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

Unit 3: Reaching Back

Time: 27 hours

Activity 1 | Activity 2 | Activity 3 | Activity 4

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 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.

Key questions, which frame this unit, are:

· How does modern theatre reflect the universal human condition?

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

· How does one become an appreciative audience member?

Unit Synopsis Chart

Activity	Time	Expectations	Assessment	Tasks
1: Exploring Within and Beyond Text	8 hours	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	Examine and define symbol, theme, character development
2: Preparation and Interpretation of Text	11 hours	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, AN1.04 CGE2a, 2b, 2c, 3b, 3c, 4a, 4b, 4c, 4f, 5a, 5b, 5e, 5f, 5g, 7j	Knowledge/ Understanding Thinking/Inquiry Application Communication	Creating and Rehearsing
3: Performing the Text	9 hours	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, AN2.03 CGE2a, 2e, 3c, 3f, 4f, 4g, 5b, 5d, 5e, 5g, 5h	Knowledge/ Understanding Thinking/Inquiry Application Communication	Performing and Analysing
4: The Early 20th-Century Context	2 hours	THV.03, ANV03 CGE2a, 2b, 3c, 3d, 3f, 4c, 4e, 4f, 4g, 5b, 5e	Communication	Begin research of early 20th-century plays

Activity 1: Exploring Within and Beyond Text

Time: 8 hours

Description

Students use developmental drama to “unpack” the definitions of symbol and theme. Both developmental drama and written analysis are used to develop character using early 20th century scripts as source.

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;

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

Specific Expectations

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

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);

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;

CR1.04 - apply appropriate voice and movement techniques in rehearsal and performance;

CR1.05 - create an original or adapted dramatic presentation, using a variety of strategies (e.g., research, improvisation, workshop techniques);

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

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

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.

Prior Knowledge & Skills

· Ability to work collaboratively; to imaginatively explore character and role; to apply various acting techniques from Unit 2 (method, inside/out, outside/in, etc.).

Planning Notes

· The symbols, themes, and characters “unpacked” in Strategies 1-10 should be from the play selected by the teacher to represent the early 20th century. The process of “unpacking” means reserving the use of the terms “symbol” and “theme” until students have discovered their meaning.

· The teacher must observe class participation, active listening, contribution, and interpretive skills.

· Some exercises may prove more useful than others for a particular group of students, and more time may be spent on them than on others.

· The thematic thread begun in the drama structure work in Unit 1 should be continued in Unit 3 with the selection of a play which explores the same or similar themes.

· The teacher should consider scenes from a variety of early 20th-century plays; A Doll’s House is used here only as a model. Many other plays from a wide variety of cultures may be as appropriate for the activities of this unit. If another is chosen, the teacher should make adjustments as appropriate to the suggested culminating activity of Unit 5.

· Teachers using A Doll’s House must be prepared to deal with issues of gender bias and should be aware of their own language and student responses when dealing with the play.

· Reading the complete play chosen is not necessary for the use of these strategies or fulfillment of the expectations covered in this unit, but it is recommended. Strategy 5 provides the necessary framework. A video of the play chosen may be shared at the conclusion of Activity 3 or the beginning of Activity 4. Teachers must comply with copyright regulations when using videos.

· Approximately 5 of the 8 hours suggested for this unit should be spent in Activities 5-10.

Teaching/Learning Strategies

1. Responding to Symbol
Students brainstorm responses to one or more concrete or suggested objects which have been selected by the teacher because of their use in the selected play. For example, using A Doll’s House: What does a dollhouse or the sound of a door slamming or a songbird or an unopened letter suggest to you? Imagine the roles of people for whom this object may have significance?

Selected responses are made concrete by the means of tableaux, which are shared with the class. A variety of responses to the tableaux are elicited by framing questions. For example,

· What seems to be the significance of the object to the character?

· By what means did the actors demonstrate the character’s relationship to the object? (e.g., facial expression, proximity)

· What possible situations might the tableaux represent?

· What conflicts are evident in the tableaux?

2. Context-Building
To deepen the context, teachers utilize the Still Image convention of exploring a contrasting image. Tableaux are shared once more to provide the opportunity for thought tracking.

Students reflect through discussion:

· How did your understanding of the relationship change? Why?

· What is the meaning of that object in the situation presented by this tableau?

· What role does perspective play in interpreting the meaning/significance of an object?

3. Defining and Deepening the Use of Symbols
After being introduced to the specific and universal significance of the object, students are introduced to the term symbol and given the definition: A symbol is a concrete object which represents a concept.

Neelands’ explication of symbol is also informative: “The importance of symbols lies in their capacity to go on generating further and deeper meanings as the drama develops and also in their capacity to serve as reference points or motifs which bind the various stages of the development of the drama” (Neelands, p. 68).

Students revisit the objects from Strategy 1 to apply this definition in the oral and/or written identification of symbol within the context of the tableaux. To explore the development of symbol, students use their initial tableau as a central moment, then create “before” and “after” tableaux. For example, what happens if the songbird becomes “caged”, or if those who expect the girl to play with the dollhouse still expect the woman she becomes to play with the dollhouse?

