Course Profile Dramatic Arts, Grade 11, Open, Catholic and
Public
Unit 5: The Docudrama
Time: 25 hours
Activity 1 | Activity 2
| Activity 3 | Activity 4
| Activity 5 |
This
unit is the final evaluation in this course, accounting for thirty percent of
the final mark. Elements, structures and techniques learned in previous units
are applied to the dramatic form of docudrama. Topics may reinforce issues or
events studied in other courses with the resulting docudrama presented to
individual classes or for school events or liturgies (e.g., Remembrance Day for
a docudrama on war). Research topics may be events, issues, and local,
regional, or national events. Students do in-depth research including
interviews; reading articles, newspaper stories, letters, texts, plays, the
Bible; viewing film and video; visiting museums and historical sites, and
searching the Internet. They use mime, tableau, improvised and written scenes,
choral reading, monologue, song, dance, poetry, and other styles to create a
docudrama on a chosen topic. The ensemble rehearses and presents their
docudrama in which the class acts as writers, directors, and actors. Use of
technology such as the computer, stage lighting, slides, and video or audio
tape enhance the presentation. Students are assessed and evaluated through a
rubric, written portfolio entries, and teacher observation.
Key
questions which frame this unit are:
·
How
do students progress in their drama work from self to other, from person to
character, from real to imagined?
·
How
can the real world be represented in an artistic, dramatic form?
·
How
does artistic work move from stereotype to knowledge about people and events?
|
Activity |
Time |
Expectations |
Assessment |
Tasks |
|
1:
Brainstorming and Choosing a Topic for the Docudrama |
225 min |
THV.02,
THV.03, CRV.01, CRV.03, TH1.01, TH3.01, TH3.03, CR1.07 CGE1d,
2b, 2c, 4b, 4c, 5a, 5e, 5f, 7e |
Knowledge/ Thinking/
Inquiry Communication |
Brainstorming
the topic |
|
2:
Researching the Topic and Exploring Dramatic Methods |
405 min |
THV.02,
THV.03, TH3.01, CRV.02, CRV.03, CR1.01, CR1.07, AN1.02 CGE2b,
2c, 3c, 4b, 4c, 4f, 5a, 5e, 5g, 7f |
Knowledge/ Communication |
Research,
exploration |
|
3:
Character Context and Text |
240 min |
THV.01,
CRV.01, ANV.03, TH1.01, TH1.02, TH1.03, TH2.02, TH.2.03, CR1.01, CR1.02,
CR1.07, CR1.08, AN2.02 CGE3b,
3c, 4b, 4d, 4f, 5a, 5e, 5f, 5g |
Communication Application |
Character
development |
|
4:
Putting It All Together |
360 min |
THV.02,
CRV.02, CRV.03, CRV.04, CRV.05, ANV.01, ANV.03, TH1.01, TH1.02, TH1.03,
TH2.01, TH2.02, TH2.03, TH3.02, CR1.02, CR1.06, CR1.09, CR2.01, CR2.02,
CR2.03, CR2.04, AN1.03, AN2.02 CGE2a,
3d, 3e, 4a, 4b, 4d, 4f, 5a, 5e, 5f, 5g, 7j |
Thinking/
Inquiry Communication Application |
Writing,
revising, polishing, rehearsing |
|
5: Preparing for Presentation, Assessment,
and Evaluation |
270 min |
THV.02, CRV.01, CRV.02, CRV.03, CRV.04,
CRV.05, ANV.01, ANV.02, ANV.03, TH2.01, TH2.02, TH2.03, CR1.02, CR1.05,
CR1.06, CR2.01, CR2.02, CR2.03, CR2.04, AN1.01, AN1.02, AN1.03, AN1.04,
AN1.05, AN2.01, AN2.02, AN2.03 CGE3c, 3e, 4d, 4f, 5a, 5e, 5f, 5g, 7f, 7g |
Thinking/ Inquiry Communication Application |
Presentation of docudrama |
Time: 225 minutes
Students
explore the docudrama format as they begin to work towards an original
performance. Through discussion, improvisation, and negotiation, students
brainstorm and reach consensus on the topic for docudrama. Groups are formed to
investigate themes and topics through research, improvisation, discussion, and
writing. Students are directed to pay attention to the Christian values
inherent in the topics presented for discussion and their possible dramatic
development. Students consider the moral dimensions in the docudrama material
and show discernment regarding its suitability in light of Catholic values.
Overall
Expectations
THV.02 -
demonstrate an understanding of various aspects of the elements, principles,
and techniques of dramatic arts;
THV.03 -
identify and describe a variety of dramatic sources, scripts, and types;
CRV.01 - apply
appropriate techniques to create and reinterpret a variety of roles/characters
in individual or collective creations;
CRV.03 -
create, adapt, and script dramatic presentations, making appropriate use of
research, improvisation, workshop techniques, and rehearsal;
ANV.01 -
analyse and evaluate the creation (i.e., the process) and the presentation
(i.e., the product) of dramatic arts, using appropriate dramatic arts
terminology.
Specific
Expectations
TH1.01 -
identify and describe methods of creating, sustaining, and re-creating roles in
a convincing way (e.g., methods involving research, observation, analysis,
improvisation);
TH3.01 -
identify primary and secondary sources of information and their functions;
TH3.03 -
describe the origins and characteristics of different types of drama, including
docudrama, anthology, and issues-based theatre;
CR1.07 -
demonstrate an understanding of the purposes and conventions of improvisation
(e.g., improvise to develop a character or scene; act in both spontaneous and
planned ways, as required; accept the circumstances of the improvisation);
AN1.03 -
analyse and evaluate the artistic choices made by the actors, director,
designer, and technicians in a dramatic presentation;
AN1.04 -
analyse and evaluate the artistic choices made by the actors, director,
designer, and technicians in a dramatic presentation.
See
Appendix 5.3.
·
collaborative
group skills; listening skills; improvisation skills; character development
skills; problem-solving skills; research skills; leadership skills; drama
skills developed in Grade 9 or 10.
·
The
outline of activities in this unit is generic and is not intended to be
followed “to the letter”; the teacher uses creative judgement and professional
judgment to adapt these ideas to the class situation.
·
Teacher
observation of group skills such as listening, offering suggestions,
cooperation, leadership, commitment, and insight is ongoing through this
activity.
·
Teachers
obtain examples of docudrama including library books, textbooks, web resources,
personal memorabilia, and others. The examples used in this unit should be
supplemented by others which reflect the composition of the class. If a
docudrama has been produced by a previous class and videotaped with permission,
showing the video will provide an excellent model.
·
The
teacher may need chart paper and markers to assist with the brainstorming
process
·
Copies
of Appendix 5.4 – Background to Docudrama, Process of Creating a Docudrama,
Remembrance Day - An Example of Docudrama, may be used as overheads.
·
Appendix
4.4 – Portfolio Rubric may be used throughout the unit to assess student work.
1: Docudrama Overview
The
teacher provides notes and ideas and initiates discussion on: (see Appendix 5.4
for the following topics in detail)
·
The
background of docudrama. This background is shared with students through
overheads and/or handouts. The different types of docudrama are demonstrated by
having students read aloud in readers’ theatre manner sections from scripts
showing the difference between present-day issue-oriented docudrama (e.g., The Farm Show) and historical docudrama
(e.g., Ten Lost Years). Also,
different ways to research history are demonstrated (e.g., Ten Lost Years used interviews with individuals who survived the
Depression, 1837: The Farmers’ Revolt
used research from texts and archives. The size of casts in docudrama varies
from one-person shows (Billy Bishop Goes
to War) to large cast shows (Ten Lost
Years).
