Course Profile Dramatic Arts (ADA4M), Grade 12,
University/College Preparation, Catholic and Public
Unit 4: Characters in New Settings
Time: 30 hours
Activity
1 | Activity 2 | Activity 3 | Activity 4
Unit Description
In this culminating
unit, students focus on Canadian plays and then write and perform an original
play in small groups for their final evaluation. They choose a monologue or
two-person scene from a Canadian play to prepare, rehearse, and present. They
are responsible for their own costume and properties as well as written
production plans. In addition, students research the play and playwright
following specific guidelines and share their learning with their peers. With
peer practice, students help each other to review, drill, and rehearse in pairs
or small groups to consolidate their understandings and enhance skills.
Students present rehearsed scenes, applying acting skills developed throughout
the course, for peer feedback. Upon completion of monologue/dialogue
presentations, students form groups of four. In these groups, each student maintains
his/her Canadian character and lines of dialogue from the original Canadian
script but works with group members to write a new, original script using a
single, common setting in which the four characters interact. These scripts are
rehearsed and presented to the class and/or an audience beyond the class. In
finding methods to develop this original production, students may also choose
to use a theatrical style studied in Units 2 and 3. The presentation of the
scenes provides the framework for the final evaluation in this course.
1. How does the knowledge of conventions in a
variety of forms allow actors to shape character in a new context?
2. What strategies can be used for effective collaboration
during the development of a theatre piece?
3. What makes a scene dramatically effective?
4. What personal skills developed in this course
have been most important in refining performance quality?
(K/U = Knowledge,
T/I = Thinking/Inquiry, C = Communication, A = Application)
|
Activity |
Time (hours) |
Learning Expectations |
Assessment Categories |
Tasks |
|
1. |
3 |
THV.01, THV.03,
TH3.02, TH3.03, CR1.06, ANV.02, AN1.05, AN1.06 |
K/U, T/I, C |
Select a Canadian
Script and character Research
assignment |
|
2. |
11 |
THV.01, THV.02,
TH1.02, TH2.01, TH2.02, CRV.01, CRV.04, CR1.01, CR1.02, CR1.04, CR2.01, CR2.04,
CR2.06, ANV.01, AN1.07 |
K/U, T/I, |
Interpret,
Prepare, Rehearse, Present |
|
3. |
7 |
THV.02, TH3.01,
CRV.02, CRV.03, CR1.04, CR1.05, CR1.07, CR2.02, CR2.03, ANV.02, AN1.05, AN1.06 |
K/U, T/I, |
New groups find
connections Write a script |
|
4. |
9 |
THV.01, THV.02, CRV.01, CRV.02, CRV.03, CRV.04, CR1.01, CR1.02, CR1.04,
CR1.05, CR2.01, CR2.02, CR2.03, CR2.04, CR2.06, ANV.01, ANV.02, ANV.03,
AN1.04, AN1.05, AN1.06, AN2.01, AN2.02, AN2.04 |
K/U, T/I, |
Rehearse and
present an original work Critiques review Portfolio
completion |
Time: 3 hours
Students choose a
monologue or a dialogue from a selection of Canadian plays provided by the
teacher. Through research of the chosen text and the playwright, students come
to know and understand the play’s significance in the Canadian context.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe
historical and contemporary approaches to acting, directing, and play writing;
THV.03 - describe
the origins and characteristics of different dramatic forms from a variety of
cultures and periods, including the late twentieth century;
ANV.02 - analyse and
evaluate theatre presentations, using the terminology of dramatic arts correctly.
Specific
Expectations
TH3.02 - describe
the development of Canadian theatre, focusing on some specific aspects (e.g.,
playwrights, works, regional theatres, docutheatre);
TH3.03 - describe
the historical and cultural origins of the dramatic literature chosen for
exploration;
CR1.06 - apply a set
of specific criteria in the selection of plays, scenes, or dramatic forms for
presentation;
AN1.05 - identify
universal concepts and themes from a study of theatre works, and analyse their
personal, social, and cultural significance;
AN1.06 - explain how
theatre can reflect issues, societal concerns, and the culture of the
community, the country, and other countries.
