Course Profile Dramatic Arts, Grade 11, University/College Preparation, Catholic and Public

Unit 2: Reaching Out

Time: 17 hours

Activity 1 | Activity 2 | Activity 3 | Activity 4

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 facilitates 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 as forms of assessment.

Key questions, which frame this unit, are:

· 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 Synopsis Chart

Activity	Time	Expectations	Assessment	Tasks
1: In the Beginning	4 hours	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	Preparation
2: Method – what method?	5 hours	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	Understanding acting theory
3: I am…?	5 hours	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	Improvising for Understanding
4: Watch me…!	5 hours	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, 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	Performance and Summative Assessment

Activity 1: In the Beginning

Time: 4 hours

Description

This activity examines the development of the actor’s tools: voice, mind and body. Through movement, vocal and relaxation exercises, students prepare for communication with an audience. Students use a portfolio throughout this unit for reflection within an organized framework set by the teacher.

Strand(s) & Learning Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.02 - demonstrate an understanding of various aspects of the elements, principles, and techniques of dramatic arts;

CRV.01 - interpret a variety of roles/characters, using the techniques of character development;

CRV.04 - use technology to develop a drama, or to enhance the communicative power of a drama;

ANV.01 - evaluate each of the steps taken in the process of creating and presenting their dramatic pieces, using appropriate dramatic arts terminology.

Specific Expectations

TH1.01 - describe the process of creating a character (e.g., script analysis, character analysis, experimentation with movement and voice;

TH2.01 - describe the mechanics of voice production;

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;

CR2.02 - demonstrate a working knowledge of all aspects of organization needed to present a drama (e.g., planning, rehearsal scheduling, set preparation);

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);

CR2.07 - use technology effectively (e.g., synthesized music for sound effects, animated slides projected as backgrounds) to convey theme, setting, or time;

AN1.07 - analyse the connections between the theatre, themselves, and society;

AN2.01 - analyse, through journal writing, discussion, and questioning, the significance of what they have gained from their artistic experiences;

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;

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).

Ontario Catholic School Graduate Expectations

See Appendix 2.1.

Prior Knowledge & Skills

· Basic control, concentration, cooperation, and trust within the regular classroom; tableau and mime skills; active listening and collaborative group skills.

Planning Notes

· The warm-up activities in this unit are useful in all units of the course, but have particular relevance to Unit 2. Consideration should be given to incorporating Activity 1 throughout the entire unit, at the opening of each class as appropriate.

· Emphasis is placed upon developing the student’s work toward a presentation for an audience. The activities outlined emphasize the voice, body, and mind of the actor.

· Effective modelling of the first set of activities is essential as they are the building blocks for daily warm-up exercises that are used throughout this unit.

· The strategies outlined for this activity may be enriched or modified at the discretion of the teacher by using the resources listed in the unit appendices. These activities are only the start of a potentially rich exploration of the Learning Expectations related to warm-ups.

· In Strategy 1, the teacher assesses the experience level of the class. Using more sophisticated exercises with students who are ready for them is highly recommended.

· In Strategy 4, write the tongue twisters on the board, or use a handout.

Teaching/Learning Strategies

1. The performer’s warm-up

Part 1: Relaxation

The following warm-ups focus on the body and are only a sample of the large repertoire of activities appropriate at this level. After organizing students in a comfortable area with adequate space around each, the teacher instructs them to stand with their feet shoulder-width apart and continues: “Stretch upward toward the ceiling. Visualize yourself as a rag doll from the waist up, relaxing your upper torso. Flop forward from the waist. Some of you may naturally touch the floor between your feet but the objective of this exercise is to relieve tension from the shoulders and head. Maintain your position, but sway gently side to side. Take a few deep breaths, then gradually return to a full standing position, while visualizing your spinal column returning to a normal upright position, one vertebrae at a time.” A quick way for teachers to assess relaxation is to push gently on the arm of a student and observe their ease of movement.

Part 2: Physicalization

A complete physical warm-up to music is a very energizing way to begin a class, using upbeat, appropriate music to motivate the group. Again, students must be in a comfortable space with adequate room to move. The teacher says to the class: “Start by focusing on the toes of the right foot, tapping them gently to the music. Gradually tap the whole foot to the beat of the music. After you have established the rhythm, bring one leg up straight to the front of the body and bend the leg from the knee down. Rotate the leg from the knee down in one direction and then in the opposite direction. Continue to work toward incorporating the whole leg and moving it to the beat of the music. Repeat the exercise on the left side of the body. Use the same formula to warm up the arms, starting with fingers and working toward the whole arm. Move to the shoulders and neck, gradually building until the whole body is moving to the music.”

Part 3: Using Imagination

Imagination can create interesting warm-up improvisations, to be done without rehearsal or significant use of language. Students:

· are Olympic swimmers, demonstrating their excellent techniques for the backstroke or front crawl.

· are conductors of small choirs, building gradually to leading a great orchestra.

· work at an airport runway or as traffic officers directing aircraft or traffic safely.

· are social justice advocates helping a third-world community build their medical centre.

Note: Teachers should use their own ideas to create variations for the above activity.

