Please note:
This document is best suited for on-screen use. Some layout may have been
altered during the creation of this web page.
It is recommended that you
download the "pdf" version of this Course Profile for printing and
the "Word, Mac, or WordPerfect" versions for working with or adapting
the Course Profile to meet your instructional needs.
Course Profile Dramatic Arts (ADA4O), Grade 12, Open, Catholic
and Public
Course Overview
Prerequisite: Dramatic
Arts, Grade 11
This course requires
students to create and present a variety of dramatic works. Students will
present works by Canadian and other playwrights, and develop original material
based on personal narratives, local community issues, or global concerns. They
will have hands-on experiences with various aspects of dramatic arts
productions, including performance, set design, lighting, costumes, stage and
technical management, and marketing. Students will also explore possible
careers related to the dramatic arts.
Dramatic Arts
enables the student to explore their interior life and nurture their spiritual
life. Students can use drama as a vehicle in the process of self-actualization,
with a view of life that is God-centred, a view of person that is
Christ-centred and a view of community that is church-centred. Students are
inspired to respect the dignity of self and others and to become loving,
compassionate members of society, working toward the common good through the
saving story of Christ. In drama, they can exercise Christian leadership in the
achievement of individual and group goals and achieve excellence, originality,
and integrity in their own work while supporting these qualities in the work of
others. Dramatic skills promote a way of life rooted in a Christian vocation of
discipleship and service in the family, workplace, and community.
·
The teacher
should consider the time frames in this Course Profile as suggestions only and
should vary the time frames to accommodate the experiences, abilities and
interests of the students in the class, the possibility of a multi-type or
multi-grade class, as well as the resources of the teacher, provided that all
expectations have been taught and appropriate expectations have been assessed
in accordance with Ministry of Education policies.
·
Where the
Learning Expectations for the Dramatic Arts, Grade 12 University/College and
Open courses are complementary, the teacher may use this Course Profile in
conjunction with the University/College Preparation Course, allowing for the
fact that there are expectations which have no match in the other course.
·
This Course
Profile begins with a brief company-building segment, and explores the relationship
among the major components in production: production team, acting troupe, and
technical team. Decisions are made with regard to the potential audience for
each theatre production. The final unit consolidates the learning of the
previous two units through a production and the student’s portfolio
presentations.
·
It is important
to note that this Course Profile treats the three major areas of production
equally. Altering the balance among them, or emphasizing one, for example,
acting, to the detriment of another does not honour either the spirit of the
course or the balance of the expectations. Acting has been emphasized in
previous courses and many of its basic skills are prerequisite to success in
this course. In addition, the technical skills are taught using hands-on
training.
·
The teacher
introduces elements of the final evaluation (see Unit 3) earlier in the course,
to help students prepare thoroughly for their final evaluation, which comprises
30% of the final mark.
·
The teacher needs
to be familiar with a variety of theatrical forms and texts, especially
contemporary Canadian works.
·
The teacher
should be familiar with the Course Profiles for ADA3O and ADA3M, in order to
ensure appropriate student preparation.
·
The teacher
should find ways of incorporating students’ previous knowledge and skills in
developmental drama within the theatrical context of this Course Profile,
whenever possible.
·
The theatre
company (the students in the class) is built through specific activities and
through the general, close interaction and collaboration of students and the
teacher as the course progresses.
·
The teaching
facilities for Dramatic Arts vary widely across Ontario, from academic
classrooms to fully-equipped auditoria. As ADA4O emphasizes theatre production,
teachers should be aware of the physical possibilities and limitations of the
school facilities and adjust their instruction in order to teach the Learning
Expectations with integrity.
·
Appendix CO1 at
the end of the Course Overview is designed to help the teacher discover how the
Learning Expectations are linked to the Achievement Chart, the units, and the
activities of this Course Profile. Tracking and teaching Expectations in
isolation is not recommended.
·
The teacher
should consult the CODE (Council of Drama and Dance in Education) website
(http://www.code.on.ca) for further resources which have been designed to
complement this profile.
·
In Unit 1, the
teacher guides students in the selection of scripts to be used in Unit 2,
considering: a manageable length (10 - 20 minutes), the source (Canadian
scripts are preferred), and the degree of inclusivity (gender and multicultural
aspects). As well, scripts are chosen in light of community and/or gospel
values and decisions are made with an informed moral conscience.
·
In this Course
Profile, the symbol . indicates that the task or activity has been
designed to be included in the student’s portfolio.
