Course Overview

Dramatic Arts, Grade 11, University/College, ADA3M

Prerequisite: Dramatic Arts, Grade 9 or 10, Open

Course Description

This course builds upon the skills introduced and explored in Grades 9 and 10. Students apply skills and research various acting styles when preparing both original work and selected scripts. Students explore theatre conventions and are introduced to the works of selected major playwrights from the turn of the 20th century. Script analysis prepares students for dramatic presentations, and exploration of the many roles in theatre production introduces students to the professions associated with theatre. Building upon cooperative skills and creative collaboration, students work within the culture of ‘ensemble’ and experience the creative dynamics of a theatre company. They develop research skills through independent study.

How This Course Supports the Ontario Catholic School Graduate Expectations

ADA3M enables students to use drama as a vehicle in the process of self-actualization, with a view of life that is God-centred, a view of person that is Christ-centred, and a view of community that is Church-centred. Participation in this course helps students develop a confident and positive sense of self and respect for the dignity and welfare of others as they apply effective communication, decision-making, and problem-solving skills. They develop greater understanding of the concepts of responsibility and the contributions of self and others. They have opportunities to exercise Christian leadership in the achievement of individual and group goals. This course gives students a variety of opportunities to think critically, develop God-given potential, and make a meaningful contribution. It also challenges students to examine and explore their lives in relation to specific gospel values as reflected in Church teachings. This course explores the interior life of students and nurtures their spiritual lives.

Course Notes

Though the units stand alone to fulfill separate sets of expectations, they are complementary. Unit 1 provides the thematic and practical foundation for Units 2-5. Units 2 and 3 may be used as models for the development of Units 1, 4, and 5.

All units and activities draw upon all three strands in an integrated approach.

Suggested assessment practices follow the directions of the Ministry of Education as published in The Ontario Curriculum, Grades 9 to 12, Program Planning and Assessment 2000.

Use of a portfolio for students to organize their notes and written assignments over the duration of the course is recommended. The portfolio is also used to reflect upon the development of character and the creative process of working in ensemble. Analysis and reflection may be integrated as part of the portfolio.

Rubrics, generated with students, create a more thorough understanding of expectations for the course.

There are thematic links between the Drama structures assignment in Unit 1 and the works of the Early Modern Playwrights, particularly Ibsen, Shaw, and Chekhov.

A list of resource books for acting techniques and theatre conventions has been included.

General Time Frames

This course is based on the Ministry of Education’s requirement of a minimum of 110 hours.

Teachers should consider the timeframes as suggestions only and vary them to accommodate experiences, abilities, and interests of students in the class, as well as available resources, provided that all strands and expectations have been taught and assessed in accordance with Ministry of Education policies.

Course Organization and Progression

Because the curriculum expectations for the Dramatic Arts Grade 11 University/College and Open courses are complementary, teachers may use this Course Profile in conjunction with the Open course and, with modification, teach the units presented in it.

Units in this profile begin by providing the students with experiences in individual and group creative processes and presentations, and evolve from story forms generated from imagination into structured narrative texts. Students explore the relationship between “role” and “character” in these varied contexts. Altering the order of the units significantly changes the student’s learning.

Teacher Preparation

Teachers need to be familiar with contemporary theatrical forms and texts, especially docu-drama, collective, and Canadian works.

Teachers should be familiar with the Course Profiles for ADA2O and ADA3O, as well as the Learning Expectations for Dramatic Arts, Grade 12, to ensure appropriate student preparation.

Expectations are clustered around dramatic concepts, including role/character, social/cultural context, and collaborative creation, while each cluster is imbued with dramatic elements, principles, techniques, sources, and texts.

Appendix Organizer

The Appendix at the end of the Course Overview is designed to help teachers understand how the Expectations are linked to the Achievement Chart, units and activities of this Profile. When planning units, activities, and assessments, teachers should consult this organizer.

Further resources, key to this course profile, are available at the CODE website: http://www.code.on.ca.

Tracking and teaching expectations in isolation is not recommended.

General Notes

The prerequisite for this course is successful completion of one of Grade 9 or 10, Dramatic Arts, Open.

This University/College course enhances all destinations; students are prepared to take either an Open level or University/College course in Dramatic Arts in Grade 12.

In this Profile, the pencil symbol . indicates that the task or activity is a possible portfolio activity.

Students work from researched primary and secondary sources, as well as published dramatic texts, as they interpret, create, and present dramatic works.