Ontario Catholic
School Graduate Expectations
See Appendix 4.1 –
Ontario Catholic School Graduate Expectations
Reading skills;
decision making and cooperative skills; research and note-taking skills.
·
The teacher
assembles books of Canadian plays and folders with monologues and two-person
scenes from Canadian plays. The teacher is reminded to review Cancopy
restrictions.
·
Monologue folders
are organized by gender, and dialogue scenes are placed in a separate folder to
facilitate the students’ selection process.
·
In compiling
script selections, the teacher chooses monologues that are two to three minutes
in length, and dialogues, six to eight minutes in length.
·
Script
explanations may include comments on Canadian regional aspects, style,
(universal) theme(s), and conflict.
·
The teacher
photocopies Appendix 4.2 – The Canadian Context and sample visual organizers,
used to prepare a written submission and an oral presentation.
·
The teacher
arranges a research session with the school’s library staff or community
library for Strategy 2.
Strategy 1: Exploring and Choosing Text
The teacher comments
briefly on selections by Canadian playwrights from the box and/or the folders
provided by the teacher to assist students in choosing a monologue and
dialogue. (See Extensions/ Enrichment at the end of Activity 1) If students
have other Canadian play suggestions not included in the classroom collection,
they may be encouraged to select them, with the teacher’s approval. The chosen
monologue should be two to three minutes in performance length, and the dialogue
six to eight minutes long.
The teacher guides
and advises students on an appropriate selection of text and encourages peers
to share their responses to material they are reading. Students select a
monologue or dialogue and report their choice to their teacher, who records
their selection.
Strategy 2: Research the Chosen Text
The teacher hands
out Appendix 4.2 – The Canadian Context. In the library/resource centre
students research the chosen text in order to learn about the play’s place in
Canada’s history and regions, the playwright, and his/her contribution to
Canadian theatre. Notes are taken using the Appendix in preparation for a
written submission as well as a brief oral introduction preceding the dramatic
presentation of the chosen text. Students are encouraged to use visual
organizers like the fish-bone or Venn diagram to help illustrate more complex
concepts. Students complete their research and introduction writing for
homework.
Extensions/Enrichment
A student who is
also studying the Gr.12 Canadian Literature course and whose ISU might be on a
Canadian playwright could give a short presentation based on his/her research.
The Drama teacher
could switch classes with an English teacher who has expertise in Canadian
plays.
A local published
playwright could be invited into the class to discuss his/her work.
·
A braille-writer,
braille display computer system or portable electronic braille notetaker, such
as Braille Mate or Type’n Speak or Braille Lite 40 may be used;
·
Use magnifying devices,
to enhance the size of print on the page;
·
A student partner
could read to the blind/vision-impaired student.
·
Allow additional
time, where necessary, for completion of reading activities;
·
Read aloud to
students and/or encourage the use of peer tutors to read to students.
Beissel,
Henry, ed. Cues and Entrances: Ten Canadian One Act Plays. Toronto: Gage
Publishing Ltd., 1977. ISBN 0-7715-1191-4
Bessai,
Dianne and Don Kerr, ed. NeWest Plays by Women. Edmonton: NeWest Press,
1987.
ISBN 0-920897-14-2
Brenna,
Dwayne. Scenes from Canadian Plays. Saskatoon: Fifth House Publishes,
1989.
ISBN 0-920079-45-8
Euringer,
Fred. A Fly on the Curtain. (containing comments on the development of
theatre in Ontario and Canada)
Moore,
Mavor. 4 Canadian Playwrights. Toronto: Holt, Rinehart, and Winston of
Canada, Ltd., 1973. ISBN 0-03-929990-2
Runnels,
Rory, (ed.). A Map of the Senses: 20 years of plays from Manitoba.
Scriocco Press, 2000.
Sears,
Djanet, (ed.). Testifyin: Contemporary African-Canadian Drama.
Toronto: Playwrights Union of Canada, 2000.
Six
Canadian Plays. Toronto:
Playwrights Canada Press, 1992. ISBN 0-88754-469-X
Some Canadian
Playwrights and One Representational Play
Playwrights
Union of Canada – http://www.puc.ca
TheatreBooks (Toronto) – http://www.theatrebooks.com
Consult
artistic directors/personnel of local theatres, either amateur or professional,
as well as local actors, performing arts reviewers of local newspapers, local
writers, professors, and teachers.