·
Students are
provided with opportunities to develop their communication and collaborative
skills. They demonstrate analytical and reflective strategies through writing
and speaking about their choices in creating dramatic works, and their
responses to their own and others’ dramatic works.
·
Learning Skills
must be tracked and reported in the place provided on the report card. They
will not contribute to the percentage grade. Teachers should be aware of their
board/school policies and procedures with regard to Learning Skills.
The units have been
developed from the Overall and Specific Expectations and have been framed by
these Key Questions. The Unit Planning notes supplement this list.
·
How do skills and
knowledge of dramatic forms and theatre techniques influence text
interpretation?
·
How can assuming
and experiencing the differing roles in a production enhance the student’s
perception of drama?
·
How can knowledge
and practice of performance and production skills enhance students’ understanding
of dramatic forms, lead to an understanding of the world around them, and
provide skills that will be useful in a variety of careers?
·
How do skills and
knowledge of dramatic forms and theatre techniques influence text
interpretation?
·
What kinds of
personal, organizational, and life competencies develop through the practical
collaboration required for a production?
·
How can assuming
and experiencing the diverse roles in a production enhance the students’
perception of drama, and transfer to interpersonal relationships and career
choices?
·
How does creative
collaboration enhance personal growth and foster skills for life?
·
How does production
enable students to integrate their drama skills and knowledge?
·
How do the
insights achieved through portfolio reflection influence students’ concepts of
self, knowledge, and creativity?
Students
keep a portfolio of their drama work throughout the course which includes
written material, sketches and other materials determined by the teacher. It is
a primary vehicle for students to demonstrate their learning, a stimulus for
reflection and student/teacher conferencing, and a natural mode for analysis
and planning. Within the context of this profile, teachers may find it useful
to divide the portfolio into three areas: reflection, theatre company manual,
and careers. The teacher assesses and evaluates the student portfolio at
significant points during the course. Teachers should be sensitive to the
personal nature of the experience, and support students in avoiding disclosure
and discussion of sensitive issues in the classroom context.
The teacher must
also be aware of the opportunities for reflection beyond writing. Forms may be
oral, visual, kinetic, or musical. Reflection may be conducted as a solitary
activity or within a large or small group. Although written reflection is used
often in this profile, teacher should look for other appropriate, creative ways
of addressing students learning styles to improve their learning.
While the teacher is
the primary planner and leader of the learning activities, and is responsible
for them in all respects, s/he assesses the dynamics of each class and decides
the degree to which the class may assume increased responsibilities.
Safe
practices must be taught and practised throughout the course.
All
activities must emphasize safety and respect. Equipment must be safe for
student use; the teacher must be aware of its proper uses and limitations.
Hazardous materials must be handled in accordance with WHMIS and other approved
safety procedures of the Board or other relevant agency.
The teacher is
responsible for establishing an atmosphere in which students feel emotionally
and socially safe. When topics arise that are personal in nature, the teacher
must be prepared to deal with them in an appropriate manner and involve
specialists, where necessary.
|
* Unit 1 |
The Art of Making
Theatre |
22.5 hours |
|
* Unit 2 |
Establishing the
Company |
56.25 hours |
|
Unit 3 |
The Theatre
Company Presents…: Final summative assessment and evaluation |
31.25 hours |
* These units are
fully developed in this Course Profile.
Time: 22.5 hours
Unit Description
A workshop approach
defines the specific roles and interrelated tasks of the members of a theatre
company: production team, technical team, and acting troupe. Students explore
the theory and practice of design through the conventions of production. This
preliminary unit establishes practices for the subsequent units of this course,
beginning with team-building work in drama and moving through a series of
theatre company-building workshops. Students begin to prepare a portfolio as a
vehicle for ongoing reflection and to document the skills they acquire while
rotating through the tasks of the theatre company. Three models for the
delivery of this unit are outlined.