To meet the course destination performance standards, students are provided with opportunities to develop their communication and collaborative skills, as well as demonstrate analytical and reflective strategies through writing and speaking about their choices in creating dramatic works, and their responses to their own and others’ dramatic work.

Key Framing Questions

The units have been developed from the Overall and Specific Expectations and have been framed by these Key Questions. The Unit Planning notes supplement this list.

Unit 1: Reaching Within

· How does exploration of self, influence collaborative decision-making?

· How is decision-making affected by collaboration?

· How does context-building deepen the drama?

Unit 2: Reaching Out

· How can using a specific acting approach deepen character development?

· How can drama help develop one’s potential?

· When critically analysing performance, how is one’s personal belief system integrated?

Unit 3: Reaching Back

· How does modern theatre reflect the universal human condition?

· What skills are developed by working in a theatre company model? How can they transfer beyond the stage?

· How does one become an appreciative audience member?

Unit 4: Reaching Across

· What opportunities are created when varied dramatic techniques are used to interpret script?

· How are cultural values communicated through the art of drama?

· How does the study of artistic forms contribute to a respect and affirmation of the world’s peoples and cultures?

Unit 5: Reaching Beyond

· What is the nature of performance?

· What is the nature of the relationship between theatre and reality?

· What connections can be made between students’ lives and artistic performances?

Student Portfolio

Students should keep a portfolio of their drama work throughout the course. It is a primary vehicle for students to demonstrate their learning, to deepen and extend the drama, a stimulus for reflection and student-teacher conferencing, and a natural mode for analysis and planning. The teacher should be prepared to assess and evaluate the student portfolio at significant points through the course. Teachers must also be aware of their responsibilities with regard to disclosure, which may occur in the portfolio, and the conditions of confidentiality, which may be implied or explicit with the student.

Teacher Responsibilities

While the teacher is the primary planner and leader of the learning activities and is responsible for them in all respects, s/he must assess the dynamics of each class and decide the degree to which s/he may promote increased individual and group responsibility for learning. This requires professional judgement and varies from class to class.

Health and Safety

Safe practices must be taught and practised throughout the course.

Physical Safety

Preliminary activities must emphasize safety and respect. Equipment must be appropriate to student use; teachers must be aware of its proper uses and limitations. Hazardous materials must be handled in accordance with the approved safety procedures of the Board of Education or other agency.

Emotional and Social Safety

The teacher is responsible for establishing an atmosphere in which students feel emotionally and socially safe. When topics arise that are personal in nature, the teacher should be prepared to deal with them in an appropriate manner and involve specialists where necessary. How students treat each other is also a priority, especially where differences among students make bullying, aggressive behaviours, and isolation a possibility.

Units: Title and Time

Unit 1	Reaching Within	13 hours
* Unit 2	Reaching Out	17 hours
* Unit 3	Reaching Back	27 hours
Unit 4	Reaching Across	20 hours
Unit 5	Reaching Beyond	33 hours

* These units are fully developed in this Course Profile.

Unit Overviews

Unit 1: Reaching Within

Time: 13 hours

Unit Description

Students engage in activities to establish an effective drama learning environment, including collaboration, listening and responding, reflection and discussion. Basic elements such as tableau, role play, monologue and other dramatic forms and techniques are used within the context of a drama structure. The teacher selects an issue/source for this drama structure which is shared by early 20th century dramatic literature studied in Unit 3, Reaching Back. Exploring this issue/source in an active inquiry mode allows students to discover and make their own meanings out of the content. Students extend their knowledge by paying greater attention to detail, developing their understanding of dramatic structures (character, conflict, theme and ideas) and communicating through artistic means (conventions, symbols, metaphor). The concept of performing for an audience is established in the context of sharing moments of the drama structure within the class.

Unit Overview Chart

Activity	Expectations	Assessment	Focus
1	CRV.03, TH2.05, AN1.07, AN2.02 CGE1d, 2a, 2c, 2e, 3d, 4b, 5a	Knowledge/Understanding Thinking/Inquiry Communication	Speculating on the issue/source
2	THV.02, CRV.01, CRV.02, CRV.04, TH2.02, TH3.01, CR1.01, CR1.02, CR1.03, CR1.04, CR1.05, CR1.06, CR2.03, CR2.05, CR2.06, CR2.07 CGE3b, 3c, 3d, 4a, 4b, 4c, 4f, 5a, 5c, 5e, 5f, 5g, 7b	Knowledge/Understanding Thinking/Inquiry Communication Application	Responding to the issue/source
3	ANV.01, ANV.02, ANV.04, AN1.02, AN1.03, AN1.04, AN1.05, AN1.07, AN1.08, AN2.01, AN2.02, AN2.03 CGE3c, 4g, 5b	Knowledge/Understanding Thinking/Inquiry Communication Application	Reflecting