Part 4: Storytelling

Students improvise events told by the teacher. Story lines may revolve around:

· An undercover police officer on a secret mission;

· A mother with sixteen children desperately trying to prepare a meal for her hungry children;

· A knight from Medieval times battling his arch enemy (or science fiction warriors in the future);

· A volunteer helping in a community soup kitchen, continuously distracted by the needs of others.

Extension/enrichment: Use music to supplement or replace teacher direction. Students creatively build their own adventures on a similar topic while moving to the music.

. Portfolio: Students use the reflection sheet (Appendix 2.2) and add it to their portfolios, concentrating on identifying areas of strength: (Which exercise within the warm ups did I feel most comfortable doing?) and areas which need improvement (What areas will continue to require further development)? Responses may focus on various aspects of the exercise, such as physicalization, the skills used, or the degree of physicalization necessary for success.

2. Developing and Using Body Awareness

Part 1. Concentration and body control:

In an upright standing position, students lean their bodies flat against the wall. They close their eyes and are fully aware of where their bodies make contact with the wall. Stepping forward, they maintain a straight standing position, imaging the wall still touching them. Following the same format, students attempt this from a sitting position.

The teacher or a partner leads this exercise. Students lie on the floor facing upward. Students tense and then relax one part of their body at a time (e.g., fingers, hands, arms, toes, feet) when instructed by their leader or partner. This exercise could also be done in a standing or sitting position.

Students visualize themselves as marionettes, relaxed from the waist to the head with their arms hanging loosely by their sides. They imagine each limb of their body and their head being controlled by a puppeteer’s strings. Following the instructions of the teacher, or moving to music, students move either as instructed or to the rhythm of the music, one limb at a time, then with a combination of limbs.

Starting from a relaxed standing position, students centre themselves. They gradually lean forward, bending at the waist, shifting their weight to one foot and raising their arms out beside them for balance until they are ready to lift one leg straight out behind them, like an air plane. They try to hold the position, balancing themselves. They attempt this with one foot and then the other.

Part 2: Using the body expressively

Although most individuals acknowledge facial expression as a primary mode of communication, our body language also expresses how we feel. The following activity is done individually, or with one or two others. Silence throughout this mimed exercise is important.

Students mime each of the following situations. They may start either standing or sitting, but must change to another position and move during the scene. The extensions may be used to give students an opportunity to add another layer of meaning to their scene.

· The bus is late, making you late for a job interview. (Extension: it is raining, or very windy.)

· You are very hungry but the class doesn’t end for another 30 minutes. (Extension: your favourite snack food is in your backpack under the desk, and eating in the classroom is not allowed.)

· The class is incredibly long and boring. (Extension: you may be called upon at any moment to put your homework on the board.)

· You open the best present you have ever received. (Extension: you notice a significant flaw in it.)

· You overhear your best friend talk about you. (Extension: you are sitting in church, listening to the homily.)

· Your mother, father, or guardian brags about your great accomplishments. (Extension: some of what they say is based upon a lie you didn’t bother to correct earlier.)

· You need to catch your friend’s attention across the room. (Extension: you are in a Remembrance Day assembly and your teacher may see you.)

. Portfolio: Students continue to complete the reflection sheet.

· To what extent was I able to isolate my body and centre my thoughts during the exercise?

· Do I recognize body language in others when I talk to them?

· How can I become more aware of silent communication or messages from others around me?

3. Preparing the Voice

After focusing on movement and body awareness exercises, the performer now warms up the voice. These activities focus on the basic principles of voice: breathing, enunciation, projection, and inflection. A complete vocal warm up, including breathing exercises is available in the Catholic Grade 10 Open Dramatic Arts Course Profile: Unit 2, pages 16-18, Enriching the Voice. The teacher leads students through a variety of exercises:

Projection

People are loud when they yell or scream but the expression in their voice is lost as a result. Projection involves articulation, focus, and volume.

Articulation: Start by practising to speak the following pairs of voiced and breathed consonants:

· Focus on the feel of the audible ones: p-b, t-d, k-g, s-z, f-v, th-th (voiced), sh-ge (soft) and ch-dg;

· Exaggerate the use of the vowel sounds.

· Slowly, clearly say and repeat tongue twisters (e.g., red leather, yellow leather; a big black bug bit a big black bear and the big black bear bled; rubber baby buggy bumpers; she sells sea shells by the sea shore; papala mamala papala mamala; the tip of the tongue, the teeth, the lips).

Note: Draw students’ attention to the difference between the “b” and “p” sounds, which burst forth from the mouth, the “d”, “t”, “l”, and “n” which are on the tip of the tongue and the “k” and “g” sounds which are felt on the back of the tongue.

Relaxation

· Begin with relaxation of the neck and shoulders. Students must try to avoid tension in the muscles of the neck and throat because it interferes with the clarity of their speech. Check the jaw often to confirm relaxation.

· Chew, at first slowly, then with more effort and speed. Do this repeatedly to ensure a lack of tension.

· Drop the jaw to an open and tension free position (about two fingers wide is acceptable) and say:

lah	lah	lah	lah
lala	lala	lala	lala
lalala	lalala	lalala	lalala

· No breath should escape on the holding of the consonant but the air should explode forward on the release of the tongue.