Unit Overview Chart
|
Act |
Learning Expectations |
Assessment Categories |
Focus |
|
1 |
THV.02, CR2.01,
CR2.02 |
Communication
Application |
Team-building |
|
2 |
THV.01, THV.02,
THV.03, CRV.02, CRV.03, CRV.04, TH2.01, TH2.05, TH2.06, TH3.01, TH3.02,
TH3.03, TH3.04, TH3.05, TH3.06, CR2.01, CR2.02, CR2.05, CR2.06, AN1.02,
AN1.04, AN2.02 |
Knowledge/
Understanding Communication Application |
Specialized
Workshop: Production |
|
3 |
THV.01, THV.02,
THV.03, CRV.02, CRV.04, TH1.01, TH2.01, TH2.02, TH2.05, TH2.06, TH3.02, TH3.04,
TH3.05, TH3.06, CR1.02, CR1.08, CR1.09, CR1.10. CR1.11, CR2.01 CR2.02,
CR2.03, AN1.02 |
Knowledge/
Understanding Communication Application |
Specialized
Workshop: Technical |
|
4 |
THV.01, THV.02,
THV.03, CRV.01, CRV.02, TH1.02, TH1.03, TH2.03, TH2.04, TH3.01, CR1.01,
CR1.03, CR1.04, CR1.05, CR1.07, CR2.01, CR2.02, CR2.03 |
Knowledge/
Understanding Communication Application |
Specialized
Workshop: Acting |
|
5 |
ANV.05, AN1.01,
AN1.02, AN2.01, AN2.05, AN2.06 |
Knowledge/
Understanding Thinking/Inquiry Communication |
Portfolio and
Reflection |
Time: 56.25 hours (18.75 hours for each of 3 modules)
Unit Description
This unit allots
equal time to each of the three production modules. In each production module, students
interpret dramatic pieces from a variety of sources, at least one of which is
Canadian. Student companies, each composed of a Production Team, a Technical
Team and an Acting Troupe, plan, rehearse, and present these short, scripted
pieces. In the second three-week production module, students form a new company
by moving to one of the other two areas of the theatre company and assume
different roles, repeating the process of planning, rehearsing, and presenting
short, scripted pieces in the new context. The third production module repeats
this rotation and completes the students’ experience in all three company
areas. The portfolio documents the students’ accomplishments and reflections
throughout their cycle of production work.
Unit Overview Chart
|
Act |
Learning Expectations |
Assessment Categories |
Focus |
|
1 |
THV.01, THV.02,
THV.03, TH1.01, TH2.06, TH3.01, TH3.04, TH3.05, TH3.06, CRV.02, CRV.03,
CR1.02, CR2.02, CR2.04, CR2.05, CR2.06, AN1.01, AN1.02, AN2.01 |
Communication
Application |
Production Meeting |
|
2 |
THV.01, THV.02,
THV.03, THV.04, TH1.01, TH1.02, TH1.03, TH2.01, TH2.02, TH2.03, TH2.04,
TH2.05, TH2.06, TH3.01, TH3.02, TH3.04, TH3.05, TH3.06, CRV.01, CRV.02,
CRV.03, CRV.04, CR1.01, CR1.02, CR1.03, CR1.04, CR1.05, CR1.08, CR1.09,
CR1.11, CR2.01, CR2.02, CR2.04, CR2.05, ANV.01, AN1.01, AN1.02, AN2.01,
AN2.04 |
Communication
Application |
Design Mode |
|
3 |
THV.01, THV.02,
TH1.01, TH1.02, TH1.03, TH2.02, TH2.03, TH2.04, TH2.05, TH2.06, CRV.01, CRV.02,
CRV.03, CRV.04, CR1.01, CR1.02, CR1.03, CR1.04, CR1.05, CR1.06, CR1.08,
CR1.09, CR1.10, CR1.11, CR2.01, CR2.02, CR2.03, CR2.04, ANV.01, AN1.01,
AN1.02, AN2.01, AN2.04 |
Knowledge/
Understanding Communication Application |
Rehearsal,
Implementation Mode |
|
4 |
CRV.01, CRV.02,
CRV.04, CR1.01, CR1.03, CR1.04, CR1.05, CR1.06, CR1.07, CR1.08, CR1.11,
CR2.01, CR2.02, CR2.03 |
Knowledge/
Understanding Communication Application |
Performance Mode |
|
5 |
THV.01, THV.02,
THV.03, THV.04, TH1.01, TH1.02, TH1.03, TH2.01, TH2.02, TH2.03, TH2.04, TH2.05,
TH2.06, TH3.01, TH3.02, TH3.03, ANV.01, ANV.02, ANV.03, ANV.04, ANV.05,
AN1.01, AN1.02, AN1.03, AN1.04, AN1.05, AN1.06, AN2.01, AN2.02, AN2.03,
AN2.04, AN2.05 |
Knowledge/
Understanding Thinking/ Inquiry Communication Application |
Critique and
Production Review |
Time: 31.25 hours
Unit Description
This culminating
unit includes two tasks for summative evaluation: an ensemble production and
portfolio presentation. The framework for the ensemble production is negotiated
between students and the teacher with consideration of student interests and
strengths, as well as school facilities and resources. Options may include a
whole-class production or several collaborative pieces. Each student also
presents a portfolio to demonstrate ongoing reflection and the documentation of
the skills acquired in the course. Options for the presentation of these
portfolios may range from individual conferences to a carousel-style
presentation for a larger audience.