Unit 2: Reaching Out

Time: 17 hours

Unit Description

Students develop cooperative skills through the creation and performance of a dramatic presentation. Essential elements of drama are reviewed through tasks focusing on voice, movement and character development. Technology for performance is introduced. Expansion of group exploration through the introduction of various acting strategies, and theatre terminology facilitate the collaborative class presentation. Students work toward the concepts of cast and acting for audience through the vehicle of monologue. Positive analysis and reflection of group work are ongoing throughout the unit as forms of assessment.

Unit Overview Chart

Activity	Expectations	Assessment	Focus
1	THV.02, CRV.01, CRV.04, ANV.01, TH1.01, TH2.01, TH2.02, CR2.04, CR2.06, CR2.07, AN1.07, AN2.01, AN2.02, AN2.03 CGE2b, 2c, 3b, 3c, 4a, 4b, 4c, 4f, 5a	Knowledge/Understanding Thinking/Inquiry Communication Application	Drama essentials
2	THV.01, THV.02, CRV.01, ANV.01, ANV.03, ANV.04, TH1.01, TH1.02, TH1.03, TH1.04, TH2.01, TH2.02, CR1.02, AN1.05, AN1.06, AN1.08, AN2.01, AN2.02 CGE2b, 2c, 4f, 5a, 5b, 5e, 5g	Knowledge/Understanding Thinking/Inquiry Communication Application	Acting theory
3	THV.01, THV.02, CRV.01, CRV.02, CRV.03, CRV.04, ANV.01, ANV.02, TH1.01, TH1.02, TH1.03, TH1.04, TH2.02, TH2.04, TH2.05, TH3.01, CR1.01, CR1.02, CR1.03, CR2.02, CR2.03, CR2.04, CR2.05, CR2.06, CR2.07, AN1.01, AN1.02, AN1.04, AN1.06, AN1.08, AN2.01, AN2.02, AN2.03 CGE1h, 2a, 2b, 2c, 3b, 3c, 3f, 4a, 4b, 4c, 4f, 5a, 5e, 5g, 7f	Knowledge/Understanding Thinking/Inquiry Communication Application	Creating characters
4	THV.01, THV.02, CRV.01, CRV.02, CRV.03, CRV.04, ANV.01, ANV.02, ANV.03, ANV.04, TH1.01, TH1.02, TH1.03 TH1.04, TH2.01, TH2.02, CR2.02, CR2.03, CR2.06, CR2.07, AN1.01, AN1.02, AN1.04, AN1.05, AN1.06, AN2.01, AN2.02, AN2.03 CGE2a, 2b, 2c, 3c, 3f, 4a, 4b, 4c, 4g, 5a, 5b, 5e, 5g, 5h	Knowledge/Understanding Thinking/Inquiry Communication Application	Acting for audience

Unit 3: Reaching Back

Time: 27 hours

Unit Description

Formal analysis promotes engagement with both heart and mind as students are introduced to themes, symbols, language, and character, based upon a representative play from the early 20th century. Acting strategies developed in Unit 2 deepen the developmental and analytical approaches used, which students apply in the rehearsal and performance of key scenes. The role of technology, the concept of ‘theatre company’, and the career applications of theatre are introduced in the context of performance. Reflection on both process and product provides opportunities for students to explain, justify, analyse, and assess. The analysis of the play selected for this unit and an examination of the historical, political, and social contexts of early 20th century plays are models for the students’ independent study of other plays from this time period. Initiated at the conclusion of Unit 3, the independent study continues throughout Unit 4 and forms the basis of the final evaluation in Unit 5.