·
The
process of creating a docudrama. This background is shown to students through
overheads and/or handouts. Showing concrete examples of sources, such as old
newspapers, a video clip, or an historical artifact, gives students a concrete
idea of their upcoming project. As well as discussing the process, the teacher
outlines the timelines and expectations for the unit. See also sources from the
world of work in Interpretation
(Chapter 12: Docudrama).
·
An
example of a docudrama. This example is a teacher-directed large group
docudrama with a specific purpose in mind: a Remembrance Day presentation, and
is shown to students through overheads and/or handouts. This example could be
discussed as a model for the unit or even used as the activities for the unit.
There is also the option of using smaller, more self-directed groups, with a
freer choice of subject.
The
teacher leads the class through each so that students see how docudrama differs
from other dramatic forms, is strongly rooted in Canadian theatre traditions,
and is within their resources and abilities.
2: Brainstorming
Students brainstorm as many possible
areas of interest for the docudrama as possible, as the teacher facilitates the
discussion and offers appropriate direction. All ideas are accepted and
recorded. The teacher helps the class identify areas of potential interest and
relevant topics, and guides the group to highlight Christian values in their
selections of appropriate topics. The class and teacher group the ideas into
major areas of interest and specific topics. Some suggested areas of interest
and topics are:
·
Area
of Interest: Social Issues
Topics: discrimination/racism, environmental issues, global issues, gender issues, drugs and alcohol, runaways/street kids, healthy lifestyles, social injustice, poverty, war/refugees
·
Area
of Interest: Historical Events (may
be localized to fit particular needs, resources, and interests)
Topics: War of 1812, the October Crisis, the Ice Storm, Canada’s last fatal duel, building of the Railway or the St. Lawrence Seaway, Conscription Crisis, the Gold Rush, Dionne Quints, World War I, Confederation, local history of town or city or school, Sir John A. Macdonald or other appropriate leader
·
Area
of Interest: Catholic Issues
Topics: History of a local parish
or Catholic school, especially on a significant anniversary; Parish
organizations: Knights of Columbus, CWL, St. Vincent de Paul; Canadian Catholic
Saints: Blessed Kateri, Jean de Brebeuf, Canadian martyrs; Catholic
immigration: story of Catholic emigration from
As a
homework assignment, each student identifies one area of interest and using a
thought web, describes in detail possible sub-topics and methods of presentation.
Students share their detailed idea within a group of four or five students. The
group shortlists a proposed area of interest and one or two topics for the
docudrama. These areas of interest and topics are shared with the entire class
and assessed for feasibility, interest, and theatricality.
3: Exploration of Topics
As
a class, the short-listed topics are further explored through improvisation and
discussion. Improvisation could be used in various ways (examples):
Area of
Interest: Social Issues
Topic: The environment as seen through the eyes of
two communities of unequal size and the relationships and responsibilities of
the two communities.
·
A
whole-group improvisation. In the role of a leader of a consortium from a large
city who is trying to convince the population of a small community to take the
city’s waste, the teacher hosts an information meeting for the town. Through
the use of persuasive language, financial incentives, threats, secret
alliances, and other means, the teacher encourages students to understand the
issues from “inside” them.
·
Further
improvisation in pairs occurs with students in roles pre-assigned by the
teacher, such as retail shopkeepers, gas station attendants, doctors, clergy,
and others, with students on opposing sides of the disposal issue.
·
A
whole-class improvisation, in which each student takes different roles in a
town meeting on the issue of garbage being dumped in the community. Roles could
include an environmentalist expressing reservations, a trucker expressing
excitement about the financial rewards of receiving a garbage disposal
contract, a mother worried about the health issues and others. Students could
also try “broken” roles, where the role-player expresses an attitude contrary
to type, such as an environmentalist totally in favour of the project, a mother
who ignores the health issues, etc. Afterward, the class reflects on how the
shift in point of view affects the drama.
Area
of Interest: An Historical Event
Topic:
World War I
·
The
teacher provides students with personalized conscription notices instructing
them to report to a municipal hall the following morning and to be ready to be
shipped to a military training centre in another province for training and
readiness for active duty overseas. Several improvised scenes could ensue: a
mother and son on discovering this news; a boyfriend/girlfriend who are to be
separated; a son whose father feels that fighting for one’s country is a “badge
of honour”; a son who considers running away to avoid the issue, etc.
·
All
students role-play a parent or grandparent who reads the letter informing
her/him that her/his son or grandson has been killed in action.
·
The
activities of the town after their young men have left for the war; how has the
town changed?
·
The
dinner celebration in each home when the men return home after the war.
4: Choosing the topic(s) and developing groups
The
teacher leads the class in a discussion about the topics and helps the class
reach a consensus about which offers the best possibilities for continued exploration
and production. The teacher must try to
avoid allowing the class to vote on the various topics presented, emphasizing
instead the idea of the group working by consensus and being able to “live
with” the group’s decision. This is not an easy task for some students, and may
take some time to achieve! Groups are formed according to topic, class size
and other individual circumstances; it may be more productive to have more than
one docudrama produced, depending on the size of the class and other factors.
The groups begin to work on the docudrama in the shape of an entire class
presentation, a multi-faceted production of one topic with several sub-topics
or with different topics for several groups.
·
The
portfolio entry of the brainstormed idea-web (See Appendix 5.1)
·
Through
teacher observation of the process of topic development, the teacher assesses
students in the following areas (a rubric may be developed from the points
below):
· student’s responsibility as an individual voice in the group;
· student’s understanding of the qualities of leadership and how drama develops these qualities;
· student’s understanding of the ensemble approach to drama and the need to listen to all members.
Time: 405 minutes
Students use a variety of research techniques
to gather information on the topic for the docudrama. All materials are shared
and enriched through discussion, improvisation and writing. The teacher guides
and supports the group as they explore dramatic methods of performance suitable
for the development and presentation of the topic. Students exercise Christian
leadership and group skills in the light of the common good and consider their
choice of topic in the context of the Catholic community.
Overall
Expectations
THV.02 - demonstrate an understanding of
various aspects of the elements, principles, and techniques of dramatic arts;
THV.03 - identify and describe a variety of
dramatic sources, scripts, and types;
CRV.03 - create, adapt, and script dramatic
presentations, making appropriate use of research, improvisation, workshop
techniques, and rehearsal;
ANV.01 -
analyse and evaluate the creation (i.e., the process) and the presentation
(i.e., the product) of dramatic arts, using appropriate dramatic arts
terminology;
TH3.01 -
demonstrate an understanding of subtext, motivation, and status in the
development of a character;
ANV.02 -
explain how dramatic arts represent, and contribute to, culture and society.
Specific
Expectations
TH1.03 -
demonstrate an understanding of subtext, motivation, and status in the
development of a character;
CR1.01 -
create roles/characters, using a variety of appropriate techniques (e.g.,
writing in role; analysing a character s motivation, background, and
influences);
CR1.07 -
demonstrate an understanding of the purposes and conventions of improvisation
(e.g., improvise to develop a character or scene; act in both spontaneous and
planned ways, as required; accept the circumstances of the improvisation);
AN1.02 -
identify and analyse the skills and concepts used to create and present a
drama.
See
Appendix 5.3.
·
research
skills; Internet search skills; ability to collaborate in groups; role-playing
skills; word-processing skills; ability to analyse and synthesize source
material; ability to risk and experiment; improvisational skills
·
The
teacher makes on-going assessments of the focus within the group.
·
Flexibility
is important helping students isolate important information
·
All
information is shared with the class.
·
Portfolio
entries enable students to track their involvement in the planning.
·
The
teacher must be aware of individual differences and needs within the classroom
and provide accommodations when necessary within the brainstorming sessions
(e.g., ensuring that all ideas are heard and considered).