Michel Marc Bouchard (The Coronation Voyage); David French (Salt-Water Moon); Linda Griffiths (Sheer Nerve); Daniel MacIvor (Marion Bridge); Darren O’Donnell (Inoculations); James O’Reilly (Act of God); Sandra Shamus (A Trilogy of Performances); Jason Sherman (The League of Nathans); Drew Hayden Taylor (alterNatives); Judith Thompson (Sled); Michel Tremblay (For the Pleasure of Seeing Her Again); George F. Walker (Heaven).
Time: 10 hours
Students examine their
approved scripts in more detail. They interpret character, determine technical
needs for the presentation of their scene or monologue, rehearse, receive
constructive criticism, and present both the introduction that was created in
Activity 1 and the rehearsed scene. The teacher confers with students and
side-coaches in order to guide and advise.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe
historical and contemporary approaches to acting, directing, and play writing;
THV.02 - describe
how the elements, principles, and techniques of dramatic arts can be applied or
considered when creating, presenting, or analysing theatrical works;
CRV.01 - create and
interpret a variety of characters, using the theories and conventions of
specific acting methods, as well as historical and cultural styles;
CRV.04 - use
technology appropriately to design, create, and present drama;
ANV.01 - evaluate
their personal and collective contributions to all aspects of production, using
appropriate dramatic arts terminology.
Specific
Expectations
TH1.02 - describe
how specific genres, settings, and periods influence character development;
TH2.01 - describe a
range of techniques used to train the voice;
TH2.02 - describe a
range of movement techniques used to train the body;
CR1.01 - create and
develop a character, using a classical or contemporary style of
characterization;
CR1.02 - convey
character through the effective use of voice and movement techniques;
CR1.04 - reinterpret
characters, using suggestions or notes provided by the director and peers, and
demonstrating further insight into the characters in subsequent rehearsals and
performances;
CR2.01 - demonstrate
an understanding of the tasks and interrelated responsibilities of individuals
in the production of theatre;
CR2.04 - create
production schedules (e.g., rehearsal schedules, production plans);
CR2.06 - use
technology effectively (e.g., sound and lighting effects, computer-assisted
design programs, music, slides, video) to convey mood, tension, and universal
meaning in a production;
AN1.07 - compare the
contribution of theatre to different societies and cultures, both past and
present.
Ontario Catholic
School Graduate Expectations
See Appendix 4.1 –
Ontario Catholic School Graduate Expectations
Interpretive skills;
ability to cooperate and trust; collaborative group skills; role-playing
skills; problem-solving skills; rehearsal skills acquired in previous units;
knowledge of memorization techniques; understanding of the concept of subtext;
experience responding to side-coaching.
·
The teacher
refers to choices of a monologue/dialogue completed in Activity 1 (Appendix
4.2) on an ongoing basis in order to facilitate conferences with individual
students.
·
The teacher
photocopies Appendix 4.3 – Planning Chart: Interpreting Character and Planning
Production.
·
The teacher uses
Appendix 4.4 – Performance Rubric for evaluation of final performances.
Strategy 1: Interpreting Character
The teacher informs
students that they are to make an entry in their learning log each day of this
activity. The teacher will allow 5-10 minutes at the end of each class for
students to start their learning log entries, which are to be completed for
homework. Students are to use information, techniques, and appropriate drama
terminology learned in Units 1 and 2 when writing in their learning log under
the following headings:
· approaches taken to develop their character; personal responses to these approaches;
·
voice and
movement elements used to interpret their character; reflections;
·
dramatic
techniques being applied in the creation and presentation of the scene;
reflections;
·
advice from
teacher/peers used to reinterpret character; steps taken to implement advice;
reflections;
·
description of a
significant moment experienced during rehearsal each day.
Strategy 2: Interpreting Using a Planning Chart
The teacher
distributes Appendix 4.3 – Planning Chart: Interpreting Character and Planning
Production. Each student interprets aspects of his/her character by identifying
specifics of the situation in which the character finds him/herself. The
student identifies the setting, conflict, atmosphere, mood, relationships, and
motives of his/her character on the top half of the Appendix. Students then
rewrite their script adding “things the character isn’t saying” (subtext) in
between the lines of dialogue.
