Theatre Notes).
(Summative; ERE3.02)
· When assigning individual or group assignments for the viewing of the play, keep in mind the students’ need for further assistance or abilities to perform above expectations.
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2.9.1 –
Theatre Etiquette
2.9.2 – Theatre Notes