Unit Overview Chart

Activity	Expectations	Assessment	Focus
1	THV.01, THV.02, CRV.01, CRV.02, ANV.03, TH1.01, TH1.03, TH1.04, TH2.02, TH2.04, TH2.05, CR1.01, CR1.02, CR1.03, CR1.04, CR1.05, AN1.07, AN1.08, AN2.02 CGE2a, 2b, 2c, 3c, 4b, 4f, 5a, 5b, 5e, 5g	Knowledge/ Understanding Thinking/Inquiry Application Communication	Exploring the playwrights’ craft
2	THV.02, CRV.01, CRV.02, CRV.04, TH1.01, TH1.03, TH2.02, TH2.04, TH2.05, CR1.01, CR1.02, CR1.03, CR1.04, CR1.06, CR2.01, CR2.02, CR2.03, CR2.05, CR2.07, ANV.01, AN1.042a, 2b, 2c, 3b, 3c, 4a, 4b, 4c, 4f, 5a, 5b, 5e, 5f, 5g, 7j	Knowledge/ Understanding Thinking/Inquiry Application Communication	Creating and rehearsing
3	THV.02, CRV.01, CRV.02, CRV.03, ANV.01, ANV.02, ANV.05, TH1.03, TH2.02, TH2.04, TH2.05, CR1.03, CR1.04, CR1.05, CR2.01, CR2.02, CR2.03, CR2.05, CR2.06, CR2.07, AN1.01, AN1.02, AN1.03, AN1.04, AN1.05, AN1.06, AN1.08, AN2.01, AN2.02, AN2.032a, 2e, 3c, 3f, 4f, 4g, 5b, 5d, 5e, 5g, 5h	Knowledge/ Understanding Thinking/Inquiry Application Communication	Performing and analysing
4	THV.03, ANV03, 2a, 2b, 3c, 3d, 3f, 4c, 4e, 4f, 4g, 5b, 5e	Communication	Introduction to historical, political, and social contexts

Unit 4: Reaching Across

Time: 20 hours

Unit Description

Students research and describe the conventions of numerous dramatic forms. These may include Theatre of the Absurd, Theatre of the Oppressed, Canadian regional drama, First Nations, Aboriginal, or Kabuki Theatre. Three kinds of knowledge are addressed: that which is gained through research activities; through class activities; and through reflection and analysis of their work. Group work assists students to apply their knowledge of a specific form and create a performance. A variety of strategies are used, including improvisation and workshop techniques, with an emphasis on effective work as an interdependent team member. The performance may be original or interpreted work for a specific audience, enabling the students to exercise leadership in the achievement of the group goal – the performance. Technology is used to complement the performance. Students analyse their work through journal reflections, focusing on their personal artistic strengths, gaining a deeper understanding of how dramatic arts represent, influence, and contribute to culture and society throughout the world.

Unit Overview Chart

Activity	Expectations	Assessment	Focus
1	THV.03, ANV.01, ANV.03, ANV.04, TH3.03, TH3.04, AN1.01, AN1.05, AN1.07, AN2.01, AN2.02, AN2.03 CGE2b, 3c, 5b, 5e, 7f, 7g	Knowledge/Understanding Thinking/Inquiry Communication Application	Researching the forms
2	THV.03, CRV.03, CRV.04, ANV.01, ANV.03, ANV.04, TH1.01, TH2.01, TH2.02, TH2.04, CR1.04, CR1.05, CR1.06, CR2.02, CR2.03, CR2.04, CR2.05 CR2.06, CR2.07, AN1.01, AN1.04 AN1.06, AN1.07 AN2.01 AN2.02, AN2.03 CGE2a, 2b, 2c, 3c, 4b, 4f, 5b, 5g	Knowledge/Understanding Thinking/Inquiry Communication Application	Exploring the forms
3	THV.03, CRV.02, CRV.04, ANV.01, ANV.03, ANV.04 TH3.04, CR1.04, CR2.02, CR2.03, CR2.06, CR2.07AN1.01, AN1.04, AN1.05, AN1.06, AN1.07, AN2.01, AN2.02, AN2.03 CGE1h, 2a, 2b, 2c 2e, 3b 3c, 3f, 4a, 4b, 4c ,4f, 4g, 5a, 5b, 5d, 5e, 5f 5g, 5h, 7f, 7g	Knowledge/Understanding Thinking/Inquiry Communication Application	Applying and analysing the forms

Unit 5: Reaching Beyond

Time: 33 hours

Unit Description

These activities build on the work of the previous units, and form the basis for the final evaluation in this course. This unit is weighted as thirty percent of the final mark, divided as follows: process fifty percent, product thirty percent, and reflection twenty percent. Research and analysis of early 20th Century plays begun in Unit 3 culminate with the rehearsal and performance of selected scenes. Students take responsibility for planning and organizing a rehearsal schedule, and for creating technical elements, including sets, costumes, and lighting and sound designs. Students fulfill various roles within a “theatre company”. Reflection includes summative portfolio interviews on both the process and the product and how they reflect an understanding of self, society and the universal condition as explored through the use of dramatic and theatrical conventions.