Unit Overview Chart
|
Act |
Learning Expectations |
Assessment Categories |
Focus |
|
1 |
THV.01, CRV.01, CRV.02,
CRV.04, ANV.01, ANV.02, TH1.03, TH2.02, TH2.05, TH2.06, TH3.03, TH3.04,
CR1.01, CR1.02, CR1.03, CR1.04, CR1.06, CR1.07, CR1.08, CR1.09, CR1.10,
CR1.11, CR2.01, CR2.02, CR2.03, CR2.04, CR2.06, AN1.01, AN1.02, AN2.02 |
Communication
Application |
Ensemble
Production; Culminating Task and Final Evaluation |
|
2 |
THV.01, THV.02,
THV.03, THV.04, CRV.03, ANV.01, ANV.02, ANV.03, ANV.04, ANV.05, TH1.01,
TH1.02, TH2.01, TH2.02, TH2.06, TH3.01, TH3.02, TH3.03, TH3.04, TH3.05,
TH3.06, CR2.01, CR2.02, CR2.04, CR2.06, AN1.01, AN1.02, AN1.03, AN1.04,
AN1.05, AN1.06, AN2.01, AN2.02, AN2.03, AN2.04, AN2.05, AN2.06 |
Knowledge/
Understanding Thinking/Inquiry Communication Application |
Portfolio
Presentation |
Students work in various
groupings, with teacher direction and guidance, as a direct reflection of the
Strands and Expectations of this course. The teacher assesses the composition
of the classes and uses or modifies the suggested teaching/learning strategies
to suit the students and the activities, providing students with multiple, rich
opportunities to demonstrate their knowledge and skills. As activities in Unit
3 evolve, the teacher uses and expands upon strategies to challenge students to
demonstrate their learning in the final assessment and evaluation.
Percentages which
break down the categories of the Achievement Chart in The Arts are not
recommended in this Course Profile, as each school board or school may make its
own decisions. However, the teacher must relate all assessment and evaluation
activities to the four categories of the Achievement Chart
(Knowledge/Understanding, Thinking/Inquiry, Communication, Application) in
planning and implementing assessment practices.
This chart summarizes some of the assessment strategies which may be
used in this course:
|
Personal Communication |
Performance Tasks |
Paper-and-Pencil |
|
Tools: rubrics, checklists, documentary evidence,
marking schemes |
||
|
·
self-assessment ·
peer assessment ·
individual
student-teacher conference ·
teacher-small
group conference ·
teacher-whole
group conference ·
journal
portfolios |
·
writing in role ·
texts analysis ·
dramatic
performance ·
commitment to
role |
·
tests ·
examinations ·
quizzes ·
written
assignments |
Seventy per cent of
the grade is based on assessments and evaluations conducted throughout the
course. Thirty per cent of the grade is based on a final evaluation in the form
of a performance and the portfolio. Learning Skills (Initiative, Team Work, Works
Independently, Organization and Work Habits) are tracked throughout the course
and reported at designated points in the course.
The teacher must be
aware of, and sensitive to, the diverse learning styles and abilities of
his/her students. Accommodations must be implemented to promote success for all
students. An extensive list of possible accommodations is contained in the
Curriculum Unit Planner (Ministry of Education, 2001) which is available in all
Ontario schools and from District School Board offices. The teacher should
consult individual student IEPs for specific direction on accommodation for
individuals.
·
Teachers should
consider how the community may be able to contribute resources. Consideration
should be given to the use of acknowledged drama experts in the community,
whenever appropriate. See the Dramatic Arts Course Profiles for Grades 10 and
11 for further suggestions.
·
Units in this
Course Profile make reference to the use of specific texts, magazines, films,
videos and websites. Teachers need to consult board policies regarding use of
any copyrighted materials. Before reproducing materials for student use from
printed publications, the teacher needs to ensure that their board has a
Cancopy licence and that this licence covers the resources they wish to use.