· Following the pattern for the la sound, practise the other sounds below:

tah	tah	tah	tah
tetete	tetete	tetete	tetete

Do the same exercise using dah and nah.

These sounds press the back of the tongue against the back of the throat: kah, gah.

· The lips are needed for the sounds below. The lips press together and the vowel sounds burst forward with the breath. Practice these sounds using the pattern above: pah, bah, mah.

· Put the vowels and consonants together: MAH, MAW, MOH, MOO, PAH, PAW, POH, POO, BAH, BAW, BOH, BOO, LAH, LAW, LOH, LOO. More detailed descriptions of articulation suggestions are available in books such as Voice and the Actor by Ciceley Berry (see Resources).

Expression: The expression or inflection in one’s voice, along with tempo or speed communicate emotion and meaning. By varying the pitch (how low or high one speaks), one inevitably changes the meaning. To be a successful speaker and retain the attention of the audience, one must vary both the speed and the pitch.

Using the tongue twisters, students practise saying them using varied pitch and tempo.

Assessment & Evaluation of Student Achievement

The portfolio is a major tool for assessing student growth. This activity concludes with a student-led conference based on the assessment and reflection sheet (see Appendix 2.2 – Drama Essentials).

. Portfolio

· The reflection sheet is completed as the activity continues and acts as a guideline for a conference between the student and a peer or the teacher.

· The purpose of the portfolio and reflection sheet is to provide authentic self-assessment and to reflect areas of strength and areas that require further development.

Accommodations

· For physically challenged students, expect the same standard of work but reduce the quantity where necessary. Some students may be working under a great deal of pressure and reducing the workload will help to minimize this pressure without compromising the quality of work expected.

· Adapt the type of activity and level of difficulty expected within a given exercise, according to the student’s IEPS and the level of physical difficulty encountered by the student.

· Always remembering the dignity of the student, establish and use consistent classroom routines.

· Provide opportunities for students to practise self-monitoring with positive reinforcement for effort.

· Establish a private signal to remind the student to stop and think.

· Make frequent eye contact with the class, especially students who may lack self-discipline or personal background in drama.

Resources

Kemp, David. A Different Drummer: An Ideas Book for Drama. McClelland & Stewart Inc., The Canadian Publishers, 1990. ISBN 0771045182

Grote, David. Theatre, Preparation and Performance Revised Edition. Scott, Foresman and Company, 1989. ISBN 0673271900

Berry, Cicely. Voice and the Actor. Macmillan General Reference, A Simon & Schuster Macmillan Company, 1973. ISBN 0020415559

Activity 2: Method – What Method?

Time: 5 hours

Description

Through the exploration of monologues, students utilize an approach for the development of a character. They begin by working through exercises with an “outside-in” approach, followed by the “inside-out” approach. After experimenting with the two methods, they formally learn the theory for each. They continue adding to their portfolio as they analyse their experiences, explore the different approaches, develop their characters, and accumulate pictures to create a repertoire of characters.

Strand(s) & Learning Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - describe various approaches to acting;

THV.02 - demonstrate an understanding of various aspects of the elements, principles, and techniques of dramatic arts;

CRV.01 - interpret a variety of roles/characters, using the techniques of character development;

ANV.01 - evaluate each of the steps taken in the process of creating and presenting their dramatic pieces, using appropriate dramatic arts terminology;

ANV.03 - explain how dramatic arts represent, influence, and contribute to culture and society;

ANV.04 - explain how the study of dramatic arts can foster self-development and global awareness.

Specific Expectations

TH1.01 - describe the process of creating a character (e.g., script analysis, character analysis, experimentation with movement and voice);

TH1.02 - describe acting strategies developed by theatre teachers (e.g., Uta Hagen, Lee Strasberg);

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);

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);

TH2.01 - describe the mechanics of voice production;

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;

CR1.02 - develop the background of a character, using appropriate techniques (e.g., writing-in-role; analysing a character’s motivation and influences);

AN1.05 - demonstrate an ability to review theatre performances given in the school, in the community, or on video;

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;

AN1.08 - analyse stereotypes and prejudices portrayed in plays and assess their impact on the audience;

AN2.01 - analyse, through journal writing, discussion, and questioning, the significance of what they have gained from their artistic experiences;

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.

Ontario Catholic School Graduate Expectations

See Appendix 2.1.

Prior Knowledge & Skills

· Collaborative group skills; basic skills from the Grade 9 and/or 10 Dramatic Arts curriculum; basic elements of drama from Unit 1; trust at the class level must be present to ensure that individual risk taking is supported by the group; the ability to critique and to use it as a positive, constructive tool for dramatic growth.

Planning Notes

· Teachers should plan to incorporate close observation and diagnostic assessment of student’s skills, participation, and active listening.

· Refer to the Grades 9 and 10 Curriculum for Prior Skill development and Assessment/Evaluation tools.

· Strategy 1 refers to the ‘outside-in’ approach and takes approximately 75 minutes.

· Strategy 2 refers to the ‘inside-out’ approach and takes approximately 75 minutes.

· Strategy 3 refers to the development and sustaining of the character for an entire class.

· Strategy 4 refers to the analysis and portfolio work for the whole of Unit 2 and completes this unit.

· The teacher selects the number of exercises within each strategy necessary for students to have an understanding of both approaches.