Strategy 3: Realizing Technical Needs
Each student
determines and lists the technical requirements for his/her scene using the
lower section of Appendix 4.3. The teacher reminds students to refer to the
play for evidence of requirements for set, costume, properties, lighting, and
sound. This information is placed on the planning chart along with notes from
the student about his/her plans to represent those elements in their
presentation. Upon completion of the planning chart, the student submits the
chart to the teacher for evaluation and feedback during teacher/student
conferences.
Strategy 4: Teacher/Student Conferences
Teacher/student
conferences are conducted during the rehearsal time (Strategy 5). Notes made
while identifying characteristics on the Planning Chart (Appendix 4.3) and the
text/subtext script facilitate these conferences. In addition to reviewing
student notes, the teacher asks: How did your analysis of the script help you
to clarify the subtext?; What acting techniques will help you to bring the
subtext to light?; What is your plan for meeting your production challenges?
Strategy 5: Peer Coaching
The teacher assigns partners among all students who are presenting monologues and assigns partners among those who are presenting two-person scenes (two students assist two students). The teacher provides students with a list of criteria for providing peer feedback which includes memorization, production elements, vocal expressiveness, movement, gesture, use of space, use of pauses and facial expression. The teacher suggest strategies for memorization including: repetition of lines as homework, use of a tape-recorded version of the script done at home or school, handwriting the lines of dialogue, echoing lines back and forth with a partner, and reciting lines using different accents. As soon as possible, each presenter should give up his/her script to a partner/prompter and work on line memorization.
When at least three-quarters of the script is memorized and the presenter has rehearsed while developing characterization, he/she should present to his/her partner. Partners provide each other with feedback and assist each other in the memorization process and in character development. Upon completion, each checklist is handed in to the teacher for formative assessment. Presenters continue preparation and rehearsal in and out of class time. The teacher side-coaches students during the rehearsal period and gives feedback on characterization and peer-coaching.
Each student retains
a good copy of his/her script for use in Activity 4.
Strategy 6: Presentation
Using work done in
Activity 1, each student presents an out-of-role introduction of approximately
two minutes before the presentation of his/her polished scene or monologue.
Classmates take notes on information presented using the following headings:
the title of the play, brief biography of the playwright, information on the
historical, cultural, regional aspects, and the style and conventions of the
play researched. The teacher evaluates the presentations of scenes and
monologues that follow the introductions using Appendix 4.4. Upon completion of
all the presentations, each student uses his/her notes to complete a written
assignment as homework. The assignment, as follows, is handed in for evaluation
and becomes part of the portfolio.
·
Assignment:
Select three plays introduced in class today and compare the relationship each
has with its own specific region of Canada.
·
Appendix 4.3 –
Planning Chart: Interpreting Character and Planning Production
·
Appendix 4.4 –
Performance Rubric
·
Portfolio: Writing
Assignment
·
Allow the
student, if necessary, to tape notes instead of writing them, for later review.
·
Establish a
private signal to remind the student to stop and think.
Canadian Plays
Chislett, Anne. Quiet in the Land. Playwrights
Union Canada. Toronto, 1997. ISBN 155173292
Ellis,
Roger. Scenes & Monologues from the best new plays. Meriwether Pub.
Ltd., 1992.
ISBN 0916260933
Fairbanks,
Stephanie. Spotlight Scenes for Student Actors. Meriwether Pub. Ltd.,
1996.
ISBN 1566080207
Fairhead,
Wayne and Mira Friedlander, (eds.). Concrete Daisy and other Plays II.
Toronto, 1996.
ISBN 96952191
Hamill,
Tony, ed. Another Perfect Piece: More Monologues from Canadian Plays.
Playwrights Canada Press (PLCN), 1999. ISBN 0887545424
Hollingsworth,
Michael. History of the Villages of Small Huts. Blizzard Publishing,
1986.
ISBN 0921368429
Kennedy,
Brian, (ed.). Two for the Show: Scenes for Student Actors. Playwrights
Canada Press, 1999.
ISBN 0887545424
Lill, Wendy.