Unit Overview Chart

Activity	Expectations	Assessment	Focus
1	THV.03, ANV.03, TH2.04, TH2.05, TH3.02, TH3.04, AN1.072b, 2c, 2e, 3f, 4c, 4f, 5a, 5b, 5e, 7f, 7g	Knowledge/Understanding Thinking/Inquiry Communication	Presentation of research and analysis
2	THV.02, CRV.01, CRV.04, TH2.02, CR1.01, CR1.02, CR1.03, CR1.06, CR2.01, CR2.02, CR2.03, CR2.06, CR2.072a, 2b, 2c, 3b, 3c, 4a, 4b, 4c, 4f, 5a, 5b, 5e, 5f, 5g, 5h	Knowledge/Understanding Communication Application	Scene rehearsal and performance (acting and production roles)
3	ANV.01, ANV.02, ANV.03, ANV.05, AN1.02, AN1.03, AN1.04, AN1.05, AN1.06, AN1.07, AN2.01, AN2.02, AN2.032b, 2c, 2e, 3c, 3f, 4a, 4e, 4f, 4g, 5b, 5g	Knowledge/Understanding Thinking/Inquiry Communication Application	Final reflection

Teaching/Learning Strategies

This Course Profile was developed with units and activities encompassing all three strands: Theory, Creation, and Analysis. As a result, teaching these activities provides students with multiple, rich opportunities to demonstrate their knowledge and skills. The communal nature of Dramatic Arts invites students to work closely with others in large and small group situations. It engages the student’s mind and body in a dynamic which gives the teacher opportunities to challenge the student in a variety of learning contexts and styles.

Assessment & Evaluation of Student Achievement

Seventy per cent of the grade will be based on assessments and evaluations conducted throughout the course. Thirty per cent of the grade will be based on a final evaluation in the form of an examination, performance, essay, and/or other method of evaluation.

Percentage recommendations which break down the categories of the Achievement Chart in the Arts are not given in this Course Profile, as each school board or school may make its own decisions. However, teachers must relate all assessment and evaluation activities to the four categories of the Achievement Chart as they plan and implement their assessment practices.

This chart summarizes some of the assessment and evaluation tools outlined in the units. Matching the content with an appropriate assessment tool is an important step in the planning process.

Personal Communication

Observation

Performance Assessment

Reflection

rubrics, checklists, journals, documentary evidence, portfolio entries

· self-assessment

· peer assessment

· individual student-teacher conference

· teacher-small group conference

· teacher-whole group conference

· teacher tracking

· peer observation

· video and still photo documentary

· writing in role

· journal responses

· written analysis of texts

· collaboration in problem solving, negotiating, and presenting

· commitment to role

· personal reflection through journal and other forms

· writing in role

· portfolios

Accommodations

Teachers must be aware of and sensitive to the diverse learning styles and abilities of the students in their class. Accommodations that address these factors must be implemented to promote success for all students.

An extensive list of possible accommodations is contained in the Electronic Unit Curriculum Planner (Ministry of Education, 1999); teachers should consult it for specific suggestions.

Resources

Resources may be obtained from a wide variety of sources. See the Planning Notes for each activity.

Teachers should be familiar with resources in their communities, including those not directly related to drama, such as the art gallery, museum, or people such as police officers, social workers, and others.

Canadian resources should be used wherever possible.

In addition to universities, colleges and other institutions which offer AQ or ABQ courses for teachers, the provincial drama and dance subject association, CODE (Council of Drama and Dance in Education) offers many valuable resources, including a newsletter (“Touchstone”), a journal (Contact), a listserv (CODEnet), a website (http://www.code.on.ca), an annual conference and regional co-ordinators throughout the province. Often members are available to conduct workshops in a variety of formats.

Many professional arts organizations have an education officer who provides resources for teachers at minimal cost. The Ontario Arts Council (OAC), Theatre Ontario, and local arts councils are also valuable resources.

Teaching Resources

The following print resources will help teachers new to drama find solid pedagogical foundations, as well as creative ways of enhancing the teaching methodologies of experienced teachers:

Booth, David and Jonothan Neelands. Writing in Role. Hamilton: Caliburn Enterprises Inc., 1998.
ISBN 096999673X

Cassady, Marshall and Pat Cassady. Theatre & Drama. National Textbook Company, 1991.

Ferguson, Keith. Drama for Worship. Word, Inc., 1991.