· The teacher prepares cards/checklists with the character’s external characteristics listed.

· The teacher assembles props/clothing or has students do so prior to this class.

· The teacher chooses the method the class uses to work toward the monologue performance that is the culminating activity for this unit.

· The portfolio is used extensively with the additions of journal entries, character sketches, picture anthology, etc.

· The teacher must be aware of the issues regarding stereotyping and be sensitive to this issue.

Teaching/Learning Strategies

1a. Building a Character from the Outside-In
The teacher distributes one card and one checklist to each student. There are four different types of cards/checklists for distribution, with the following information:

· Card 1: smile a lot, walk tall, look in the mirror, show photos of yourself, ask opinions of yourself, throw your head back often, mention exotic locations you have visited;

· Card 2: move languidly, admire others, be “dreamy” and distant, reminisce, offer travel stories and tips, offer to arrange a holiday, sigh, behave as if you have a delightful secret, use strong imagery, be emotional, take your time;

· Card 3: be loud, with wide eyes, name drop, be high status, laugh a lot, be judgmental, be opinionated, cite obscure films, challenge others, don’t listen to others, be animated;

· Card 4: use big words and complete sentences, be very still when talking, use ‘ummmn’ and ‘ahhhhsss’, be a member of Mensa, do not blink, pause before answering, correct people, take control, maintain eye contact, cite authorities.

Students form pairs, use their cards to explore their characters and create a scene. After playing the scene, the students “name” their character by using a descriptive adjective together with their own first name; i.e. “intelligent Ian”. Students exchange their character card with someone with a different card and form a different pair. After creating a second scene, student A gets the matching checklist for student B’s character to ascertain what characteristics were demonstrated. Student B does the same for student A. Checklists are then handed in to the teacher to be reviewed. The scenes are shared with the class. The teacher then assesses the scenes using the checklists for completeness.

. Portfolio

· What adjustments did you make in your speech, appearance, and attitude?

· Why did you make those adjustments and not others?

· In what ways are these characters all part of the real you?

· How does this help you understand that one’s purpose or call in life comes from God?

1b. Using Properties or Costumes

The teacher leads a brief class discussion on how the clothes we wear change our behaviour. In jeans we behave one way, in “dressup” clothes another way; when wearing a shirt and tie we behave differently than in gym shoes and baggy clothes. The teacher asks students to find an outer garment that changes them physically when walking. The teacher side-coaches: “Discover where and how it changes you. Work with the garment until you’re very familiar with it. Take it off. Now walk around as if you are wearing your garment. Try to find the same physical condition or feeling again. If you lose it, then go back and work with the garment some more until you can safely take it off and have your physical reality changed ‘as if’ you have it on. Once you achieve this, you will no longer need to think about it.” The teacher gives a few minutes to work with this problem, then continues to side-coach: “Choose a partner and create a scene ‘as if’ you are wearing your garment. Where is the scene taking place? Play the scene with your partner.” After giving sufficient time for preparation and playing, each student creates a list which describes how they physically changed, i.e. how they held their head, arms, spine; how they walked, stood, sat; how they talked, their diction, their vocabulary. Their partner reviews the list for how he/she saw the partner in comparison to the feelings of the player. The lists are added to the portfolio or submitted to the teacher. Each scene is then played for the class who assesses the character according to the given list, as well as the following criteria (these criteria could be converted into a rubric):

· engagement with topic

· focus and concentration in character

· listening in character

· degree of realism

· character physicalization

The teacher leads a class discussion reflecting on how the prop/item of clothing helped portray the character and the difficulties which were encountered and how the difficulties were overcome.

Assessment & Evaluation of Student Achievement

· Personal Communication: peer conferencing in the development of their scene, roving conferences as the teacher moves from one group of partners to another.

· Observation: teacher formal/informal observation, student observation using checklist in their groups.

· Reflection: portfolio/response journal, self, peer, and teacher assessment.

· Teacher assessment of the peer checklist for completeness.

· Teacher assessment of the formal sharing of each group.

2a. Building a Character from the Inside-Out

Students A & B improvise working together on a simple job that might be done around the house. Student B simply does the job. Student A, while also trying to do the job, acts as if student B is a. incredibly evil; b. incredibly smart; c. incredibly handsome/beautiful; e. incredibly boring; f. incredibly religious; g. incredibly lovable; h. incredibly rich; i. incredibly dangerous; j. incredibly poor. Student A does not tell student B which one of the above they are imagining. Student A writes a list of the qualities/characteristics they are giving student B to define that character. Student B does not try to guess which type they are nor are they to try and act like a character. The students create the scene. Student B then writes out his/her list of what characteristics they discerned as being portrayed by student A. The lists are submitted to the teacher and the scene is reproduced with the teacher using the lists to assess whether student A has accomplished the task from an audience point of view.

The teacher leads a class discussion reflecting on how their imagination affected the way they reacted to their partner and the kind of character which resulted.