Reflect upon/discuss these tableaux series: How have the conflicts identified in Strategy 1 changed or become more complicated?

Extension/Enrichment: Revisit Strategy 2 (thought tracking, etc.) and apply the new material developed in Strategy 3.

4. Identifying Theme
Students link their three tableaux with action and dialogue and share the resulting scenes. Students are asked, “What is the drama about?” Redirect responses such as, “It’s about these characters who…”, because such answers are really about plot. Framing questions might include:

· Having identified the conflict in Strategy 1, what is the conflict about?

· How can we translate this into an idea or issue?

· What point is being made about his idea?

The teacher encourages students to be as specific as possible in identifying and discussing the characters’ points of conflict.

The teacher writes the issues identified by each group on the board to help focus the next task. The teacher asks “How might we combine these specific issues into a single, larger idea?” Using this larger issue, the class creates a still image using a minimum of characters (up to three) to crystallize the idea. The students join the still image one at a time, building a more complex image which represents the various contexts surrounding the core image.

. Portfolio or whole group discussion:

· How have the issues originally represented in the tableaux series been changed, deepened, or extended by means of this group image?

· How have the original symbols been used in ways which promote a new understanding of the general issue?

· What atmosphere has been created a) as a whole? b) in the various surrounding images?

· How does the general issue apply to people and to life apart from their drama?

Debrief/define:
The teacher asks “What might the play be about?”, and directs the resulting discussion to an awareness and understanding that the answers to the question focus on theme – what idea or issue the drama is about, and the point being made about this idea. A conflict is about something specific, but it is also general – something that applies to people and life apart from the play as well – or else the play would not hold the audience’s interest. That general issue is the theme, even if the characters rarely, if ever, discuss it. Most plays have one major theme and several related, minor themes. A theme is not the same as a moral. Plays with a moral try to make a point from which the audience is expected to learn, for example, “you get what you deserve.” Many plays reveal several sides of a theme, showing a complex world in which a simple moral could not apply. A moral always has a theme, but a theme does not always result in a moral.

5. Character Development through Textual Cues
The teacher selects key scenes from the representative script. These scenes should be selected based on their development of symbols, themes, and conflict. The number of scenes selected and the number of characters to be included in these scenes depend of the size of the class. Students read the text assigned to their group and discuss:

· Where and when does this take place? (setting)

· What is happening in the scene? (plot, action)

· How do the characters relate to one another in this scene? (characterization)

· What are the conflicts in this scene? (dramatic tension)

After discussing each question, each group creates a tableau of the key moment in the scene. Tableaux are shared in order to develop the skeleton of the story they will explore within this play, and the context of their scene within the play as a whole. The teacher leads the class to establish the answer to the questions above, discussing the changing relationships of characters throughout the tableaux series and identifying the conflicts evident in the play. Students transfer this information to their portfolio.

6. Intention, Objective, and Goal (Grote, pp. 68-70)
The teacher asks a student to volunteer to tell the story of Goldilocks to the class. The teacher writes on the board the words “intention, objective, goal”. The teacher asks students to explain Goldilocks’ choices in relation to the meaning of the words; what she chooses to do is based on what she wants.

· What the character wishes to accomplish immediately is the intention (e.g., Goldilocks wants to eat the porridge).

· What the character wants to happen next is the objective and can be expressed with the preface “I want…” (e.g., I want to stop feeling hungry).

· What the character wants from the action of the play is her goal (e.g., in investigating porridge, chairs, and bed, Goldilocks, through various objectives, reveals the goal of wanting to be comfortable).

Students examine the intentions, objectives, goals and obstacles, for the character in the scene assigned.

. Portfolio: Intention, Objective, and Goals:

· What does your character want in this scene?

· What is your character’s motivation for doing what he or she wants?

· What obstacles stand in his or her way?

· What happens when your character confronts these obstacles?

7. Character Development from Subtextual Cues
Groups recreate the tableaux created in Strategy 5. Thought-tracking provides interior thoughts of each character as the teacher “taps in”. Students create a contrasting still image which reveals these interior thought physically. Tableau 1 is revisited to incorporate the subconscious physically through proximity, level, symbols, and other creative means.

. Portfolio: A bird’s eye view diagram and/or frontal (stick person) drawing of this refined tableau is completed in the student’s Portfolio, along with an explanation. Groups title the tableau.

8. Character Development from Developmental Drama Techniques:
Depending on the class, the play/scenes chosen, and the needs of students, the teacher introduces developmental drama techniques which will “flesh out” the characters. Students explore more than their own character, and gain insight from other students working with their character. These techniques (from Neelands and others) include: role play, improvisation, role on the wall, writing-in-role, still image, overheard conversation, interviews, telephone/radio conversation, a day in the life, hotseating, meetings, forum theatre, re-enactment, prepared roles, marking the moment, voices in the head, giving witness, this way/that way, gestalt.