·
Emphasize
a positive environment for critical peer and self-assessment in the context of
maturation.
·
Have
students record short-listed ideas for group reference at the end of the
sessions.
This activity may begin with either Strategy 1
or Strategy 2, depending upon the experience of the class, the comfort level of
the teacher, and the teacher’s philosophy.
|
Students should consider technical elements
throughout the activity and start planning for them. |
1: Researching the Topic
Students
decide on the most effective and accessible research methods for the topic.
These may include primary sources, such as books showing primare sources, guest
speakers, videos or films, photos, interviews, ministry and government
documents, historical archives, museum exhibits, magazines, gospel readings, or
newspapers, or secondary sources, including poetry, novels, family
history/perspective, personal accounts, or plays. Students share with the class
all the information that has been researched. The class makes choices regarding
its appropriateness and they decide on avenues for further research and
development. The teacher continues to focus the work, keeping in mind the
overall focus of the unit.
2: Developing the Focus and Theme
Once the
class has agreed upon a topic for its drama, the teacher encourages students to
examine various aspects of the topic for exploration from different points of
view. Individual or group brainstorming generates more ideas than can be
structured into the drama, but it also reveals valuable ideas, which might not
otherwise be considered. A web which organizes the thinking of the group is
also helpful as the teacher assists the class to identify the focus or one
particular aspect of the topic for exploration. The teacher encourages students
to pose “What if ...?” questions that are sparked by their thoughts on the
topic. For example, if the class has chosen the environment as its area of
interest and waste management is the topic, their focus might be on the
question, “What would be the effect on a particular community when fire damages
a nearby toxic waste storage site?” The exploration could begin with people
(students -in-role) recently evacuated from their homes questioning a
government official (teacher-in-role) who has been assigned to meet with them.
The “What if ...?” questions help students re-focus, identify missing elements
and build consensus.
Students
establish a theme for the overall presentation. Sufficient material has been
gathered so that the teacher can ask the students, “What do you want people to
learn or know about your topic?” For example, if the topic is the environment,
a theme might be “environmental problems can only be solved if we all work
together toward a solution”. Articulating the theme clearly helps keep the
students focused on their task. As preparation continues, the focus can shift,
as can the roles taken by the teacher and students. This allows the topic to be
approached from other points of view. For example, in the environment drama the
focus might shift to the question, “What measures can be taken to safely
dispose of toxic waste?” In this case, a government official (teacher-in-role)
could call together a panel of experts (students-in-role) who have knowledge of
and previous experience with the disposal of toxic wastes.
(Adapted from the Grade 9 Arts Education web page http://www.sasked.gov.sk.ca/docs/artsed/g9arts_ed.)
3: Who is the Audience?
A class
discussion concerning the audience (their ages, background, common
characteristics, etc.) helps students understand the dynamic between performer
and audience and helps students consolidate the research and discover what
further research needs to be done.
4: Making the Research Relevant
The teacher guides students towards
research that is still necessary by questioning them on their chosen topic for
the docudrama, reinforcing the need for factual information based on real-life
experience. The teacher uses a Socratic approach to increase the depth of
student inquiry and to facilitate the development of the docudrama. The teacher
emphasizes the importance of the final product being truthful to the researched
material – the truth contained in the detail of the people, places, and
situations they have uncovered.
5: Refining the Research
The
following is a possible approach for refining the research through the use of
different types of questions for work throughout the research phases.
|
Question Mode |
Examples |
Purpose |
|
Seeking
Information |
What do
we need to discover about this issue? What characters are needed to portray
the situation? Where and when will the situations be set? |
To
establish the context, depth, and shape of the docudrama. |
|
Containing
Information |
Are you
sure you have thoroughly researched this issue? Are you sure you have
everything you need? |
To
suggest what is needed, rather than to tell. |
|
Provoking
Research |
What
did ships look like in those days? How does a nuclear reactor work? Do we know
enough about how a steam train works to start? How did the pioneers manage to
make wagons without sophisticated tools? |
To
establish what we need to know more about before we continue. |
|
Controlling |
Are you
prepared to listen to each other? What's the best way of organizing
yourselves to overcome this problem? |
To
develop the realization that drama is a controlled, demanding activity |
|
Branching |
Shall
you be in the past, present or future? Do you want to work as individuals, or
in families? Are you rich or poor? |
To
foster decision-making between alternative courses of action. |
|
Opinion-Seeking |
What
did you feel about the teacher-in-role? What other ways might there be of
looking at that situation? |
To
discover what the students, individually, are thinking about the work. |
|
Encouraging
Reflection |
I
wonder what makes a person want to leave his or her family at this point in
history? How would you act under this pressure? What do you find you must
have and cannot live without? Can you find words to express what you are
thinking at this time? |
To
establish that it is important for us to think about what things mean to us. |
Adapted
from work developed by Jonothan Neelands and Dorothy Heathcote
6: Character sketch (Extension/Enrichment)
Students
develop a character sketch in their portfolio of the most interesting person
they have encountered in their research. They project this character into a
possible dramatic mode of expression which they feel best brings this person to
the forefront in the docudrama. Using the questioning chart in Strategy 5, the
teacher re-groups the students to explore further meaning arising out of the
research, emphasizing that the detail is significant and artful. The teacher
stresses avoiding stereotypes.
7: Discovering Dramatic Modes
The teacher leads a class discussion
to review the modes of dramatic expression (see Appendix 5.4 Remembrance Day: A
Docudrama). Students apply prior knowledge of dramatic methods to begin
building the docudrama. The teacher encourages the students to explore a wide
variety of dramatic methods and to become aware of those which are best suited
to the talents of the class, are accessible to the audience, and which
correspond to the dramatization of the researched material. As the research is
explored dramatically, the teacher and students begin to develop a perspective
growing out of their work in the context of the Catholic community and the
world at large. During this work, the teacher pairs and re-groups the students
according to a variety of criteria: individual talents, interests, special
abilities, physical space, and needs for variety within the groups.
Dramatic
methods for student discovery of character and meaning include:
·
Interviews:
teacher organizes a number of interviews of characters which surface in student
research (e.g., with the mayor in his chambers about a recent newspaper article
about the pollution being dumped into the river; with the plant manager about
the newspaper article; with bathers on the local beach; with a retired plant
worker with a terminal illness which he acquired at work).
·
Lyrics
and Music: original song lyrics may be written and music scored for the
production (e.g., a hopscotch/skipping routine on the topic of raw waste in the
field where children play adjacent to their subdivision.
·
Choral
readings originating from research surrounding individual lives can be
incorporated into the preliminary work (e.g., poems, news articles, letters,
descriptions of battles, “In Flanders Fields”, “Dulce et Decorum Est”).
·
Monologues:
a soldier writing to his girlfriend to break off the relationship; a mother
receiving news of the son’s death; a son says good-bye to his buddies or looks
around his room for the last time before leaving it; Canadian peace-keeper in
Bosnia at holiday-time recounts his dinner in the barracks; scientific
breakdown of garbage in a can.
·
Tableau:
a photo album (five to seven still images of a soldier leaving home dressed in
uniform; a family picture; a soldier leaving home, then on the battlefield,
then being interviewed by the newspaper upon a safe return).
·
Prepared
Improvisation: students are grouped and re-grouped according to specific
research as they develop the collected materials into prepared improvisations
designed to explore character depth, setting possibilities, and artistic
technological needs of their original docudrama.
Formative
Assessment:
·
Following
each of the prepared improvisations, students critique each other’s work orally
using appropriate dramatic arts terminology.
·
Teacher
observation ensures an understanding of the dramatic arts process.