2b. Reversal

Repeat Strategy 2a, but this time imagine that student B is one of the characters listed there. Student B is not to reveal which character s/he is imagining. Student B then writes a list of the qualities or characteristics s/he is giving student A to define that character. Student A does not try to guess which type s/he is nor are does s/he try to act like a character. The scene is then created. Student A writes his/her list of what characteristics s/he discerned as being portrayed by Student B. The lists are given to the teacher and the scene is re-produced with the teacher using the lists to assess whether student B has accomplished the task from an audience point of view.

In pairs, students discuss the following topics for a brief time, then bring the ideas to a whole-class discussion.

· How did the change in your imagination affect the way you tried to deal with your partner?

· What kind of character did you seem to be as a result?

3a. Building a Character by Choosing an Approach
The teacher formally instructs students in the technical aspects of the two approaches they have been exploring. Greater in-depth material is presented, outlining both the external and internal approaches to characterization in Appendix 2.4. If preferred, students could be assigned this as a research project.

3b. Making a selection
Students select one character type explored in Strategy 1a and write an imaginary, detailed biography.

. Portfolio: How does your idea of the character’s personality change as you know more information about him/her?

3c. Using biography
Repeat Strategy 1b, but use the biography of the character you have written as the foundation of the characterization. The biography is submitted to the teacher for assessment.

. Portfolio: In what way does the character vary from type? Is this person unique?

3d. Further development
The teacher assigns students to play the character they have developed in an extended group improvisation. Possible settings include students portraying guests at a wedding, baptism, confirmation, funeral, graduation, or family reunion. Students use whatever minimal costuming they feel is necessary to identify their character. Throughout the extended improvisation, students play the character as clearly as possible. Students are given feedback as the improvisation progresses.

Extension/Enrichment: The teacher joins the improvisation as a character and interacts with as many others as possible.

. Portfolio

· How difficult was this activity?” “Why?

· How well were you able to sustain your character? What factors helped you? What factors hindered you?

4. Analysing Character Development
The teacher leads the class in an extensive discussion about the two strategies and assigns a portfolio entry which consolidates the learning.

What two strategies can you use to help you play a character who is not at all like you? You practised these strategies in Strategy 1 and 2. Did they both work equally well? If not, which one worked better for you? Why? Did you use a combination of the two methods? How did you do this? When was one method more appropriate to use than the other to develop your character? When developing your next character would you use the same strategies or not? What changes would you make?

Assessment & Evaluation of Student Achievement

· Personal Communication: peer conferencing in the development of the scenes, roving conferences as the teacher moves from one group of partners to another.

· Observation: teacher formal/informal observation; student observation using the checklist in their groups; side-coaching is used for feedback during the improvisation process.

· Reflection: portfolio/response journal, self/peer assessment, teacher assessment of the peer/self checklist, the written characterization and/or the sharing of each group. The following criteria might be considered when assessing students’ Learning Skills in this activity:

· answers are complete and responses thoughtful

· commitment to work

· demonstration of insight

· understood the concepts; can extrapolate characterizations using the theories

· self-assessment of characterization.

Accommodations

· Match challenged students and ESL students with students who can act as mentors in the exploration of the character. Character assignments can be tailored to meet the needs of students with an Individual Education Plan.

· Reinforce meaning with both facial expression and hand gestures to assist both ESL students and students in the exploration of characters.

· Provide peer assistance for students with special needs during warm-up, character development activities, and writing.

· Adapt the number of character activities and their level of difficulty to the student’s IEP.

· Allow extra response time in the character exploration for students with special needs, including ESL students.

Activity 3: I am…?

Time: 5 hours

Description

Building on the strategies of Activity 1 and applying the foundations of character development from Activity 2, students prepare to act for an audience. The use of the portfolio continues to be the prime reflective and assessment tool. In Activity 3, the portfolio includes a journal in which students analyse or critique their character development and their acting approach: ‘outside-in’ or ‘inside-out’.

Strand(s) & Learning Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - describe various approaches to acting;

THV.02 - demonstrate an understanding of various aspects of the elements, principles, and techniques of dramatic arts;

CRV.01 - interpret a variety of roles/characters, using the techniques of character development;

CRV.02 - create and present an original or adapted dramatic work;

CRV.03 - identify strategies for audience involvement and response, and incorporate them in the creation and performance of dramatic presentations;

CRV.04 - use technology to develop a drama, or to enhance the communicative power of a drama;

ANV.01 - evaluate each of the steps taken in the process of creating and presenting their dramatic pieces, using appropriate dramatic arts terminology;

ANV.02 - evaluate dramatic performances presented in the school and the community.

Specific Expectations

TH1.01 - describe the process of creating a character (e.g., script analysis, character analysis, experimentation with movement and voice);

TH1.02 - describe acting strategies developed by theatre teachers (e.g., Uta Hagen, Lee Strasberg);

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);

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).