Lundy, Charles and David Booth. Interpretation. Toronto: Harcourt Brace, 1985. ISBN 0774712104

Taylor, Philip. The Drama Classroom: Action, Reflection, Transformation. London: Routledge, 2000.
ISBN: 0750707798

Websites (General)

Note: The URLs for the websites have been verified by the writers prior to publication. Given the frequency with which these designations change, teachers should always verify the websites prior to assigning them for student use.

Playwrights Union of Canada – http://www.puc.ca

Theatre Ontario – http://www.theatreontario.org

Ontario Arts Council – http://www.arts.on.ca

Sears Ontario Drama Festival – www.searsdramafestival.com

Websites (for use with Unit 2)

Canadian Conference of Catholic Bishops – www.ccbc.ca

Catholic News World Bulletin – www.cwnews.com

Ottawa Archbishop Marcel Gervais – www.ecclesia-ottawa.org

The Pope and the Vatican – www.vatican.va

OSS Considerations

This course profile has been developed to assist in the implementation of The Ontario Curriculum, Grades 11 and 12, 2000, The Arts. When using this material, teachers and administrators must take careful note of the applicable sections of Ontario Secondary Schools, Grades 9 to 12: Policy and Diploma Requirements, 1999; The Ontario Curriculum, Grades 11 and 12, 2000: The Arts; The Ontario Curriculum, Program Planning and Assessment, 2000; and Choices into Action: Guidance and Career Education Program Policy for Elementary and Secondary Schools, 1999.

Appendix CO1

Dramatic Arts, University/College (ADA3M)

This chart represents one way of relating the Curriculum Expectations in this course to the Achievement Chart categories, which are represented by K = Knowledge, T = Thinking, C = Communication,
A = Application. Each Overall and Specific Expectation is referenced according to its primary verb. Dialogue with colleagues may result in different interpretations of these relationships. This chart may be used when planning units, organizing assessment and evaluation, and as a reference when using the Ontario Curriculum Unit Planner. The number represents how many times the Expectation has been taught in the unit. Expectations in bold are assessed in Unit 5 as part of the final evaluation.