·
Roving
conferences and individual student coaching helps the teacher to assess the
student’s understanding of dramatic methods of presentation.
·
Students’
portfolio entries are assessed (see Appendix 5.1). Students also continue to
write their thoughts in their portfolio regarding the artistic process and
their involvement in it. The teacher encourages them to express their thoughts
on their own leadership abilities within the groups and how they see themselves
fostering the best in their peers, encouraging ownership of the activities and
a sense of pride in themselves as contributing members in this project.
Time: 240 minutes
Students
deepen character development in the roles they have been assigned in the
docudrama. The variables of setting are explored through group and individual
improvisation. Various methods to deepen and apply the character to new
situations are used. Research, discussion, improvisation, and writing continue
in this activity. Student recognition of the spiritual dimension in the
development of a character in a dramatic piece is important at this time.
Overall
Expectations
THV.01 -
describe connections between role play and character development;
CRV.01 -
apply appropriate techniques to create and reinterpret a variety of
roles/characters in individual or collective creations;
ANV.03 -
explain how role playing and character development foster self- and community
awareness.
Specific
Expectations
TH1.01 -
identify and describe methods of creating, sustaining, and re-creating roles in
a convincing way (e.g., methods involving research, observation, analysis,
improvisation);
TH1.02 -
describe the process of portraying a character in a script through voice,
gesture, props, and the characters’ relationships with other characters;
TH1.03 -
demonstrate an understanding of subtext, motivation, and status in the
development of a character;
TH2.02 -
describe techniques of movement as they relate to the communication of roles/
characters and dramatic tension;
TH2.03 -
identify and describe the elements of a dramatic setting (e.g., time, place,
character, theme);
CR1.01 -
create roles/characters, using a variety of appropriate techniques (e.g.,
writing in role; analysing a characters’ motivation, background, and
influences);
CR1.02 -
apply appropriate voice and movement techniques in rehearsal and performance;
CR1.07 -
demonstrate an understanding of the purposes and conventions of improvisation
(e.g., improvise to develop a character or scene; act in both spontaneous and
planned ways, as required; accept the circumstances of the improvisation);
CR1.08 -
create and revise a script for a scene, using research, improvisation, and
rehearsal appropriately;
AN2.02 -
explain some benefits of role play (e.g., role play can be used to resolve
conflicts, create empathy, or clarify complex issues).
See
Appendix 5.3
·
ability
to collaborate in a group; improvisational skills; character/role-playing
methods; script writing
·
Flexibility
is important when helping students to isolate important information.
·
All
information is shared with class.
·
Portfolio
entries enable teachers and students to track the student’s involvement in
planning.
|
Students should continue to examine how
technological elements (lights, sound, costume, props, etc.) will enhance the
theme of the presentation without overwhelming it. As the teacher encourages
these discussions to occur, he/she finds opportunities throughout the
activity to teach these skills to group members. |
1: Developing the Character within Context
Students
are assigned roles for each of the scenes in which they are involved. For
example, one student may be an injured soldier in a tableau, a minister
marrying a couple in another scene, and a soldier writing to his girlfriend in
a monologue. These multiple roles are developed, rehearsed and presented
quickly. To avoid stereotypes, the teacher works with the class to help polish
character development. Establishing character knitted together carefully with
theme helps create unity and coherence in the docudrama. To create this depth
of character, the teacher leads the class in a series of exercises:
·
Chance Meetings: a character from one scene (e.g., a
tableau) meets a character from another scene (e.g., mime) on a park bench as
if they are strangers. In the scene which ensues, the role-players must give as
much information as possible, appropriate to their character (e.g., who they
are, who are their friends or enemies, where they are coming from, where they
are going, their wishes, dreams, frustrations, problems), and a relationship
with the other character established through dialogue.
·
Vary the Method: a character from one presentational
style recreates it in another style (e.g., character from a tableau creates a monologue
portraying the same character). This helps increase the number of methods of
presentation and links to other methods (e.g., in the final presentation, one
character steps out of the tableau to present the monologue they developed
earlier in this exercise).
·
Vary the Setting: the character must change the
setting (time, place) of their method of presentation which in turn helps
change the tone or theme of the presentation as the character is deepened. A
soldier in a trench talking to another soldier immediately portrays the same
two characters in a new time period (e.g., ten years before or after), a
different place (back home or as spirits, after they have died).
·
Hotseat the Character: a character from each method is
questioned by members of the group or class about their character’s
motivations, actions, background, and other topics. The teacher models the
types of questions to use; see Chance Meetings for suggestions.
·
Arguments: the character from one method of
presentation is put in opposition to another character to provide dramatic
tension or conflict. For example, a student who is excited to enlist in the
army could be put into opposition with his mother who thinks he is too young
and wants him to stay in school.
·
Broken Roles: characters are put into an
unexpected or uncomfortable situation to help stretch the character. For
example, a soldier refuses to fight, a mother insists on her young son going to
war (Improvisation, p. 53).
·
Thought Tracking: students are paired with others who
provide the characters’ inner motivations, dreams, schemes, secrets, and
ambitions which are not usually verbalized. During a monologue or dialogue,
these thoughts interject after each line.
·
Role on the Wall: the teacher provides a large-scale
outline drawing of the character. On the outline, students print what they know
about the character (facts), what they think they know (assumptions) and the
questions to which the student still needs answers (questions).
·
Role Reversal: roles are reversed within the
action of the drama as a play-within-a-play, as one group demonstrates to
another how they think another group or role might react.
·
A Day in the Life: Students recreate a day in the life
of a character in the morning, afternoon, and evening. This convention may be
structured backwards from a specific dramatic moment of the character to
investigate what led up to the event.
Students
demonstrate their understanding of subtext, motivation, and the status of a character
through the informal and formal descriptions of various roles played. The
teacher assesses the degree of understanding in creating and recreating roles
through observation of individual student’s use of voice, gesture, and
relationship to others; these criteria can be made into a checklist. A formal
character sketch is assigned for writing in the student’s portfolio as a
reflection on the improvisations. As well, informal oral reflection on the
character based on the dramatic exercises facilitates a deeper understanding of
character.
Time: 360 minutes
Students
assemble the final docudrama through polishing, final script revisions, and creating
a scene running order. Polishing and rehearsal of scenes is followed by
technical run-throughs. Audience and technology considerations help shape the
presentation. Effective communication, decision-making, and management skills
impact on the technology and information systems to enhance the quality of the
docudrama experience.
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.02 -
use an ensemble approach to create and present drama;
CRV.03 -
create, adapt, and script dramatic presentations, making appropriate use of
research, improvisation, workshop techniques, and rehearsal;
CRV.04 -
create and present dramatic works that demonstrate an understanding of audience
perspectives and needs;
CRV.05 -
use technology appropriately in the presentation of drama;
ANV.01 -
analyse and evaluate the creation (i.e., the process) and the presentation
(i.e., the product) of dramatic arts, using appropriate dramatic arts
terminology;
ANV.03 -
explain how role playing and character development foster self- and community
awareness.