9 Put It All Together: the Tridimensional Character Sketch
. Portfolio: Based on the components of a tridimensional sketch (Appendix 3.1 see CODE website – http://www.code.on.ca) and based on exploration of character in Strategies 5-9, students complete a tridimensional character sketch.

10. Character Into Action

Using the “actioning formula” (Cameron, p. 213-219), students work from the scene to translate the lines of the text into a series of active verbs. This process enables students to understand the feelings behind the words. Specifically, students examine each line of the script and reduce it to the pronoun “I” plus a particular active verb. For example,

Nora: You want to speak to me? (I struggle for composure)

Krogstad: Yes. (I demand)

Nora: Today? But it’s not the first of the month yet. (I stall)

Krogstad: No, it is Christmas Eve. Whether or not you have a merry Christmas depends on you. (I threaten)

Assessment & Evaluation of Student Achievement

· Appendix 3.4 – Exploring Within and Beyond the Text: an Observation Checklist

· Teacher observation for formative assessment and feedback to students is ongoing; students’ written work is assembled in the Portfolio for assessment and conferencing.

Accommodations

In consultation with Special Education Specialists and the Student Services Department, and with reference to students’ IEPs, the teacher may use some of the following learning accommodations:

· providing direct instruction for areas of reading needs;

· adapting suggested texts to students’ reading levels;

· teaching the meaning of words specific to the text;

· encouraging oral discussion prior to and after reading;

· allowing additional time where necessary for completion of reading and writing activities;

· reading aloud to students and/or encouraging the use of peer tutors to read or scribe for students;

· using the computer for word processing, proofreading, and editing;

· allowing opportunities for collaborative writing;

· encouraging students to read their work aloud or on tape to help with self-editing;

· providing extra time for students to process spoken responses.

Resources

Grote, David. Theatre: Preparation and Performance. Glenview, Illinois: Scott, Foresman and Company, 1989. ISBN 0673271900

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

Egri, Lajos. The Art of Dramatic Writing. New York: Simon & Schuster Inc., 1946. ISBN 0671213326

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

Appendices

Appendix 3.1 (see CODE website – http://www.code.on.ca)

Appendix 3.4 – Exploring Within and Beyond the Text: an Observation Checklist

Activity 2: Preparation and Interpretation of Text

Time: 11 hours

Description

Students explore the text of the scenes selected in Activity 1. Using a developmental drama approach, students explore the actions and interactions that develop the scene. They apply the acting techniques developed in Unit 2 to explore further and enhance their scene and character. At the end of this activity, students complete the ‘Rehearsal Hall’ preparation of their scenes. They develop their character, blocking, voice, etc and memorize their dialogue.

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

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);

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);

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);

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;

CR1.04 - apply appropriate voice and movement techniques in rehearsal and performance;

CR1.06 - create a working script for production, using a variety of strategies (e.g., improvisation, revision of drafts, experimentation with time and place);

CR2.01 - interpret and present a dramatic text from the turn of the twentieth century;

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);

CR2.05 - 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);

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

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

Prior Knowledge & Skills

· Ability to work collaboratively as part of ensemble; to manage time and create a rehearsal schedule; to memorize script; to creatively use voice and movement; to use various acting techniques (e.g., Method, Outside/In & Inside/Out, etc.); to imaginatively explore character and role play; to use elements of creative drama to develop a collaborative, creative group (e.g., Trust, Awareness, Relaxation, Concentration, Physical Warm-ups, etc.); an understanding and application of theatre terminology.

Planning Notes

· Teachers should adapt the activities to reflect resources and constraints of their particular classrooms.

· An extensive explanation of possible developmental drama activities is contained in Neelands’ Structuring Drama Work. Teachers should consult it for specific suggestions.

· Creative movement, voice, role play, and acting techniques have been taught in Unit 2, as well as in Grades 9 and 10. However, a review of some of the main concepts may be necessary.

· Teachers may need to review basic theatre terms with the class. These terms should be used extensively in the context of this unit.

· See the website for CODE (Council of Drama and Dance in Education – http://www.code.on.ca) for further resources for this activity.

Teaching/Learning Strategies

1. Students started to analyse their character and the scene at the end of Activity 1. The aim of the following activities is to deepen their understanding of the characters within the context of the scene. In addition, students now develop an understanding and appreciation of ‘ensemble’ through the ‘rehearsal hall’ process.

2. Teachers should use drama exercises to develop a creative and collaborative atmosphere among the casts of the assigned scenes. These should be explored within the group, rather than in the full class. That may mean sectioning the working space, using ‘break-out’ spaces, or staggering the activities. Select these exercises with a deliberate goal in mind, related either to the creation of ensemble or the development of an appropriate rehearsal atmosphere. Creating additional exercises that students can use to ‘tune up’ for their later ensemble rehearsals is vital for developing a creative ensemble. Helpful resources are cited below.