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;

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;

TH2.05 - identify and describe sources of conflict in a play (e.g., power relationships between the protagonists and antagonists);

TH3.01 - describe the functions of primary and secondary sources of information in the development of an original dramatic presentation;

CR1.01 - create the inner and outer life of a character, using a variety of strategies (e.g., improvisation, research, textual analysis);

CR1.02 - develop the background of a character, using appropriate techniques (e.g., writing in role; analysing a character’s motivation and influences);

CR1.03 - reinterpret roles in rehearsal and performance, demonstrating insight into the characters;

CR2.02 - demonstrate a working knowledge of all aspects of organization needed to present a drama (e.g., planning, rehearsal scheduling, set preparation);

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);

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;

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);

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);

CR2.07 - use technology effectively (e.g., synthesized music for sound effects, animated slides projected as backgrounds) to convey theme, setting, or time;

AN1.01 - evaluate their dramatic presentations, using specific criteria;

AN1.02 - identify and evaluate their personal artistic strengths and weaknesses;

AN1.04 - justify their artistic choices of elements, principles, and techniques in their dramatic presentations;

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;

AN1.08 - analyse stereotypes and prejudices portrayed in plays and assess their impact on the audience;

AN2.01 - analyse, through journal writing, discussion, and questioning, the significance of what they have gained from their artistic experiences;

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;

Ontario Catholic School Graduate Expectations

See Appendix 2.1.

Prior Knowledge & Skills

· The ability to reflect on their own work and that of their peers as a positive tool to foster dramatic growth within all class members; the four basic skills of dramatic arts: cooperation, concentration, control, and trust.

Planning Notes

· Teachers continue to use the vocal and physical warm ups started in Activity 1. Student leaders could be used to bring creativity to the warm-up exercises. A variety of music, appropriate to the activity screened by the teacher prior to use, and provided by class members, keeps the focus fresh.

· The teacher chooses a variety of brief monologues for distribution to the students. The choice of monologues and themes should enhance the dignity of students and build self-esteem in the individual.

· Resources outlined at the end of this unit give suggestions for appropriate monologues for students.

· Monologues should be given 150-200 minutes of rehearsal time. Strategy 3 requires additional time for script development. The teacher adjusts timelines in Strategy 3 according to the needs of students. Additional time may be needed by students to write, edit, and reflect on their monologues.

· The teacher must be sensitive to the background of individual students within the class when creating monologues.

Teaching/Learning Strategies

1. Each of the strategies outlined below focuses on the concept of monologue. Students apply their knowledge of different acting strategies directly to a written script. Although each strategy is unique, the pattern for exploring the monologues follows a similar format. Teachers should use Exercises to Develop Characterization in conjunction with the teaching strategies.

2. The following exercises should be incorporated into the strategy chosen by the teacher for the monologues.

Exercises to Develop Characterization (to be used in conjunction with Strategies 1, 2, and 3)

The teacher’s function during this rehearsal process is to focus students through a variety of exploratory exercises. Students critique their acting approach and its effectiveness in achieving believability within their characterization. Although monologue strategies vary, similar exercises are used to help students develop their character. Divide the class according to the ‘outside-in’ or ‘inside-out’ acting approach chosen the previous day for their monologue. Students apply the exercises to their script.

Outside-In

· Using the prop or costume for the monologue character, students explore the reactions of the character within realistic situations: walking down the street and having an ambulance race past, finding a bug in their food, winning a contest prize, being alone in a building late at night.

· Using props (e.g., table, chairs, dishes, handcuffs) and working in partners, students transfer the personality of their monologue character into a variety of different settings: eating in a restaurant, buying an item in a store or shop, visiting someone in a hospital, out on the street late at night, or arrested by a police officer.

· Writing-in-role is used after the student has improvised situations involving the monologue character. Initial exterior exploration of role allows students time to develop character and prepare to understand the feelings that may evolve through movement and discussion with other actors. Students may wish to write a letter to a loved one, a diary entry of a difficult experience, a shopping list.

· Write a continuation or extension of the monologue or the scene immediately prior to the monologue.

Inside-Out

· Students explore character through writing-in-role: a letter to a loved one, a diary entry of a difficult experience, a shopping list.

· Write a continuation or extension of the monologue or the scene immediately prior to the monologue.

· Working in partners, students transfer the personality of their monologue character to a variety of different settings: eating in a restaurant, buying an item in a store or shop, visiting someone in a hospital, out on the street late at night, or arrested by a police officer.

· Working independently, students explore their monologue character within realistic situations: walking down the street and having an ambulance race past, finding a bug in their food, winning a contest prize, being alone in a building late at night.

Students should be challenged to explore the other approach to acting. The teacher could direct students to attempt one of the exercises using the opposing method.

3. The teacher chooses ONE of the following strategies to introduce performance through monologue.

The Basic Monologue

A monologue is a memorized speech done by an actor alone on the stage. It is often used as an audition piece in professional theatre.

Assignment Overview: The student prepares a monologue as a finished product for an audience of peers within the class. The monologue is performed in character as if it were a scene from a play.

Students are assigned their monologue by the teacher. The Monologue Rubric (Appendix 2.3) is distributed or the teacher and students develop it together. Class time is given for students to read their scripts silently and then aloud, possibly with a partner. The teacher uses the reading time to assist students who are experiencing difficulties with context vocabulary and general understanding.

Class discussion: Class time is spent exploring the following questions: What characteristics or qualities do you read in your character from the monologue? Which acting approach will help you to create a more realistic character for the audience?

· Answer: - if ‘outside-in’ approach.... What prop or item of clothing might you choose to help you find the character?

· Answer: - if ‘inside-out’ approach.... Can you relate to the emotions expressed by the character? Have you met him or her before?