Specific
Expectations
TH1.01 -
identify and describe methods of creating, sustaining, and re-creating roles in
a convincing way (e.g., methods involving research, observation, analysis,
improvisation);
TH1.02 -
describe the process of portraying a character in a script through voice,
gesture, props, and the characters’ relationships with other characters;
TH1.03 -
demonstrate an understanding of subtext, motivation, and status, in the
development of a character;
TH2.01 -
demonstrate an understanding of the techniques of voice production and
projection;
TH2.02 -
describe techniques of movement as they relate to the communication of
roles/characters, and dramatic tension;
TH2.03 -
identify and describe the elements of a dramatic setting (e.g., time, place,
character, theme);
TH3.02 -
describe aspects of the structure of a script (e.g., setting, stage directions,
dialogue);
CR1.02 -
apply appropriate voice and movement techniques in rehearsal and performance;
CR1.06 - demonstrate the ability to
take responsibility, both as an individual and as a member of a group, when
working in an ensemble to create a drama (e.g., generate ideas and consider
others ideas, analyse suggestions, make artistic decisions) and to rehearse a
drama (e.g., attend all rehearsals, be willing to step into any role if
needed);
CR1.09 -
demonstrate an understanding of the purpose and conventions of rehearsal (e.g.,
rehearse to determine where revisions need to be made; treat others and their
work with respect);
CR2.01 -
identify community/audience interests and needs, using a variety of methods
(e.g., researching, interviewing, surveying), and present dramatic productions
that are suitable for specific audiences;
CR2.02 -
identify and make appropriate use of ways of engaging the audience (e.g., use
an appropriate language level for children s theatre);
CR2.03 -
identify different performance spaces in both the school and the community, and
compare them with regard to effectiveness;
CR2.04 -
use technology effectively (e.g., sound and lighting effects, music, slides,
video) to help communicate theme, character, plot, and setting in the
presentation of a drama;
AN1.03 -
analyse and evaluate the artistic choices made by the actors, director,
designer, and technicians in a dramatic presentation;
AN2.02 -
explain some benefits of role play (e.g., role play can be used to resolve
conflicts, create empathy, or clarify complex issues).
Ontario
Catholic School Graduate Expectations
See
Appendix 5.3.
·
group
collaboration skills; improvisational skills; role-play skills; character/role-play
methods; script writing
·
The
teacher is aware of his/her multiple roles as resource, motivator, and careful
observer. The teacher is also the “audience before the audience” and must
resist the temptation to limit, or to control except when students’ emotional
or physical safety is in jeopardy, when language becomes inappropriate, or when
the presentation strays off topic.
·
The
teacher looks for fairness and equity in division of roles, suitability of
language and movement, a variety of methods of presentation, and evidence of
depth of research.
·
The
teacher makes students aware of considerations of staging the docudrama,
especially engaging the audience’s interest and the use of technology,
costumes, props, and sets.
|
Technical elements are a higher priority
throughout this activity, as the teacher and group decide how to approach
them. Direct teaching of technical elements is ongoing throughout the unit
and requires students to make artistic decisions which will enhance the
production. |
1: Assessing and Assembling
At this
point, the presentation is made up of a series of disjointed pieces from many
dramatic styles that have not yet been assessed for numerous criteria, such as:
·
Quality:
is the quality representative of the student’s best efforts?
·
Theme:
do the individual parts reflect the overall theme of the presentation?
·
Distribution
of Roles: are the roles divided equitably in ways which allow all students to
demonstrate their learning?
·
Time:
do all scenes fit the time constraints of presentation?
·
Order:
where does each scene fit in the order of presentation?
·
Balance:
is there an appropriate balance of presentation methods?
·
Script:
is the script written in a format that can be used to practise and present?
·
Language:
is the language appropriate for the topic, theme and audience?
·
Voice
and Movement: is there suitable variety and expression in voice and movement?
·
Character:
is there evidence of sufficient character development?
·
Technical:
are technical aspects appropriate and “doable”?
Students
consider these questions when deciding what to include in the final
presentation and assembling the docudrama. Making these decisions objectively,
as a group, and when appropriate helps students view their work as an artistic
“work in progress”.
Students
have shaped, edited scenes along the way, and developed an appropriate
structure (e.g., thematic or chronological) so that different scenes/methods of
presentation can be linked logically. Transitions are established between
scenes (e.g., a narrator, common characters, text, music). Freezes, blackouts,
or overlaps can be used to end scenes. Particular attention should be paid to
pacing at this point.
2: Final Rehearsals
The
entire group (whether it is the whole class or smaller groups) focuses on the
production as a whole. Students alternate in the role of the director to see
the presentation from the audience’s point of view. This allows creative
reflection and problem solving. The teacher encourages them to think of
themselves as “the audience before there is an audience” (Jim Schaefer). The
teacher may also take the role of director, especially for whole class
docudramas. Under the teacher’s guidance, the group as a whole may look at the
presentation as audience/director and give feedback when they are not needed as
an actor or technician. It is important, whether the director is a person or
group, to anticipate the audience’s viewpoint and look for:
·
Auditory
skills: diction, voice expression, line delivery, flow of text
·
Visual
skills: stage composition, movement, blocking
·
Empathic
skills: delivery of emotion, mood, tone, theme
Rehearsals shift from polishing individual
scenes to running the entire docudrama. Extra rehearsals may be needed for individual
scenes that need more work in blocking, character work, and technical aspects.
Scenes are knitted together, the script is assembled and polished, leading to
final rehearsals and production.
|
The docudrama can be staged in the drama room
with the rest of the class as audience if there are several docudramas or
with one or more other classes watching the presentation if there is one
class docudrama. The teacher must be
sensitive to the needs of the class and their comfort levels in front of an
audience. The decisions on the makeup of the audience have been made
previously (see Activity 2, Strategy 4) and may need to reassessed at this
point. The final performance space is determined based on the size of the
cast, the length of presentation and the theme of the docudrama. Individual
students are involved in technical work (slides, sound, lightning, sets) to
enhance the theme. Sound (taped music, sound effects) and lighting
(blackouts, lighting cues) for the presentation can be run by members of the presenting
group or students outside the group. |
Extension/Enrichment: As the docudrama takes its final theatrical shape, the students reflect on personal values, abilities, and aspirations which have motivated them during the production process. This may be done as a class discussion or as a portfolio entry. .
The
teacher takes extensive notes and gives formative assessment feedback to the
cast about:
·
voice
projection, body language/movement, commitment and insight into character being
consistent;
·
the
balance and ordering of scenes being reasonable and promoting the theme
·
the
technical aspects (lighting, sound, and special effects) are safe and
artistically sound;
Students are assessed on the thoroughness of
their character sketches. Students reflect on the aspects of the dramatic arts
process through writing exercises in their portfolios designed to help foster
self and community awareness (e.g., How do the roles I play reflect my beliefs?
How does this theme/topic impact on my family or me?). The presentation is
assessed for the same qualities as outlined in
Strategy 1.
Time: 270 minutes
The
production is presented as a realization of the original concept, demonstrating
the elements of the docudrama genre. The teacher guides the students through
this period as their research, individual, and group work comes to fruition in
a theatrical venue and are completed with an audience. Emphasis is also given
to finalizing the student portfolio as students reflect on the process and
assess themselves in it. Teacher evaluation of all student work in the process
and product culminates at this point. Students reflect on the role of Christ
and their faith within the process and the Catholic learning experience.
Students achieve a holistic view of the body, mind, spirit, and heart as their
God-given gift and dramatic instrument.
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 -
apply appropriate techniques to create and reinterpret a variety of
roles/characters in individual or collective creations;
CRV.02 -
use an ensemble approach to create and present drama;
CRV.03 -
create, adapt, and script dramatic presentations, making appropriate use of
research, improvisation, workshop techniques, and rehearsal;
CRV.04 -
create and present dramatic works that demonstrate an understanding of audience
perspectives and needs;
CRV.05 -
use technology appropriately in the presentation of drama;
ANV.01 -
analyse and evaluate the creation (i.e., the process) and the presentation
(i.e., the product) of dramatic arts, using appropriate dramatic arts
terminology;
ANV.02 -
explain how dramatic arts represent, and contribute to, culture and society;
ANV.03 -
explain how role playing and character development foster self- and community
awareness.