3. Teachers should also introduce students to developmental drama approaches to enrich the rehearsal process. Listed below are several key strategies. Again, resources are cited; Neelands is particularly useful. These strategies are not listed in any particular order, nor is it an exhaustive list; the headings are descriptive, not prescriptive. The teacher can gauge best how and when these exercises can benefit the rehearsal process and introduce them as tools that the ensembles may wish to use to enrich the rehearsal process. Add freely to these.

4. As the unit progresses, students create an Actor’s Promptbook. This allows the players to make specific script notations concerning their role, as well as marking both text and subtext cues. This promotes creative deconstruction and reconstruction of the text. They should always have their promptbook and a sharp pencil with them even when ‘off book’. They can add and revise margin notes as they explore and develop their character and the text.

Character Exploration Strategies

Writing-in-Role. Players compile a personal diary, or write a letter in their character’s voice. They share these aloud with their group or with a partner.

Hotseating. Students, in role, answer questions posed by other members of the ensemble. They must answer them imaginatively and truthfully. They must remain true to the textual facts, but can create subtext by imaginatively adding personal information and reflection that takes them beyond the text, yet fits their vision.

Round Tabling. Students in role improvise a conversation with the other characters from their scene. This may be directly linked to the events of the scene, or can reflect a totally different time and place shared by these same characters.

A Day in the Life. Players in role improvise the actions prior to or following the scene. Working backwards and projecting forward allows the players to add complexity to their scenes, creating subtext.

Voices in the Head. Students explore their character’s motivations and create subtext by verbalizing the thoughts of their character in the scene situations. Other members of the ensemble also offer ‘thoughts’ by tapping the player on the shoulder, and offering a ‘thought’. Variation: In Running the Gauntlet or an Advice Line, students move down a corridor of their peers while ‘hearing’ their subconscious thoughts. Their peers whisper the thoughts or advice they feel would be appropriate at the time.

Script Analysis Strategies

News Report. A media news report is written individually or collaboratively to explore the various events of the scene. This reveals the different perspectives and looks into the events leading up to the scene. These reports may be newspaper, radio, or television news. Investigative journalism should be encouraged and various styles explored: national daily, news magazine, national evening report, print or television tabloid.

Story Boarding. The scene is depicted by a series of captioned key scenes drawn freehand, or developed in collage. This technique is borrowed from film and video and helps the group to identify the key moments in their scene. The captions and headlines should use strong verbs to suggest actions and emotions.

Naming Moments. The group collaboratively identifies key moments in the script and names them. They can be imaginative, playful, even irreverent, as long as they create fitting and memorable names. Besides developing catchy references, students develop consensus about the predominant aspect of these key moments. Consider using Story Board headlines as the named moments.

Creative Movement Strategies

Still Image or Tableaux. Because blocking is a challenge even for professional actors, it often helps to identify the most important emotional moments in the scene. Develop group or individual tableaux that vividly depict these moments. Order them chronologically, so the audience sees the story as a series of snapshots. They might be the outline of the scene’s blocking. These powerful still images become dramatic moments, however brief, in the performance. These become the ‘anchors’ of the scene. Players can now move in character from one key moment to the next.

Mimed Activity. Players run their scene as a silent movie, exaggerating their movements and expressions slightly. The movements, although stylized, will help students become more physically expressive in their later rehearsals.

Acting Techniques and Strategies

This is an ideal opportunity for students to apply some of the techniques introduced in Unit 2. Method Acting approaches such as sense memory and affective memory, inner and outer character, etc. are useful. The concepts of justification and physicalization are helpful, as are the relaxation exercises. Creative improvisation also helps students develop the character.

Keeping the ‘Play’ in the Rehearsal:

· Often rehearsals can become repetitive and stale. To avoid this, continue to use developmental drama techniques whenever appropriate.

· After the players have a clear understanding of character, ask them to run their scene in different genres. Run the scene as a soap opera, a karate movie, a western, an opera, etc. This will engage them in the text again, in a new and playful way. The teacher discusses with the class what genres work. How did they work? Why or why not?

· When players are self-assured, run a rehearsal in which the performers run their lines as quickly and as accurately as possible, but with all the actions intact.

· The performers lie on their backs, heads together, like spokes on a wheel. With eyes closed and quiet music playing, they run their lines. Ask them to concentrate on their voice and pacing, with appropriate tempo and pauses.

Assessment & Evaluation of Student Achievement

· Teachers share with students the rubric (see the CODE website: http://www.code.on.ca) mentioned in the next activity to make students aware of the evaluation criteria they are working towards.

· Teacher observation for formative assessment is ongoing.

· Students keep a ‘diary in role’ and/or write ‘letters in role’ to be included in their portfolio.

Accommodations

· The ensemble planning process should help those students who lack organizational skills. The group could assign a peer to conduct a ‘rehearsal call’, reminding their fellow ensemble members of the rehearsal times.

· Students can pair up with ‘prompting partners’. This helps weaker readers gain fluency and comprehension. This should be done for all cast members, but the teacher takes into account the needs of the individuals when matching partners.