Learning Expectations	Ach. Chart	Unit
Learning Expectations	Ach. Chart	1	2	3	4
THEORY
THV.01: describe various approaches to acting;	C		3	1
THV.02: demonstrate an understanding of various aspects of the elements, principles, and techniques of dramatic arts;	A	1	4	3
THV.03: describe the background and conventions of dramatic forms, sources, and scripts from the turn of the twentieth century;	C			1	3
TH1.01: describe the process of creating a character (e.g., script analysis, character analysis, experimentation with movement and voice);	C		4	2	1
TH1.02: describe acting strategies developed by theatre teachers (e.g., Uta Hagen, Lee Strasberg);	C		3
TH1.03: describe methods of re-creating roles and characters in a script, and of presenting them convincingly (e.g., methods involving observation, analysis, improvisation, rehearsal);	C		3	3
TH1.04: describe the acting styles of one or more historical periods (e.g., method approach, “body as instrument” approach, “inside-out” and “outside-in” approaches to acting);	C		3	1
TH2.01: describe the mechanics of voice production;	C		3		1
TH2.02: describe how movement and non-verbal communication can be used to portray character, to define relationships among characters, and to communicate dramatic tension;	C	1	4	3
TH2.03: describe the influence of historical period and type of audience on ways in which playwrights have used the elements, principles, and techniques of dramatic arts;	C				1
TH2.04: describe how the elements of a dramatic setting are affected by the type of drama, the identified theme, and the available performance space;	C		1	3	1
TH2.05: identify and describe sources of conflict in a play (e.g., power relationships between the protagonists and antagonists);	K, C	1	1	3
TH3.01: describe the functions of primary and secondary sources of information in the development of an original dramatic presentation;	C	1	1
TH3.02: describe the conventions of scripts as developed by Chekhov, Ibsen, Shaw, Strindberg, and others dating from the turn of the twentieth century;	C				1
TH3.03: describe the conventions of different forms of drama (e.g., Kabuki, Bunraku, Theatre of the Absurd);	C				1
TH3.04: describe the social and historical contexts of the plays studied.	C				2
CREATION
CRV.01: interpret a variety of roles/characters, using the techniques of character development;	K	1	4	3
CRV.02: create and present an original or adapted dramatic work;	C, A	1	2	3	1
CRV.03: identify strategies for audience involvement and response, and incorporate them in the creation and performance of dramatic presentations;	K	1	2	1	1
CRV.04: use technology to develop a drama, or to enhance the communicative power of a drama;	A	1	3	1	2
CR1.01: create the inner and outer life of a character, using a variety of strategies (e.g., improvisation, research, textual analysis);	A	1	1	2
CR1.02: develop the background of a character, using appropriate techniques (e.g., writing in role; analysing a character’s motivation and influences);	A	1	2	2
CR1.03: reinterpret roles in rehearsal and performance, demonstrating insight into the characters;	K, A	1	1	3
CR1.04: apply appropriate voice and movement techniques in rehearsal and performance;	A	1		3	2
CR1.05: create an original or adapted dramatic presentation, using a variety of strategies (e.g., research, improvisation, workshop techniques);	A	1		2	1
CR1.06: create a working script for production, using a variety of strategies (e.g., improvisation, revision of drafts, experimentation with time and place);	A	1		1	1
CR2.01: interpret and present a dramatic text from the turn of the twentieth century;	K, A			2
CR2.02: demonstrate a working knowledge of all aspects of organization needed to present a drama (e.g., planning, rehearsal scheduling, set preparation);	A		2	2	2
CR2.03: demonstrate the ability to take responsibility, both as an individual and as a member of a group, when working in a theatre ensemble (e.g., make artistic decisions, give support to others);	A	1	2	2	2
CR2.04: identify the needs and interests of different audiences, and use the elements and principles of drama in ways that are appropriate for each audience;	K, A		2		1
CR2.05: select and prepare an original or adapted dramatic presentation for a specific audience (e.g., scenes from a Shakespeare play for an English class, a presentation on violence against women for a health education class);	T, A	1	1	2	1
CR2.06: demonstrate an understanding of the dynamic role of the audience in a live performance (e.g., the audience may laugh in response to an action, or may “give advice” to characters);	A	1	3	1	2
CR2.07: use technology effectively (e.g., synthesized music for sound effects, animated slides projected as backgrounds) to convey theme, setting, or time.	A	1	3	2	2
ANALYSIS
ANV.01: evaluate each of the steps taken in the process of creating and presenting their dramatic pieces, using appropriate dramatic arts terminology;	A	1	4	2	3
ANV.02: evaluate dramatic performances presented in the school and the community;	A	1	2	1
ANV.03: explain how dramatic arts represent, influence, and contribute to culture and society;	C		2	2	3
ANV.04: explain how the study of dramatic arts can foster self-development and global awareness;	C	1	2		3
ANV.05: analyse the personal, social, and career skills acquired through the study of dramatic arts;	T			1
AN1.01: evaluate their dramatic presentations, using specific criteria;	A		2	1	3
AN1.02: identify and evaluate their personal artistic strengths and weaknesses;	K, A	1	2	1
AN1.03: explain how skills, concepts, and theories in dramatic arts are applied in the creation and performance of a drama;	C	1		1
AN1.04: justify their artistic choices of elements, principles, and techniques in their dramatic presentations;	C	1	2	2	2
AN1.05: demonstrate an ability to review theatre performances given in the school, in the community, or on video;	A	1	2	1	2
AN1.06: identify the artistic choices made by the actors, director, designer, and technicians in a dramatic production, and assess the effectiveness of these choices;	K		3	1	2
AN1.07: analyse the connections between the theatre, themselves, and society;	T	2	1	1	3
AN1.08: analyse stereotypes and prejudices portrayed in plays and assess their impact on the audience;	T	1	2	2
AN2.01: analyse, through journal writing, discussion, and questioning, the significance of what they have gained from their artistic experiences;	T	1	4	1	3
AN2.02: explain how the portrayal of roles and characters in drama is connected to their personal experiences, to universal truths, and to specific aspects of the human experience;	C	2	4	2	3
AN2.03: explain how personal, professional, and social skills (e.g., collaborating, analysing, empathizing, speaking, communicating) can be developed through dramatic arts and then applied in a variety of contexts (e.g., personal, social, career).	C	1	3	1	3

Ontario Catholic School Graduate Expectations

The graduate is expected to be:

A Discerning Believer Formed in the Catholic Faith Community who

CGE1a -illustrates a basic understanding of the saving story of our Christian faith;

CGE1b -participates in the sacramental life of the church and demonstrates an understanding of the centrality of the Eucharist to our Catholic story;

CGE1c -actively reflects on God’s Word as communicated through the Hebrew and Christian scriptures;

CGE1d -develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good;