Specific
Expectations
TH2.02 -
describe techniques of movement as they relate to the communication of roles/
characters and dramatic tension;
TH2.03 -
identify and describe the elements of a dramatic setting (e.g., time, place,
character, theme);
CR1.02 -
apply appropriate voice and movement techniques in rehearsal and performance;
CR1.05 -
interpret and present a dramatic text, using only voice or movement techniques
(e.g., techniques used in readers’ theatre or dance drama);
CR1.06 -
demonstrate the ability to take responsibility, both as an individual and as a
member of a group, when working in an ensemble to create a drama (e.g.,
generate ideas and consider others’ ideas, analyse suggestions, make artistic decisions)
and to rehearse a drama (e.g., attend all rehearsals, be willing to step into
any role if needed);
TH2.01 -
demonstrate an understanding of the techniques of voice production and
projection;
CR2.01 - identify community/audience interests and
needs, using a variety of methods (e.g., researching, interviewing, surveying),
and present dramatic productions that are suitable for specific audiences;
CR2.02 - identify and make appropriate use of ways of engaging the audience
(e.g., use an appropriate language level for children s theatre);
CR2.03 -
identify different performance spaces in both the school and the community, and
compare them with regard to effectiveness;
CR2.04 -
use technology effectively (e.g., sound and lighting effects, music, slides,
video) to help communicate theme, character, plot, and setting in the
presentation of a drama;
AN1.01 -
identify and use specific criteria to evaluate a dramatic presentation;
AN1.02 -
identify and analyse the skills and concepts used to create and present a
drama;
AN1.03 -
analyse and evaluate the artistic choices made by the actors, director,
designer, and technicians in a dramatic presentation;
AN1.04 -
demonstrate an ability to review a theatre performance presented in the school,
in the community, or on video;
AN1.05 -
explain the connections between the theatre, themselves, and society (e.g.,
relevance of cultural rituals in the development of self-awareness; functions
of issues-based theatre);
AN2.01 -
analyse, through journal writing, discussion, and questioning, the significance
of what they have gained from their artistic experiences;
AN2.02 -
explain some benefits of role play (e.g., role play can be used to resolve
conflicts, create empathy, or clarify complex issues);
AN2.03 -
explain connections between their own lives and universal truths expressed
through drama (e.g., truths derived from the stories of Holocaust survivors,
refugees, and heroes);
AN2.04 -
explain how the communication skills they have developed through drama can be
applied in a variety of contexts;
AN2.05 -
research and describe postsecondary programs and careers in dramatic arts that
are related to the personal, social, and career skills they have acquired
through their study of dramatic arts.
Ontario
Catholic School Graduate Expectations
See
Appendix 5.3.
·
ability
to collaborate in a group; improvisational skills; role-play skills;
character/role-play methods; script writing
·
To
ensure a smooth presentation, the students prepare costumes and props well
ahead of time, set the stage as needed, post sheets showing the scene order,
and make available a script for prompting and light/sound cues.
·
A
student from outside the presentation could videotape it for viewing for
assessment and evaluation purposes by the teacher as well as for showing to the
students later for their analysis.
·
If
students from outside the presentation group are used to help in technical
aspects such as lighting or sound, several technical rehearsals with them are
needed before the presentation.
1: Production Time
The teacher reviews with the
students or posts the breakdown of the structure of the performance, listing
the scene order, their technical needs, beginning and ending cues for each scene,
and special effects. The teacher reinforces the importance of each actor taking
responsibility for the props and costumes with which they are directly
involved. Decisions on stylistic considerations were made in Activities 2, 3,
and 4 and help determine aspects of the production such as the use of costumes,
props and set pieces as well as the role of a stage crew for changing stage
properties between scenes. Finally, the teacher wishes the students the best
and sits in the audience, watching, assessing, and enjoying their work.
2: Assessment and Evaluation
Assessment
has been ongoing through the student’s daily individual and group work to guide
students toward their group goal and the demonstration of their unique
abilities. A final performance rubric (Appendix 5.5) gives teachers an
opportunity to evaluate the performance of each student. It is helpful to
videotape the presentation to help with individual evaluation and to show to
the class afterwards to help with reflection. Having the student’s permission
beforehand may be a legal requirement; teachers must investigate this prior to
any videotaping.
The
teacher and class reflect upon the presentation in two ways.
·
Discussion
as a whole group or small groups. The teacher re-plays the performance video to
provide opportunities for students to see their collective and individual
strengths. It is very important that the
teacher find opportunities to speak constructively about the whole group’s
work, and not focus unduly on individuals, either positively or negatively.
The video may be shown as many times as needed to reinforce the message of the
whole group’s efforts.
·
As
individuals in their portfolios. Guided reflection in the portfolio provides
students with opportunities to examine the sources of their ideas, to discover
what makes the drama meaningful for them, and understand how their individual
responses and choices influenced the responses and choices of others and helped
shape the work. Above all, it is the best way for a teacher to centre on each
student’s learning in relation to the Curriculum Expectations.
Part of the thirty percent final
evaluation is allotted to the development of the student portfolio (See
Appendix 5.1) which includes: ideas from brainstorming themes, topics, scenes,
characters, etc.; research notes from sources (videos, texts, historical
artifacts, etc.); scenes, scripts or other presentation ideas written by the
group; character development through writing-in-role, responding to hotseat
activity or writing a character sketch; artistic representations such as
drawings of sets, costumes, props, etc.; technical notes; assessment and
critiques of the process and final product; personal, social, and career skills
acquired through the development of the docudrama; reflection on how the
student has grown in confidence, a sense of self and respect for others;
reflection on social responsibility, human solidarity, and the common good;
additional notes, research, and reflections which are relevant to this unit.
In
consultation with Special Education specialists and Student Services, and with
reference to students’ IEPs, the teacher uses appropriate accommodations.
·
Be
conscious of grouping and regrouping to maximize cohesion regarding peer
support in collaborative group work.
·
Some
artistic licence may be taken regarding factual material from reality and the
editing needed to allow for an artistic arena for all participants in the
ensemble.
·
Provide
research sources from audio, video, and real-life artifacts to allow for
researching in student’s areas of strength.
·
Focus
on students’ strengths for performance or working backstage, allowing students
to excel in those areas.
·
Encourage
oral discussion prior to and after reading to increase the student’s level of
comprehension.
·
Provide
direct instruction for areas of reading needs.
·
Adapt
suggested texts to students’ reading levels.
·
Teach
the meaning of words specific to the text.
·
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.
·
Have
students use computer for word processing, proofreading, and 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.
·
Students
with physical disabilities may be paired with a peer or assigned an assistant
for rehearsal and presentation activities.
Books
Benson,
Eugene and L.W. Conolly. English-Canadian
Theatre. Toronto: Oxford University Press. 1987. ISBN 0195405838.
Berry,
Glenys and Joanne Reinhold. Collective
Creation. Alberta Alcohol and Drug Abuse (AAD), 1985.
Berton,
Pierre. My Country. Toronto:
McLelland and Stewart, 1976. ISBN 0771013930
Booth,
David and Jonothan Neelands. Writing in
Role. Hamilton: Caliburn Press Inc., 1998.
ISBN 096999673X
Bray,
E. Playbuilding: A guide for group
creation of plays with young people. General Publishing Company, Limited,
1994. ISBN 0435086359
Broadfoot,
Barry. Ten Lost Years, 1929-1939:
Memories of Canadians Who Survived the Depression. Toronto: McClelland
& Stewart, 1997. ISBN 0771016522
Canadian Theatre History Workshop Series. Ottawa: Great Canadian Theatre
Company.