· A paced, taped reading of the scene will benefit any student seeking fluency or struggling to get “off book”. The involvement of the Resource Teacher may be helpful.

· A useful enrichment activity is to assign some ensemble members the task of leading exercises which apply some of the techniques taught in Unit 2 (method, ‘inside/out’, etc.), or developmental drama exercises that build ensemble (trust, awareness, relaxation, concentration).

· The script may be modified or adapted for any player who is struggling with a particular word or phrase. This may be helpful with ESL students.

· Rehearsal and performance space must be safe and accessible for all class members.

· Teachers should review all IEPs and consult the Special Education Teacher for specific suggestions.

Resources

Berry, Cicely. The Actor and the Text. London: Virgin Books, 1997. ISBN 0863697054

Berry, Cicely. Voice and the Actor. London: Virgin Books, 1993. ISBN 024552021X

Cameron, Ron. Acting Skills For Life. Toronto: Simon & Pierre, 1999. ISBN 052137651

Corson, Richard. Stage Makeup. Toronto: Allyn and Bacon. 1998. ISBN 0138405395

Grote, David. Theater: Preparation and Performance. Glenview, Illinois: Scott, Foresman, & Co., 1984.
ISBN 0673271900

Harrop, John and Sabin Epstein. Acting With Style. New Jersey: Prentice-Hall. 1982. ISBN 0130030619

Lundy, Charles J. and David W. Booth. Interpretation: Working with Script. Toronto: Harcourt and Brace, 1983. ISBN 0774712104

McCallion, Michael. The Voice Book. New York: Theatre Arts/Routledge. 1998. ISBN 0878300929

Neelands, Jonathan. Structuring Drama Work. Cambridge: Cambridge University Press.
ISBN 0889241953

Philips, Gordon. Take It Personally. On the Art and Process of Personal Acting. New York: Applause Books. 2000. ISBN 1557833907

Stern, Lawrence. Stage Management. Toronto: Allyn and Bacon, 1998. ISBN 0205273033

Taylor, Don. Directing Plays. New York: Routledge/Theatre Arts, 1996. ISBN 0713643269

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

Appendices

See the CODE website at http://www.code.on.ca for further resources.

Activity 3: Performing/Analysing Text

Time: 9 hours

Description

Key scenes of the representative play explored and rehearsed in Activities 1 and 2 are performed for an audience. Students apply a ‘Theatre Company’ model and use technical production elements in their final dress rehearsal and performance. Students also explore theatre professions while working in the final preparations of their performance. They adopt specific theatre company roles as well as their acting role.

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.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;

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.05 - analyse the personal, social, and career skills acquired through the study of dramatic arts.

Specific Expectations

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);

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);

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

CR1.04 - apply appropriate voice and movement techniques in rehearsal and performance;

CR1.05 - create an original or adapted dramatic presentation, using a variety of strategies (e.g., research, improvisation, workshop techniques);

CR2.01 - interpret and present a dramatic text from the turn of the twentieth century;

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);

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;

AN1.03 - explain how skills, concepts, and theories in dramatic arts are applied in the creation and performance of a drama;

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

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;

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).

Prior Knowledge & Skills

· Ability to work collaboratively; to problem solve; to memorize script; to research a career topic; to plan and schedule; to accept constructive criticism.

Planning Notes

· Teachers should adapt the activities to reflect resources and constraints of their particular classroom.

· Students are given a copy of the Scene Performance Rubric prior to their final rehearsals. The evaluation criteria can then be made explicit to them (see CODE website http://www.code.on.ca)

· Teachers may involve Student Services or the Resource Centre when introducing the exploration of theatre profession activity. Theatre Ontario publications and website may be beneficial.

· Students work concurrently on both the career exploration tasks and their final scene preparations. This promotes better group planning, i.e., one or two groups doing the research tasks, and one or two in the rehearsal space. The teacher chooses when to rotate the groups from one task to the other. Students have the opportunity for practical application while working to prepare their performance.

· The career study component could be done individually or in pairs. A ‘writer’s workshop’ model could be followed, with students sharing their written work with an editing partner and working collaboratively in a small group.

· Depending on individual school facilities, students may need to organize final rehearsal times outside of regular class hours in order for all groups to access performance space.

Teaching/Learning Strategies

1. Students now have completed the ‘rehearsal hall preparation’ of their scenes and character roles in Activity 2. Students now add a technical or professional role of a theatre company member. In the final preparation of their scene, while working collaboratively in their company, they explore various roles in Theatre. This is done while completing their full dress rehearsals and tech runs.

2. Company member
Students create a company promptbook, including a technical script and plots (see CODE website) to explore the key roles of theatre professionals while preparing their final technical and dress rehearsals. These roles may be selected from a list provided by the teacher or may be generated by teacher-directed brainstorming, asking, “What are some jobs that need to be done behind the scenes to make a successful performance?”