Students share in small groups the acting approach they feel most comfortable using and are reaffirmed that every actor chooses the style that best suits him/her. Students rehearse their monologues, either with or without a prop and with or without a partner. Performance happens in a small group setting, with feedback given through the use of the Monologue Rubric (Appendix 2.3)

Theme-based Monologues

Using a similar theme or topic as the core of the class monologues, students act for an audience. After choosing themes based around the human condition (e.g., love, faith, family, homelessness, freedom, independence, or friendship), the teacher groups students according to the appropriateness of the monologues and the number of scripts available to create a theme cohesively.

Assignment Overview: The student prepares a monologue as a finished product for an audience of peers within the class. The monologue is performed in character as if it were a scene from a play.

Students are given their monologues by the teacher. The Monologue Rubric (Appendix 2.3) is distributed or the teacher and students develop it together. Additional time for coordination of staging and timing is necessary near the performance phase to ensure cohesion within the thematic group. Time should be given for students to read their scripts silently and then aloud to a partner. The teacher encourages students to ask questions about content, vocabulary, and other issues.

Class discussion: Class time is spent exploring the following questions: What characteristics or qualities do you read in your character from the monologue? Which acting approach will help you to create a more realistic character for the audience?

· Answer: -if ‘outside-in’ approach ... What prop, item of clothing or physical position might you choose to help you find the character?

· Answer: - if ‘inside-out’ approach .... Can you relate to the emotions expressed by the character?” “Have you felt them before?

Students share within a group which acting approach they feel most comfortable using and it is reaffirmed that every actor chooses the style that best suits him/her. Students rehearse their monologues, either with or without a prop and with or without a partner. Performance happens in a small group setting, with feedback given through the use of the Monologue Rubric (Appendix 2.3)

3. Creating Monologues

Using a similar theme or topic, each student writes his or her monologue. Students utilize the same dramatic technique to create a script as explored in Unit 1, which focused on the human condition or relevant social justice issues. The teacher uses one of the following ideas (or many others) as a theme:

· use the same theme as explored in Unit 1 and apply the understanding of character development to help students create realistic monologues surrounding their topic;

· students may need variation in topic and need to follow the drama structure format to explore a new theme surrounding a human condition or relevant social justice issue (e.g., love, faith, family, freedom, independence or friendship);

· students choose a new theme based on biblical stories. Following the drama structure format established in Unit 1, students base their monologues around one story (e.g., The Immaculate Conception: students can develop the role of Mary, exploring her reality and the repercussions of her choices. What were Joseph’s feelings about Mary having this baby? Other possibilities could be the story of Noah’s Ark, Moses as prophet, or the Crucifixion.). Another approach is the examination of biblical accounts, from the perspective of the writer or the comparison of gospel accounts within the New Testament.

This approach requires additional time to allow students to explore a new theme, as well as to write and edit their own scripts.

Assignment Overview: The student prepares a monologue as a finished product for an audience of peers within the class. The monologue is performed in character as if it were a scene from a play.

4. The Monologue Rubric (Appendix 2.3) is distributed or the teacher and students develop it together. Additional time for co-ordination of staging and timing is necessary near the performance time to ensure cohesion within the thematic group. Time is given for students to revisit the drama structure approach in order to either process their old theme or to explore a new topic or biblical story.

5. Class discussion: Class time is spent exploring the following questions: What characteristics or qualities are evident when I improvise this person? What is my relationship to the other characters on the stage? Does my character bring prejudice or any other sort of misunderstanding to this situation? Am I being truthful to the role, without stereotyping? Which acting approach will allow me to create a more realistic character for the audience?

· Answer: -if ‘outside-in’ approach.... ”What prop, item of clothing, physical position, or vocal qualities might you choose to help you find the character?”

· Answer: -if ‘inside-out’ approach… “Can you relate to the emotions expressed by the character? Have you met them before? How does the character deal with them?”

6. Students share within a small group which acting approach they feel most comfortable using and are reaffirmed that every actor chooses the style that best suits him/her. The group members help each through analysis of the monologue and positive critiquing of the rehearsal performance.

7. Peer Reflection: Prior to completion of this activity and before each performance, each monologue is peer critiqued.

1. Working in pairs, students perform their monologue for one member of the class.

2. Formative assessment of the presentation is completed in the form of a verbal discussion, focusing on each individual’s strengths and weaknesses.

3. Each student reflects on the suggestions of their peer through a journal entry.

Assessment & Evaluation of Student Achievement

· Journal/portfolio entries to reflect on character development.

· Directed assignments, such as writing-in-role are assessed for accuracy and believability.

· Teacher observation checklist (Appendix 2.5). This form of assessment could be modified to become a student or peer directed observation checklist.

· Use of the monologue rubric (Appendix 2.3) or one created by the class establishes clear expectations for students. The teacher outlines the method of summative evaluation prior to the performance.

. Portfolio

· Which approach to acting worked most effectively for me?

· Would I use the same approach next time or try something different?

· Can I be more like Christ and accept the differences in others?

· Will I be able to demonstrate more sympathy and understanding of my neighbour after exploring the life of another?

Accommodations

· Allow additional time where necessary, for completion of reading activities.

· Read aloud to students and/or encourage the use of peer tutors to read to students

· Provide oral discussion prior to writing.