Contemporary Canadian Theatre. Toronto: Simon and Pierre, 1985.
ISBN 088924152X
Filewood,
Alan. Collective Encounters: Documentary
Theatre in English Canada. Toronto: University of Toronto Press, 1987. ISBN
0802026338
Lundy,
Charles and David Booth. Interpretation:
Working with Scripts. Don Mills, ON: Harcourt Brace Jovanovich Canada,
1983. ISBN 0774712104
Modern Canadian Plays. Vancouver: Talonbooks, 1986. ISBN
0889222436
Neelands,
Jonothan. Structuring Drama Work.
Cambridge, UK: 1999. ISBN 0521376351
Neelands,
Jonothan. Making Sense of Drama.
General Publishing Company, Ltd., 1985.
ISBN 0435186582
O’Neill,
Cecily and Alan Lambert. Drama
Structures: A Practical Handbook for Teachers. CCL Corporation, 1982. ISBN
0748701915
Paper Wheat: The Book. Twenty-fifth Street House Theatre.
Western Producer Prairie Books, 1982.
ISBN 0888330790
Remembrance Day. Ministry of Education. Toronto:
Queen’s Printer, 1980.
Salutin,
Rick. 1837: William Lyon Mackenzie and
the Canadian Revolution. Toronto: James Lorimer. 1976. ISBN 0888621183
Salutin,
Rick. Les Canadiens. Vancouver:
Talonbooks, 1977. ISBN 0889221227
Salutin,
Rick. Marginal Notes. Toronto: James
Lorimer, 1984.
Tarlington, C. and W. Michaels. Building Plays: Simple Playbuilding
Techniques at Work. Portsmouth, NH: Heinemann, 1995. ISBN 0435086898
Thom,
Molly. Bush Ladies. J. Gordon
Shillingford Publishers, 2000. ISBN 1896239714
Toye,
William, ed. Oxford Companion to Canadian
Theatre. Toronto: Oxford University Press, 1989. ISBN 0195406729
Selected
Television Series which Use the Docudrama Format
(Note:
not all may be available and legal licensing is necessary.)
The Arrow. CBC, 1997; Black October. History Television, 2000; The Boys of St. Vincent. CBC, 1994; The Campbells. CBC, 1985-88; Canada:
A People's History. CBC, 2001; Canada’s
Sweetheart: The Saga of Hal C. Banks. CBC, 1985; The Canadians. History Television, 2000; The National Dream. CBC-BBC, 1975; A Scattering of Seeds. History Television, 1999; The Valour and the Horror. CBC, 1992; The Winners. CBC, 1982.
Websites
Playwrights
Union of Canada – http://www.puc.ca
Saskatchewan
Department of Education – http://www.sasked.gov.sk.ca/docs/artsed/g9arts_ed
Canada’s
Digital Collections – http://collections.ic.gc.ca/E/home.html
Canada’s
Schoolnet – http://www.schoolnet.ca/home/e/resources
Canadian
Catholic Historical Association –
http://www.umanitoba.ca/colleges/st_pauls/ccha/index2.html
Canadian
History On The Web – http://members.home.net/dneylan/index.html
Canadian
Museum of Civilization – http://www.civilization.ca/cmcchome.html
Catholic
Canada Directory – http://www.catholicanada.com
The
Catholic Encyclopaedia – http://newadvent.org/cathen
Catholic
News Service – http://www.catholicnews.com/briefs.htm
The
Catholic Register – http://www.catholicregister.org
Curricular
Resources in Canadian Studies – http://www.cln.org/subjects/can-hist_cur.html
Early
Canadiana Online – http://www.canadiana.org/eco/english/sitemap.htm
Great
Moments in Catholic History – http://home.golden.net/~wts/wts/wts-words/wts-greatmoments/GreatMoments.html
History
Internet Resources for High School Teachers in Saskatchewan –
http://duke.usask.ca/~debrou/grade12.htm.
History
of local Dioceses:
Ottawa – http://www.ecclesia-ottawa.org/e-front-frame.html
Toronto - http://www.archtoronto.org/sec/map.htm
Hamilton - http://hamiltondiocese.com/history/index.html
·
How
effective was my contribution to the group?
·
Have
I encouraged everyone to be heard in a non-threatening environment?
·
How
have I developed the ability to listen critically and appreciatively?
·
How
effective was my participation with others to explore cooperative verbal and
movement expression?
·
Do
I respond in a supportive manner to the movement and voice work of all members
of the group, offering caring, sensitive critical judgement?
·
Do
I interpret the body language and movement of others in a Christian, accepting
manner?
·
How
do I instill a sense of trust and confidence in others through my participation
in the group?
·
How
do I demonstrate respect for others and their ideas?
·
How
do I show a willingness to attempt tasks in a positive, uplifting manner?
·
What
Gospel values are closely linked with the work in class today?
The
following checklist may be used during the brainstorming, researching, and
workshop stages while developing the docudrama.
|
Skill |
Rarely |
Sometimes |
Often |
Always |
|
Participates
with enthusiasm |
|
|
|
|
|
Offers
creative ideas |
|
|
|
|
|
Listens
to and supports others |
|
|
|
|
|
Provides
encouragement |
|
|
|
|
|
Assumes
leadership |
|
|
|
|
|
Resolves
conflicts |
|
|
|
|
|
Concentrates
and stays on task |
|
|
|
|
|
Cooperates
with others |
|
|
|
|
|
Shows
reliability/dependability |
|
|
|
|
|
Demonstrates
flexibility |
|
|
|
|
|
Demonstrates
positive attitude |
|
|
|
|
|
Backs
up ideas from research |
|
|
|
|
(referenced to the Activity which each addresses)
|
Catholic Graduation Expectation |
Activity |
||||
|
|
1 |
2 |
3 |
4 |
5 |
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1d:
develops attitudes and values founded on Catholic social teaching and acts to
promote social responsibility, human solidarity and the common good; |
3 |
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2a:
listens actively and critically to understand and learn in light of gospel
values; |
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3 |
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2b:
reads, understands and uses written materials effectively; |
3 |
3 |
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2c:
presents information and ideas clearly and honestly and with sensitivity to
others; |
3 |
3 |
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3b:
creates, adapts, evaluates new ideas in light of the common good; |
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3 |
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3c:
thinks reflectively and creatively to evaluate situations and solve problems; |
|
3 |
3 |
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3 |
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3d:
makes decisions in light of gospel values with an informed moral conscience; |
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3 |
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3e:
adopts a holistic approach to life by integrating learning from various
subject areas and experience; |
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3 |
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4a:
demonstrates a confident and positive sense of self and respect for the
dignity and welfare of others; |
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3 |
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4b:
demonstrates flexibility and adaptability; |
3 |
3 |
3 |
3 |
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4c:
takes initiative and demonstrates Christian leadership; |
3 |
3 |
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4d:
responds to, manages, and constructively influences change in a discerning
manner; |
|
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3 |
3 |
3 |
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4f: applies
effective communication, decision-making, problem-solving, time and resource
management skills; |
|
3 |
3 |
3 |
3 |
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5a:
works effectively as an interdependent team member; |
3 |
3 |
3 |
3 |
3 |
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5e:
respects the rights, responsibilities and contributions of self and others; |
3 |
3 |
3 |
3 |
3 |
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5f:
exercises Christian leadership in the achievement of individual and group
goals; |
3 |
|
3 |
3 |
3 |
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5g:
achieves excellence, originality, and integrity in one’s own work and
supports these qualities in the work of others; |
|
3 |
3 |
3 |
3 |
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7e:
witnesses Catholic social teaching by promoting equality, democracy, and
solidarity for a just, peaceful and compassionate society; |
3 |
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7f:
respects and affirms the diversity and interdependence of the world’s peoples
and cultures; |
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3 |
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7g:
respects and understands the history, cultural heritage and pluralism of
today’s contemporary society; |
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3 |
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7j:
contributes to the common good. |
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3 |
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Docudrama involves gathering, selecting, ordering, and dramatizing of factual and historical material. It is a theatre of reportage where letters, speeches, interviews, photos, articles, biography, newspaper stories, history texts, etc. are transformed into a dramatic presentation. Docudrama is based on actual facts, yet it presents the facts for examination and allows artistic interpretation. It has its roots in the works of Bertolt Brecht, as well as the film-making of John Grierson. It combines the informational reality of film with the performance techniques of the stage. This process, with actors involved in all stages of artistic creation, merges acting, directing, and writing into one form; thus changing the hierarchical, well-defined boundaries of traditional theatre.