3. Career Exploration
Students are assigned to research a specific theatre career role, using the Theatre Career Exploration Sheet (see CODE website). The student becomes an ‘expert’ on that specific profession and presents a single page summary handout to their classmates and makes a brief oral presentation. Alternatively, the teacher uses a ‘jigsaw’, collaborative learning approach. Each student joins an ‘expert’ group to research and develop a specific theatre profession. Members then join the ‘reconstituted group’, bringing their expertise and a detailed handout of each key career. The reconstituted group could be their ‘company’. The result is a complete collection of theatre career profiles to be included in their individual portfolios.

4. Performance
The audience for the final performance is their class peers. Teachers may invite other classes if appropriate. The performance is evaluated using the detailed Scene Performance Rubric (see CODE website). The teacher shares this with students prior to the full technical and full dress rehearsals so they are aware of the assessment criteria. Each student in the audience also peer assesses each performance, using the rubric.

5. Reflection
Students reflect upon their own performance and those of their peers. This is done with sensitivity in a teacher-directed discussion following each performance and is reflected in the student’s personal journals. Students assess their own performance and their contribution to the company. The teacher may wish to ask some focussing questions for the students’ journals.

6. Review
Students review one of the performances in a more structured manner, with clear direction given by the teacher. Background information and suggestions are given on the Theatre Ontario website - http://www.theatreontario.org and the CODE website: http://www.code.on.ca.

Assessment & Evaluation of Student Achievement

· Teacher observation for formative assessment and feedback to students is ongoing; students’ written work is assembled in the portfolio for assessment.

· Students write a theatre review of a selected performance other than their own. This is assessed and included in their personal portfolio.

· CODE website appendices:

· Scene Performance Rubric addresses Overall Expectations CRV.01, THV.02 and CRV.01 and may be used by teachers and students (self and peer assessment).

· Creating the Company Promptbook and Creating the Actor’s Promptbook address expectations CR2.02 and CR2.03.

· The Theatre Career Exploration Sheet addresses ANV.05 and forms part of the portfolio.

· How To Get ‘Off Book’: Hints for Memorizing Scripts suggests methods of memorizing scripts.

· The Guide To Writing a Theatre Review suggests methods of approaching the task of writing a theatre review.

Accommodations

· Teachers should review IEPs and consult the Resource Teacher for information and suggestions. Consultation with the student’s other teachers might be beneficial in learning how s/he works best on written assignments.

· Encourage students to continue using their ensemble setting in both the performance and the career study components, talking through their work with their peers.

· Emphasize the oral as well as the written. Encourage students to use audio tape recorders in the planning process.

· Formal organizational planners should be used by all students. The theatre company model allows teachers to do this in the context of the production. Production calendars, rehearsal calls, prompt books, stage managers duties, etc., are protocols developed over the years to help the disorganized in theatre. Adapt this to the needs of individual students and their groups.

· Allow appropriate time to prepare. This is especially needed for technical preparations. Feeling rushed creates enormous stress in performance. Some stress is natural and enhances performance. Help students manage stress by reasonable time allocation.

Resources

Print

Corson, Richard. Stage Makeup. Toronto. Allyn and Bacon, 1998. ISBN 0138405395

Stern, Lawrence. Stage Management. Toronto. Allyn and Bacon, 1998. ISBN 0205273033

Taylor, Don. Directing Plays. New York. Routledge/Theatre Arts. 1996. ISBN 0713643269

Websites

See CODE website for further resources – http://www.code.on.ca

Theatre Ontario – http://www.theatreontario.org (training, publications, career opportunities, and resources)

Theatre Action – http://www.theatreaction.on.ca (organization serving the francophone theatre community)

Sears Drama Festival – www.searsdramafestival.com (enrichment opportunities, publications, scholarship/career opportunities)

Cultural Careers Council of Ontario – http://www.workinculture.on.ca (arts and cultural industries)

Alliance of Canadian Cinema Television & Radio Artists – http://www.actra.com (union for performers)

Canadian Actors’ Equity Association – http://www.caea.com (the professional organization representing performers as well as directors and stage managers working in live theatre)

Canadian Institute of Theatre Technology – http://www.citt.org (technical theatre professionals)

Acting and Modelling Information Service – http://www.amisontario.com (volunteer professionals who answer questions concerning the entertainment industries)

Playwrights Union of Canada – http://www.puc.ca (information about Canadian playwrights)

Professional Association of Canadian Theatres – http://www.pact.ca (represents most commercial and non-profit theatres in Ontario)

Cultural Careers – http://www.culturalhrc.ca (information on careers in the cultural sector)

Helpful Publications for Research

Now What? The Guide to Post Secondary Theatre Training in Canada. Toronto. Theatre Ontario. 2000.
ISBN 0968249558

Guide to Producing in Community Theatre. Toronto. Theatre Ontario.

Stage Managing the Arts. Toronto. Theatre Ontario. 1998.

Activity 4: The Early 20th-Century Context

Time: 2 hours

Description

The social and historical contexts of early 20th Century drama are introduced. Students are given the foundations for independent research on selected plays from this period. Continuing throughout Unit 4, this foundation begins the script analysis on which Unit 5’s culminating performance is based.