Sisters. Toronto: Talonbooks, 1991. ISBN 0889222894
MacLeod,
Joan. Toronto, Mississippi and Jewel. Toronto: Playwrights Canada Press,
1989.
ISBN 0-88754-474-6
McIvor,
Daniel. Never Swim Alone. Modern Canadian Plays, Vol. 2. Toronto:
Talonbooks, 1992.
ISBN 0889224374
Murrell,
John. Waiting for the Parade. Toronto: Talonbooks, 1980. ISBN 0889221839
Reaney,
James. St. Nicholas Hotel. Modern Canadian Plays, Vol. 2. Toronto:
Talonbooks, 1992.
ISBN 0889224374
Rebar,
Kelly. Bordertown Café. Modern Canadian Plays, Vol. 2. Talonbooks,
Toronto, 1992.
ISBN 0889224374
Ryga,
George. The Ecstasy of Rita Joe. Toronto: Talonbooks, 1989. ISBN
88922000
Tremblay, Michel. Albertine
in Five Times. Toronto: Talonbooks, 1986. ISBN 0889220921
Time: 7 hours
In new groupings,
students find connections between the characters they presented in Activity 2.
With these connections, they create an original scene in which the three or
four characters in each group are presented in their new context. If possible,
students employ a theatrical style studied in Unit 2. Students rehearse their
new scene and present it.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.02 - describe
how the elements, principles, and techniques of dramatic arts can be applied or
considered when creating, presenting, or analysing theatrical works;
CRV.02 - design,
create, and present drama, using an ensemble approach;
CRV.03 - script and produce
an original dramatic work, using a range of dramatic forms and processes, and
demonstrate an understanding of their audience;
ANV.02 - analyse and
evaluate theatre presentations, using the terminology of dramatic arts
correctly.
Specific Expectations
TH3.01 - identify a
variety of approaches used in play writing;
CR1.04 - reinterpret
characters, using suggestions or notes provided by the director and peers, and
demonstrating further insight into the characters in subsequent rehearsals and
performances;
CR1.05 - demonstrate
an understanding of the function of the playwright in the development and
scripting of an original scene or dramatic presentation;
CR1.07 - research
either a historical or contemporary style of theatre before creating and
presenting a theatre piece in that style;
CR2.02 - demonstrate
an understanding of the responsibility of all members of a theatre ensemble to
develop and communicate the intended meaning or theme of a dramatic piece;
CR2.03 - create and
present an original dramatic piece, choosing from a variety of dramatic forms,
processes, and theories;
AN1.05 - identify
universal concepts and themes from a study of theatre works, and analyse their
personal, social, and cultural significance;
AN1.06 - explain how
theatre can reflect issues, societal concerns, and the culture of the
community, the country, and other countries.
Ontario Catholic
School Graduate Expectations
See Appendix 4.1 –
Ontario Catholic School Graduate Expectations
Creative thinking
skills; group collaboration skills; playwriting skills; understanding of
theatrical styles studied in Unit 2; ability to recognize similarities amid
differences.
·
Any student
working with a partner in Activity 2 can no longer be with that partner in a
new group of four. The teacher may make an exception to this rule in the case
where students have been paired as an accommodation.
·
Create a
Character Similarities and Contrasts Checklist including the criteria: age and
occupation, attitudes, experiences in life, relationship mood/atmosphere,
values/philosophies, theme(s)/issues/societal concerns.
·
Photocopy blank
Venn diagrams or other visual organizers. (Ontario Curriculum Unit Planner contains
templates)
Strategy 1: Forming New Groups
The teacher directs
students in the formation of new groups of four, while considering:
· A group of three may be formed when the class is not divisible by four;
· Special needs students may require specific partners;
· Contrasting character types will provide the greatest challenge for students during the activities that follow.
Strategy 2: Making Connections
The teacher
distributes Character Similarities and Contrasts Checklist and visual
organizers. In their new groups of four, students discuss similarities and
contrasts between all of their characters and note these on the checklist that
is used for scene development and included in student portfolios. They may also
use Venn diagrams or other visual organizers and include these in their portfolio.