Docudrama
is distinctively Canadian, as witnessed by the wealth of Canadian productions
in this genre. It has been used primarily in alternate theatres such as Theatre
Passe Muraille. Various approaches to research material have resulted in
notable examples of docudrama in this country. In The Farm Show, actors shared the experience of living with the
farmers of Clinton, Ontario, to get a personal sense of an agricultural
community before transferring the experience to the stage. In 1837: The Farmers’ Revolt, an
historical, nationalistic, and political viewpoint was taken after libraries,
record offices, museums, and galleries were researched to present the rebellion
of 1837. In Ten Lost Years, Barry
Broadfoot’s book of interviews with people of the Depression, was brought to
life on the stage, taking a literary, textual interpretation. In successful
docudrama, there is a strong connection between the actor and the material, a
sense of community among the actors, sufficient time to research, rehearse and
present as well as a strong story line, narrative or theme to unify the
assembled facts.
Process
of Creating a Docudrama
Docudrama is created in groups for presentation using the documentary technique of researching factual or historical material and dramatizing the material. Docudrama explores an historical/factual topic through in-depth research, which can take a variety of forms (e.g., interview, reading, viewing film, visiting museums, etc.). The topic can be dramatized through a variety of styles of presentation such as mime, tableau, monologue, and scenes. Use of technology such as a VCR, tape recorder, computer, and slides for both research and presentation is encouraged.
The group researches, compiles, and stages its own docudrama on a topic of interest to them. The topic can be an historical event (e.g., the October Crisis) or a societal issue (e.g., the environment). Students research primary and secondary sources, including reference books, newspapers, letters, film, personal interviews, and many others.
Docudrama
can be used for small-group presentations within the class as well as
whole-class presentations such as a Remembrance Day ceremony. Groups use mime,
tableau, improvised and written scenes, monologues, panel discussions, news
format, songs, dance, slides, poetry, etc. to present their ideas based on the
research. The particular style of presentation is chosen by the group as they
investigate a sub-topic. The group selects potential characters, story lines,
and thematic moments and transforms them into their own artistic product. Using
improvisational techniques backed up by research, groups cycle through
research, improvisation, and scene transcription. Sometimes one person needs to
write out a scene while at other times improvisation of the whole group may
best shape a scene. The director, if one is used, shapes and edits scenes along
the way, looking for the best fit for an organizational structure. Links are
established between scenes (e.g., a narrator, common characters throughout, a
song that repeats) and technical needs are organized. Freezes, overlaps, and/or
blackouts can be used to end scenes. Individual group members can also produce
slides, sound, lightning, or sets to enhance the theme. Scenes are knitted
together and edited; the script is assembled and polished; and the final
rehearsals and production occur.
Remembrance
Day - An Example of Docudrama
The first
production may be structured, teacher-directed, and done with the whole class.
The following Remembrance Day presentation is an example of this approach. A
second docudrama, attempted later in the year, may be produced with smaller
groups and more detail, and could be self-directed and with freer choice of the
subject.
The class
sees videotapes from the “Never Again” series (from the War Amputees) depicting
the sacrifice of Canadians in both World Wars. Members of the Royal Canadian
Legion are invited to speak to the class about their war experience. Students
ask question and discuss issues. Based on these experiences, students derive a
theme for their presentation (e.g., War is a horrible waste of lives, or war
leads to heroism, or contributes to nationalism).
(The theme may also arise over the course of developing the unit.) The class is
divided into groups to do further research. Some suggested sources are:
·
books
such as Six War Years, a series of
interviews with veterans about their experience in war; these can be made into
monologues or scenes;
·
books
such as The Diary of Ann Frank, reflecting
the personal view of a teenager during war;
·
film
Remembrance Day (Ministry of
Education, 1980), which contains many stories and poetry activities for the
day, as well as extensive resource information;
·
music
of different eras; contrast songs of 1940s with those of modern day (e.g.,
“War!”, Bruce Springsteen; “Remembrance Day”, Bryan Adams; “Imagine”, John
Lennon);
·
photos
(slides) taken of: interviews with Legion members, War Museum and War Memorial;
war photos, and contrast images of peace;
·
gospel
readings relating to peace (e.g., Matthew 5: 38-48; John 15: 9-12);
·
play
research including the Greek plays Peace
and Lysistrata, which point out the
stupidity of war; the British satire Oh!
What A Lovely War!, a documentary using traditional WWI songs, slides,
revue sketches, a news panel, and dance routines; the Canadian play Billy Bishop Goes to War, where two
actors take on many roles in a portrayal of a Canadian war hero; the Canadian
play The Legend of the Dumbells, made
up of songs and sketches based on the original Dumbell group that entertained
overseas during WWII;
·
poetry
such as “In Flanders Field” and “Naming of Parts”.
In
presenting a docudrama on Remembrance Day, the following methods of
presentation can be used. Students alone or in groups select the best method to
present their source.
|
tableau
(e.g., scene of two armies clashing) |
choral
reading (e.g., John 15: 9-12) |
|
mime
(e.g., soldier bidding farewell to family) |
dance/movement
(e.g., creative dance to song “war”) |
|
improvisation
(e.g., underage student tries to get out of school to enlist and fight
overseas) |
Song
(e.g., one student sings “And the Band Played Waltzing Matilda”) |
|
monologue
(e.g., chaplain writing home to a mother telling her that her son was killed) |
news report
(e.g., on the spot reports on war action) |
|
poetry
(e.g., recite “The Naming of Parts”) |
interview
(e.g., replay of interview with a student's grandparent who lived through the
war) |
|
Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Thinking/Inquiry |
-
limited concentration and focus |
-
moderate concentration and focus |
-
considerable concentration and focus |
- high degree
of concentration and focus |
|
Communication |
-
limited audience engagement |
-
moderate audience engagement |
-
considerable audience engagement |
-
thorough audience engagement |
|
Communication |
-
limited character portrayal and believability |
-
moderate character portrayal and believability |
-
considerable character portrayal and believability |
- high
degree of character portrayal and believability |
|
Communication |
-
limited vocal clarity and expression |
-
moderate vocal clarity and expression |
-
considerable vocal clarity and expression |
- high
degree of vocal clarity and expression |
|
Communication |
-
limited movement clarity and expression |
-
moderate movement clarity and expression |
-
considerable movement clarity and expression |
- high
degree of movement clarity and expression |
|
Application |
-
limited work as part of the ensemble |
-
moderate work as part of the ensemble |
-
considerable work as part of the ensemble |
- high
degree of work as part of the ensemble |
|
Application |
-
limited technical understanding and response |
-
moderate technical understanding and response |
-
considerable technical understanding and response |
-
thorough technical understanding and response |
|
Comments |
||||
Note: A student whose achievement is below level 1
(50%) has not met the expectations for this assignment or activity.
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