· Provide peer assistance for students with special needs if necessary during warm-up, main activities, and writing.

· Adapt the time-line for the monologue rehearsal needed and the level of difficulty according to the student’s IEP.

· Arrange for remedial opportunities with the Special Education Department when assembling the monologue piece.

· Have students audio tape their draft writing or as an alternative to support journal writing.

· Encourage students to review weekly, to the teacher or a peer, the completeness of notebooks.

· Provide print copy of board notes, if necessary (e.g., photocopy of teacher or peer’s notes).

Resources

Books

Boal, Augusto. Theatre of the Oppressed. Theatre Communications Group, 1985. ISBN 0930452496

Cameron, Ron. Acting Skills for Life. Simon & Pierre, 1999. ISBN 0889241953

Cohen, Robert. Theatre. Mayfield Publishing Co., 1988. ISBN 0874847566C

Easty, Edward Dwight. On Method Acting. Ballantine Books, 1991. ISBN 0804105227

Ellis, Roger. Scenes & Monologues from the best new plays. Meriwether Pub. Ltd., 1992.
ISBN 0916260933.

Fairbanks, Stephanie. Spotlight Scenes for Student Actors. Meriwether Pub. Ltd., 1996.
ISBN 1566080207

Hamill, Tony, ed. The Perfect Piece: Monologues from Canadian Plays. Playwrights Canada Press (PLCN), 1991. ISBN 0887544983.

Hamill, Tony, ed. Another Perfect Piece: More Monologues from Canadian Plays. Playwrights Canada Press (PLCN), 1999 ISBN 0887545424

Kennedy, Brian, ed. Two for the Show: Scenes for Student Actors. Playwrights Canada Press, 1999.
ISBN 0887545424

Lundy, Charles and Booth, David. Interpretation: Working with Scripts. Harcourt Brace Jovanovich, 1983. ISBN 0774712104

Novelly, Maria. Theatre Games for the Young Performers. Meriwether Pub. Ltd., 1985.
ISBN 0916260313

Orlin Johnson, Kevin. Expressions of Catholic Faith. NY: Vallantine Books, 1994 ISBN 0345381165

Perkins, Heme. Reading the New Testament. NY: Paulist Press, 1988. ISBN 0809129396

Scanner, Harry H. Stage & School, 7th ed. McGraw Hill, Inc., 1989. ISBN 0070551456

Smillie, Ruth and Kelly Murphy (CAN). Story Circles. Saskatchewan Teachers’ Federation (STF) 1986. Order no. S111.5

Spolin, Viola. Theatre Games for the Classroom. Northwestern University Press, 1986.
ISBN 0810140047

Swartz, Larry. Classroom Events Through Poetry. Pembroke Publishers. ISBN 1551380080

Trafford, Larry. Educating the Soul. Institute for Catholic Education, 1998.

Wansbraugh, Henry, ed. The New Jerusalem Bible. Doubleday, New York, 1990.

Websites

African Canadian Playwrights Festival – http://www.africanadian.com

Catholic Encyclopedia – http://www.newadvent.org/cathen

National Conference of Catholic Bishops – http://www.nccbuscc.org

Course Profiles

Dramatic Arts Grade 9 Open – http://www.curriculum.org

Dramatic Arts Grade 10 Open – http://www.curriculum.org

Activity 4: Watch Me…!

Time: 5 hours

Description

Students perform their monologues, using either the “outside-in” approach, or the “inside-out” approach. They analyse all the monologues through peer assessment and continue adding to their portfolio as they analyse their own experiences, examine the different approaches, perform their developed characters, and continue to accumulate pictures to create an ongoing repertoire of characters.

Strand(s) & Learning Expectations

Strand(s): Theory, Creation, Analysis

Overall Expectations

THV.01 - describe various approaches to acting;

THV.02 - demonstrate an understanding of various aspects of the elements, principles, and techniques of dramatic arts;

CRV.01 - interpret a variety of roles/characters, using the techniques of character development;

CRV.02 - create and present an original or adapted dramatic work;

CRV.03 - identify strategies for audience involvement and response, and incorporate them in the creation and performance of dramatic presentations;

CRV.04 - use technology to develop a drama, or to enhance the communicative power of a drama;

ANV.01 - evaluate each of the steps taken in the process of creating and presenting their dramatic pieces, using appropriate dramatic arts terminology;

ANV.02 - evaluate dramatic performances presented in the school and the community;

ANV.03 - explain how dramatic arts represent, influence, and contribute to culture and society;

ANV.04 - explain how the study of dramatic arts can foster self-development and global awareness.

Specific Expectations

TH1.01 - describe the process of creating a character (e.g., script analysis, character analysis, experimentation with movement and voice);

TH1.02 - describe acting strategies developed by theatre teachers (e.g., Uta Hagen, Lee Strasberg);

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);

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);

TH2.01 - describe the mechanics of voice production;

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;

CR2.02 - demonstrate a working knowledge of all aspects of organization needed to present a drama (e.g., planning, rehearsal scheduling, set preparation);

CR2.03 - demonstrate a working knowledge of all aspects of organization needed to present a drama (e.g., planning, rehearsal scheduling, set preparation);