Students then rearrange and mix words and/or lines from original scripts to
create a new and original script. They find shared elements while looking for
lines in the four original scripts that may be placed side-by-side to make some
sense and create a flow or a relationship in a new, developing scene. A most
important aspect is to choose a new single setting in which to place the four
characters who have come from four different settings. Students then determine
the best lines to create a desired effect. The teacher encourages groups to
choose to present their new original piece and original characters in one of
the theatrical styles studied earlier in the course. However, any theatrical
style is acceptable. When a new script is written, students consider other
technical challenges and plan for their presentation.
Extensions/Enhancement
When selecting
groups, some students may submit a written proposal explaining why a particular
grouping of four chosen characters would be effective. A proposal is subject to
teacher approval.
Students may create
a set model or drawings depicting the location they have selected. This work
may be connected to their studies in Visual Arts.
·
Character
Similarities and Contrasts Checklist
·
Teacher
observation
·
Pairing special
needs students with “buddies” may be helpful;
·
Modify
expectations regarding the quantity of reading expected by pre-selecting fewer
choices and/or smaller parts;
·
Allow slow
readers to see the selections prior to the class.
Time: 9 hours
Students rehearse
the original script developed in Activity 3. They explore the actions and
interactions that develop their scene. They apply acting and interpretation
skills developed in Unit 1 to further explore and enhance their character in
the new context. The teacher confers with each group guiding and advising on
interpretive choices made by the group. Students rehearse their script and
present it to the class, or outside audience for teacher evaluation. Each
student completes his/her unit portfolio to be submitted for evaluation.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe
historical and contemporary approaches to acting, directing, and play writing;
THV.02 - describe
how the elements, principles, and techniques of dramatic arts can be applied or
considered when creating, presenting, or analysing theatrical works;
CRV.01 - create and
interpret a variety of characters, using the theories and conventions of
specific acting methods, as well as historical and cultural styles;
CRV.02 - design,
create, and present drama, using an ensemble approach;
CRV.03 - script and
produce an original dramatic work, using a range of dramatic forms and
processes, and demonstrate an understanding of their audience;
CRV.04 - use
technology appropriately to design, create, and present drama;
ANV.01 - evaluate
their personal and collective contributions to all aspects of production, using
appropriate dramatic arts terminology;
ANV.02 - analyse and
evaluate theatre presentations, using the terminology of dramatic arts
correctly;
ANV.03 - analyse the
personal, social, and cultural impact of dramatic arts.
Specific
Expectations
CR1.01 - create and
develop a character, using a classical or contemporary style of
characterization;
CR1.02 - convey character
through the effective use of voice and movement techniques;
CR1.04 - reinterpret
characters, using suggestions or notes provided by the director and peers, and
demonstrating further insight into the characters in subsequent rehearsals and
performances;
CR1.05 - demonstrate
an understanding of the function of the playwright in the development and
scripting of an original scene or dramatic presentation;
CR2.01 - demonstrate
an understanding of the tasks and interrelated responsibilities of individuals
in the production of theatre;
CR2.02 - demonstrate
an understanding of the responsibility of all members of a theatre ensemble to
develop and communicate the intended meaning or theme of a dramatic piece;
CR2.03 - create and
present an original dramatic piece, choosing from a variety of dramatic forms,
processes, and theories;
CR2.04 - create
production schedules;
CR2.06 - use
technology effectively to convey mood, tension, and universal meaning in a
production;
AN1.04 - explain the
tension between personal expression and public acceptance in dramatic arts;
AN1.05 - identify
universal concepts and themes from a study of theatre works, and analyse their
personal, social, and cultural significance;
AN1.06 - explain how
theatre can reflect issues, societal concerns, and the culture of the
community, the country, and other countries;
AN2.01 - explain how
participation in the theatre fosters self-awareness and awareness of others for
performers, authors, and audiences;
AN2.02 - explain how
their experiences in dramatic arts have helped develop or enhance their
beliefs, philosophies, or world views;
AN2.04 - explain how
the personal development and academic skills acquired through their study of
dramatic arts are connected to career goals in a variety of professions and
occupational areas.
Ontario Catholic
School Graduate Expectations
See Appendix 4.1 –
Ontario Catholic School Graduate Expectations
Collaborative group
skills; role-playing skills; problem-solving skills; rehearsal skills
·
The teacher
should be familiar with character development techniques such as “a day in the
life,” “hot-seating,” “writing-in-role,” and “tapping in.”