CGE1e -speaks the language of life... “recognizing that life is an unearned gift and that a person entrusted with life does not own it but that one is called to protect and cherish it.” (Witnesses to Faith)

CGE1f -seeks intimacy with God and celebrates communion with God, others and creation through prayer and worship;

CGE1g -understands that one’s purpose or call in life comes from God and strives to discern and live out this call throughout life’s journey;

CGE1h -respects the faith traditions, world religions and the life-journeys of all people of good will;

CGE1i -integrates faith with life;

CGE1j -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. (Witnesses to Faith)

An Effective Communicator who

CGE2a -listens actively and critically to understand and learn in light of gospel values;

CGE2b -reads, understands and uses written materials effectively;

CGE2c -presents information and ideas clearly and honestly and with sensitivity to others;

CGE2d -writes and speaks fluently one or both of Canada’s official languages;

CGE2e -uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life.

A Reflective and Creative Thinker who

CGE3a -recognizes there is more grace in our world than sin and that hope is essential in facing all challenges;

CGE3b -creates, adapts, evaluates new ideas in light of the common good;

CGE3c -thinks reflectively and creatively to evaluate situations and solve problems;

CGE3d -makes decisions in light of gospel values with an informed moral conscience;

CGE3e -adopts a holistic approach to life by integrating learning from various subject areas and experience;

CGE3f -examines, evaluates and applies knowledge of interdependent systems (physical, political, ethical, socio-economic and ecological) for the development of a just and compassionate society.

A Self-Directed, Responsible, Life Long Learner who

CGE4a -demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;

CGE4b -demonstrates flexibility and adaptability;

CGE4c -takes initiative and demonstrates Christian leadership;

CGE4d -responds to, manages and constructively influences change in a discerning manner;

CGE4e -sets appropriate goals and priorities in school, work and personal life;

CGE4f -applies effective communication, decision-making, problem-solving, time and resource management skills;

CGE4g -examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities;

CGE4h -participates in leisure and fitness activities for a balanced and healthy lifestyle.

A Collaborative Contributor who

CGE5a -works effectively as an interdependent team member;

CGE5b -thinks critically about the meaning and purpose of work;

CGE5c -develops one’s God-given potential and makes a meaningful contribution to society;

CGE5d -finds meaning, dignity, fulfillment and vocation in work which contributes to the common good;

CGE5e -respects the rights, responsibilities and contributions of self and others;

CGE5f -exercises Christian leadership in the achievement of individual and group goals;

CGE5g -achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;

CGE5h -applies skills for employability, self-employment and entrepreneurship relative to Christian vocation.

A Caring Family Member who

CGE6a -relates to family members in a loving, compassionate and respectful manner;

CGE6b -recognizes human intimacy and sexuality as God given gifts, to be used as the creator intended;

CGE6c -values and honours the important role of the family in society;

CGE6d -values and nurtures opportunities for family prayer;

CGE6e -ministers to the family, school, parish, and wider community through service.

A Responsible Citizen who

CGE7a -acts morally and legally as a person formed in Catholic traditions;

CGE7b -accepts accountability for one’s own actions;

CGE7c -seeks and grants forgiveness;

CGE7d -promotes the sacredness of life;

CGE7e -witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society;

CGE7f -respects and affirms the diversity and interdependence of the world’s peoples and cultures;

CGE7g -respects and understands the history, cultural heritage and pluralism of today’s contemporary society;

CGE7h -exercises the rights and responsibilities of Canadian citizenship;

CGE7i -respects the environment and uses resources wisely;

CGE7j -contributes to the common good.

Unit 2 | Unit 3 | Course Profiles Main Menu

Acknowledgments

Prerequisite: Dramatic Arts, Grade 9 or 10, Open

Course Description

How This Course Supports the Ontario Catholic School Graduate Expectations

Course Notes

General Time Frames

Course Organization and Progression

Teacher Preparation

Appendix Organizer

General Notes

Key Framing Questions

Student Portfolio

Teacher Responsibilities

Health and Safety

Units: Title and Time

Unit Overviews

Unit 1: Reaching Within

Unit 2: Reaching Out

Unit 3: Reaching Back

Unit 4: Reaching Across

Unit 5: Reaching Beyond

Teaching/Learning Strategies

Assessment & Evaluation of Student Achievement

Accommodations

Resources

Teaching Resources

Websites (General)

Websites (for use with Unit 2)

OSS Considerations

Appendix CO1

Dramatic Arts, University/College (ADA3M)