Strand(s) & Learning Expectations

Strand(s): Theory, Analysis

Overall Expectations

THV.03 - demonstrate an understanding of various aspects of the elements, principles, and techniques of dramatic arts;

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

Prior Knowledge & Skills

· Working knowledge of the terms plot, theme, symbol, setting, characterization and stage directions from Activities 1-3; ability to work independently and to plan and schedule.

Planning Notes

· Teacher observation of participation, active listening, contribution, and interpretive skills is ongoing.

· This activity builds on the knowledge of the play explored in Activities 1, 2, and 3.

· Selection of scenes from those analysed forms the basis of Unit 5’s Final Evaluation.

· If the teacher chooses to work with scenes from a variety of plays representative of the period in Activities 1, 2 and 3, these strategies may need adaptation.

Teaching/Learning Strategies

1. The Historical Context of Early 20th-Century Plays
Students are provided with a model of the expectations for their research and analysis through teacher-led discussion of plot, theme, setting, characterization, and stage directions from the play selected for use in Activities 1, 2, and 3. Students transfer this information to their portfolio.
Based on the resources available, the teacher provides the context of this time period, or the means by which students may research this context. This may include use of the Internet, video or written texts, and can be collaboratively planned through the “Partners In Action” program offered by the school’s Resource Centre. If student researched, jigsawing provides both a realistic focus and a means of sharing information within a relatively short time period.

Headings to be covered may include:

· political, social, historical backgrounds

· theatrical innovations/dramatic and performance conventions

· general themes & concerns of dramatists

Appendix 3.2 provides a sample overview of some of these contexts, and gives further information on Ibsen, whose work A Doll’s House provided examples for Activity 1.

2. Explication of Independent Study
Students, individually, in pairs or in small groups (depending on the availability of resources and class needs) select a representative play from this period to analyse. This assignment is based on knowledge gained in Strategy 1, thus students’ analyses may identify how their selected play reflects:

· the political, social, and historical backgrounds of the period

· the theatrical innovations and/or conventions of the period

· common concerns/themes of the period.

Further script analysis is based on knowledge gained in Activities 1, 2, and 3 (plot, theme, symbol, setting, characterization, and stage directions).

Appendix 3.3 – Independent Study Assignment provides an overview of an Independent Study Assignment. Students may prepare written and/or oral presentations of this information, to be shared at the beginning of Unit 5. Selection of scenes from those analysed form the basis of Unit 5’s Final Evaluation.

Assessment & Evaluation of Student Achievement

· Teacher observation for formative assessment and feedback to students is ongoing; students’ written work is assembled in the portfolio for assessment and evaluation in Unit 5.

Accommodations

In consultation with Special Education Specialists and Student Services Department, and with reference to students’ IEPs, the teacher should use appropriate Learning Accommodations:

· Provide direct instruction for areas of reading needs.

· Adapt suggested texts to students’ reading level.

· Promote use of plays available on audiocassette and/or video.

· Teach the meaning of words specific to the text.

· Encourage oral discussion prior to and after reading to increase the student’s level of comprehension.

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

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

· Encourage students to use the computer for word processing, proofreading, editing.

· Allow opportunities for collaborative writing.

· Have students read their work aloud or on tape to help with self-editing

· Provide extra time for students to process spoken response.

Resources

Bert, Norman, ed. Theatre Alive! An Introductory Anthology of World Drama. Colorado Springs, Colorado: Meriwether Publishing Ltd., 1994. ISBN 0916260747

Barnet, Berman, Burto, Draya, eds. Types of Drama: Plays and Contexts, 7th ed. New York: Longman, 1997. ISBN 0673525147

Appendices

Appendix 3.2 – Historical Context of Early 20th Century Plays

Appendix 3.3 – Independent Study Assignment

Appendix 3.2

The Historical Context of Early 20th-Century Plays

Modern Theatre of the 20th Century is the product of Late Nineteenth Century Realism.

Political/Social/Philosophical Backgrounds

· The belief, kindled by science, that no question which concerned humanity or nature was unsolvable;

· A passion for progress, science, and technology;

· A period of optimism.

Influential thinkers included

· Charles Darwin (1809-1882): cause/effect process applies to biology through heredity and environment; evolution suggests that science can help improve the world;

· Karl Marx (1818-1883): human effort improves the world through government and economic systems; theatrical realism takes aim against the rich, the powerful, and the middle class; leads to theatre as a revolutionary weapon in the 20th century;

· Sigmund Freud (1856-1939): deviant behaviour results from uncontrollable psychological causes; instead of punishment, people need healing; leads to theatrical realists portraying characters with mixed motives; actors can now explore the psychology of their roles in depth.

Theatrical Innovations/Conventions

· Edison’s invention of incandescent electric lighting approximates natural lighting in the theatre.

· Fresnel invents the step-lens which led to the Fresnel spotlight used today.