·
Reproduce one
copy of Appendix 4.3 – Planning Chart: Interpreting Character and Planning Production
per group.
·
Reproduce one
copy of Appendix 4.4 per group, to use as performance evaluation.
·
Reproduce one
copy of Appendix 4.5 – Final Reflection for each student. This written
assignment is the culminating reflection by the students.
Strategy 1: Responding in the Learning Log
For each day of this
rehearsal and performance period (Strategies 2–4), each student makes a
learning log entry. Entries are made under the following headings: a
significant achievement, application of acting technique, interpretative
insight gained today, dilemmas or problematic situations, any situation or
attitude that has held back progress, any suggested solutions and a projection
of the next day’s work. The teacher assigns this list of learning log headings
and collects student learning logs for evaluation at the end of Activity 4.
Strategy 2: Examining the Development of the Scene
Students examine the
intentions, objectives, goals, and obstacles for their character in the new
scene. As part of their portfolio assignment (Appendix 4.5) they respond to
these questions:
·
What does your
character want in this scene?
·
How does your
character achieve his/her goal(s)?
·
What obstacles
stand in his/her way?
·
What happens when
your character confronts these obstacles?
·
How does your
character resolve differences with the other three characters in the scene?
Strategy 3: Enhancing Character
As a warm up,
students participate in “in-role” techniques in order to gain an enhanced insight
into their character, keeping the responses to the questions in Activity 1 in
mind. The teacher guides students in one or more of the following techniques:
·
a day in the life
(whole group)
·
hot-seating
(small groups)
·
writing-in-role
(if chosen, this exercise is included in individual portfolios)
Further enhancement
for character development is provided when the teacher “taps in” to highlight a
strong inner thought or emotion at a climactic moment in a scene.
Strategy 4: Peer Practice
Student groups rehearse
their original script. The teacher confers with each group, advising and
guiding the interpretive choices presented. Students complete their production
plans by filling in the Planning Chart (Appendix 4.3). Teacher assesses the
notes on the chart before the end of the rehearsal period in order to provide
the students with feedback.
Strategy 5: Production
Each group presents
its rehearsed, polished work, incorporating the plans detailed in their
Planning Chart and any feedback provided by the teacher. Teacher evaluates the
performance with Appendix 4.4 –Performance Rubric
Strategy 6: Completion and Submission of Portfolio
The teacher assigns
Appendix 4.5 – Final Reflection. Each student completes the Final Reflection
instructions. Any needed clarification and a start to the assignment may take
place in class, but completion is done for homework. Using the Checklist in
Appendix 4.5, each student then assembles his/her portfolio and hands it in to
the teacher for evaluation.
·
Learning Log
·
Appendix 4.3 –
Planning Chart: Interpreting Character and Planning Production
·
Appendix 4.4 –
Performance Rubric
·
Appendix 4.5 –
Final Reflection
·
Give assignments
orally and visually;
·
Provide
review/reinforcement opportunities for new concepts;
·
Periodically
summarize main points;
·
Encourage the use
of drawing or sketching as part of the planning process.
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Activity |
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1 |
2 |
3 |
4 |
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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 |
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2d: Writes and
speaks fluently one or both of Canada’s official languages |
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3 |
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2e: uses and
integrates the Catholic faith tradition, in the critical analysis of the
arts, media, technology and information systems to enhance the quality of
life |
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3 |
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3b: creates, adapts,
and 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 |
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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 |
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3 |
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4c: takes
initiative and demonstrates Christian leadership |
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3 |
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4d: responds to,
manages and constructively influences change in a discerning manner |
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3 |
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4f: applies
effective communication, decision-making, problem-solving, time and resource
management skills |
3 |
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5a: works effectively
as an interdependent team member |
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3 |
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5b: thinks
critically about the meaning and purpose of work |
3 |
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5c: develops one’s
God-given potential and makes a meaningful contribution to society |
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3 |
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3 |
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5d: finds meaning,
dignity, fulfillment and vocation in work which contributes to the common
good |
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3 |
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5e: respects the
rights, responsibilities and contributions of self and others |
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3 |
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5f: exercises Christian
leadership in the achievement of individual and group goals |
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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 |
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3 |
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3 |
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7a: acts morally and
legally as a person formed in Catholic traditions |
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3 |
3 |
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7d: promotes the
sacredness of life |
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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 |
1. Research the following:
· Title of the play;
· Playwright;
· Copyright date;
· Short biography of the playwright;
·
Historical events which may have influenced the
playwright
(both in terms of the content of the play or its setting and the era in which
it was written)
Regional/cultural aspects in the scene/play;
· Style of the play:
· Significant characteristic/conventions of the scene/play;
· Theme(s);
· Brief character sketch of chosen character.