· Realistic playwrighting combines the Renaissance’s “well-made” play (exposition, suspense, climax and resolution) with realism (a refusal to romanticize characters or present obvious conclusions).

· The role of “director” is initiated (Georg II, Duke of Saxe-Meiningen, 1826-1914).

· Konstantin Stanislavsky revolutionizes acting styles with the creation of Method Acting as a technique. Artificial acting is eliminated by focussing on the internal life of a character as motivation for action and speech.

· The“fourth wall” convention is established by Andre Antoine, who instructs his actors to ignore the audience. Realism is carried out to extremes; real props like animal carcasses are used in the scene of a butcher shop.

General Themes and Concerns of Dramatists

Major realists include:

· Anton Chekov (1860-1904): The Seagull (1896), Uncle Vanya (1899), Three Sisters (1901), and The Cherry Orchard (1904), all of which convey the dual emotions of Russia on the brink of Revolution;

· George Bernard Shaw (1856 –1950): Mrs. Warren’s Profession (1893), Arms and the Man (1894), and Major Barbara (1904-07), uses comedy to attack the English middle class;

· Henrik Ibsen (1828-1906): A Doll’s House (1879), Ghosts (1881), and An Enemy of the People (1882) expose the greed, lies, and self-righteousness of the middle class. The Wild Duck (1884) and Hedda Gabler (1890) use symbolism to explore personal relationships and obsessions.

Appendix 3.2 (Continued)

Realism gave rise to two other theatrical movements – naturalism and symbolism:

· August Strindberg (1849-1912) extends realism in an attempt to present “a slice of life” in Miss Julie (1888). Emphasizing the environment, naturalists dethrone both reason and free will for biological drives (e.g., hunger and sex). Symbolism rejects realism’s focus on surface reality. Influenced heavily by Freud’s work with dream interpretation, symbolists attempt to convey the world beyond appearances, using poetic language and dream-like settings, as in Strindberg’s A Dream Play.

In the period after the turn of the Century, expressionists agreed with the symbolists that reality, or truth, was not observable and measurable. Distorted, exaggerated plays explored the human spirit alienated from his world using both cause-effect and episodic structures. In contrast to the work of the early realists, this gave rise to two-dimensional characters with generic names (“The Man”, “Number One”). Playwrights who worked in the expressionist mode include Frank Wedekind, Spring Awakening (1906), Georg Kaiser, From Morn to Midnight (1917), and later playwrights Karel Capek, RUR (1921) and Elmer Rice, The Adding Machine (1923). The latter are greatly influenced by the destructiveness of humanity and technology as witnessed by World War One.

Appendix 3.3

Independent Study Assignment

Choose a play from the list and identify how this play reflects:

· the political, philosophical, and social background of the period;

· the theatrical innovations and/or conventions of the period;

· common concerns/themes of the period.

Through a close reading of the script, answer the following questions:

SETTING

1. Where and when is the play set? What is its prevailing mood?

PLOT

1. Outline the basic story line.

2. Describe the major conflicts.

THEME

1. Outline and discuss the playwright’s theme.

2. How do the following elements help to illustrate the theme of the play? Setting (including mood), plot, style, characterization (including dialogue), conflict, stage directions.

SYMBOL

1. Discuss the predominant symbols in the play.

2. What concepts/ideas are represented by these concrete objects?

3. How does they help us understand theme and/or character?

CHARACTERIZATION

1. To what extent are the characters believable in the context of the style and plot? What is their role in the plot and in relation to the other characters?

2. Describe the feelings they arouse in the reader/spectator. Are their actions in keeping with their motives?

3. What are the intentions, objectives, and goals of the main characters?

4. What are the psychological, sociological and physiological influences on the main characters?

STAGE DIRECTIONS

1. How extensive are the stage directions? How detailed are they? Why do you suppose this is?

2. How is this in keeping with the style and themes of the play?

Appendix 3.4

Exploring Within and Beyond the Text: an Observation Checklist

The following expectations can be observed in student participation and discussion.

Key: N - Needs Improvement; S - Satisfactory; G - Good; E - Excellent

Observable Criteria	N	S	G	E
Participates in discussion
Participates in activities
Identifies and describes sources of conflict in a scene
Describes how the elements of a dramatic setting are affected by the type of drama and the identified theme
Portrays character, defines relationships among characters and communicates dramatic tension through movement and non-verbal communication
Uses a variety of strategies to create the inner and outer life of a character
Uses appropriate techniques to develop the background of a character
Applies appropriate voice and movement techniques in rehearsal and performance
Uses a variety of strategies to create an original or adapted dramatic presentation
Demonstrates insight to the characters

Questions for discussion and/or portfolio:

· Describe the process by which you have created this character.

· How can an actor recreate roles and characters in a script, and how does one present them convincingly?

· What connections between yourself, the theatre, and society have you discovered through this character work?

· What stereotypes and prejudices were evident in this source? Trace your response to this.

· How are the characters and roles in this course connected to you? To the human experience?

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