2. Prepare a 2–3-page submission of the researched information.
3. Include a complete bibliography of sources used.
4. Due date: ________________________________________
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Identifications |
Notes |
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1. Setting |
Describe the
setting in your scene and indicate why it is significant to the scene. |
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2. Conflict |
Identify and
explain the main conflict in which your character is involved? |
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3. Atmosphere |
What is the
general atmosphere in the scene? What evidence supports your conclusions? |
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4. Character Mood |
What mood is your
character in? Does it change? What key words and actions is evidence of this? |
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5. Relationships |
What is your character’s
relationship to other characters in the play? What status relationships and
struggles are there? |
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6. Motives |
What does your
character want in the scene/play overall? What strategies is s/he using? |
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7. Obstacles/ Dilemmas |
What are the main
obstacles and/or dilemmas facing your character? |
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Production |
Challenges and
Solutions |
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For each production element, indicate
the significant needs presented by the text and the way in which you intend
to design, locate, simulate or otherwise produce a satisfactory effect during
your presentation. |
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8. Set |
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9. Costume |
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10. Properties |
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11. Lighting |
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12. Sound |
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Learning Expectation |
Task Specific Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
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Creation: CRV.01 -
create and interpret… characters, using the theories and… historical and
cultural styles. |
Communication/
Application - Interpretation of a character using acting methods and style
conventions |
- develops a
character with limited effectiveness |
- develops a
character with moderate effectiveness |
- develops a
character with considerable effectiveness |
- develops a
character with thorough effectiveness |
|
Creation: CR1.02
-… effective use of voice and movement techniques. |
Communication/
Application -Voice expressiveness |
- uses voice with
limited expressiveness |
- uses voice with
moderate expressiveness |
- uses voice with
considerable expressiveness |
- uses voice with
thorough expressiveness |
|
Creation: CR1.02
-… effective use of voice and movement techniques. |
Communication /
Application - Effective use of movement and gesture to portray character |
- uses movement
and gestures with limited effectiveness |
- uses movement
and gestures with moderate effectiveness |
- uses movement
and gestures with considerable effectiveness |
- uses movement
and gestures with a high degree of effectiveness |
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Creation: CR2.06 -
use technology effectively to convey mood, tension, and universal meaning… |
Thinking/
Application - Effective use of production planning notes to convey setting,
mood and tension |
- uses production
elements and technology with limited effect |
- uses production
elements and technology with some effect |
- uses production
elements and technology effectively |
- uses production
elements and technology with exceptional effect |
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Creation: CR2.01 -
understanding… responsibilities in the production of theatre. |
Knowledge/
Application – teamwork with production responsibilities |
- makes a limited contribution
to production responsibilities |
- makes a moderate
contribution to production responsibilities |
- makes a
considerable contribution to production responsibilities |
- makes an
extensive contribution to production responsibilities |
Note: A student whose achievement is below Level 1
(50%) has not met the expectations for this assignment or activity.
1. Point out where the elements of a theatrical style were in evidence in your group’s production.
2. Explain in what way your character developed further or differently in the new context.
3. List decisions that made your group production dramatically effective.
4. Identify the difficulties that were overcome in this production. Identify any that were not overcome.
5. Reflecting on both your individual work and your work with a group, explain what you discovered about yourself and about others with whom you worked.
1. Research assignment on a play and a playwright
2. Two learning logs: from monologue/dialogue rehearsals and from group production rehearsals
3. Planning chart for monologue/dialogue
4. Peer assessment checklist
5. a) Notes on introductions to Canadian scenes
b) Comparison of the regional significance of three plays
6. Answers to five questions on character analysis in a new context
7. Final reflection (from questions above)
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