Before screening videos/films with their students, the teacher needs to ensure
that the board/school has obtained the appropriate public performance
videocassette licence from an authorized distributor, e.g. Audio Cine Films
Inc. Teachers are reminded that much of the material on the Internet is
protected by copyright which is usually owned by the person or organization
that created the work. Reproduction of any work or substantial part of any work
from the Internet is not allowed without the permission of the owner.
·
Gender balance,
uses of technology, and multiculturalism should be considered when choosing
resources and texts. Resources provided for students should be screened for
cultural bias and gender stereotypes.
·
A rich range of
resources should be considered, with a balance of Canadian and international
materials. Up-to-date resources may be found through Playwright’s Union Canada
(http://www.puc.ca), TheatreBooks bookstore, and other sources.
·
In addition to universities,
colleges, and other institutions which offer Additional Qualification (AQ) or
ABQ courses, the provincial drama and dance subject association, CODE (Council
of Drama and Dance in Education) offers many valuable resources, including a
newsletter (Touchstone), a journal (Contact), a listserv (CODEnet), a website
(http://www.code.on.ca), an annual conference and regional co-ordinators
throughout the province. Often, Management Board and general members are
available to conduct workshops in a variety of formats. As well, resources are
available through the Sears Ontario Drama Festival
(http://www.searsdramafestival.com), Theatre Ontario
(http://www.theatreontario.org), Theatre/Théâtre Canada, and IDEA
(International Drama/Theatre and Education Association).
·
Many professional
arts organizations have an education officer who provides resources for
teachers at minimal cost. The Ontario Arts Council (OAC), Theatre Ontario, and
local arts councils are also valuable resources.
These
three books may be used as prime resources for the course:
Carter,
Paul. Backstage Forms. Shelter Isl., New York: Broadway Press, 1990.
ISBN 0911747354
Neelands,
Jonothan. Structuring Drama Work. Cambridge, U.K., 1999. ISBN 0521376351
Gillette,
J. Michael. Theatrical Design and
Production, 3rd ed. Toronto:
Mayfield Pub. Co., 1997.
ISBN 1559347015
This Course Profile
has been developed to assist in the implementation of The Ontario
Curriculum, The Arts, Grades 11 and 12, 2000. When using this material,
teachers and administrators must take careful note of the applicable sections
of Ontario Secondary Schools, Grades 9 to 12: Policy and Diploma
Requirements, 1999; The Ontario Curriculum, Program Planning and Assessment,
2000; Choices into Action: Guidance and Career Education Program Policy for
Elementary and Secondary Schools, 1999. Teachers should also consult the
Ministry of Education and board documents which are concerned with Co-operative
Education, Technology in the Classroom, Violence Prevention/Conflict
Resolution, and community resources for further information.
This chart
represents one way of linking the ADA4O Learning Expectations to the
Achievement Chart Each Expectation is referenced according to its primary verb.
The number represents how many times the Expectation is taught in the unit.
Dialogue with colleagues may result in different interpretations of these
relationships. This chart may be used when planning units, organizing
assessment and evaluation and as a reference when using the Ontario Curriculum
Unit Planner.
K/U =
Knowledge/Understanding, T/I = Thinking/Inquiry, C = Communication, A =
Application.
|
Learning Expectations |
A C |
Unit |
|
||
|
1 |
2 |
3 |
|||
|
Theory |
|
||||
|
THV.01: describe
how the theme of a dramatic piece can serve as the central focus for each
artistic decision made in the creative process; |
C |
3 |
4 |
2 |
|
|
THV.02: describe
the elements, principles, and techniques of dramatic arts and theatre production
using appropriate terminology; |
C |
4 |
4 |
1 |
|
|
THV.03: describe
how the style, genre, and historical and cultural background of a piece of
theatre influence production decisions; |
C |
3 |
3 |
1 |
|
|
THV.04: describe how
a variety of dramatic forms are used by communities and cultures other than
their own to preserve and communicate aspects of culture. |
C |
|
2 |
1 |
|
|
TH1.01: describe
how dramatic elements (e.g., costumes, make-up, props, lighting, set design) are
used to develop character and theme; |
C |
|
4 |
1 |
|
|
TH1.02: describe
how acting techniques are used to develop characters that are in keeping with
the themes in the script; |
C |
1 |
3 |
1 |
|
|
TH1.03: describe the
acting styles employed for different genres of theatre. |
C |
1 |
3 |
1 |
|
|
TH2.01: describe
the elements (e.g., line and colour) and principles (e.g., unity and variety)
of design as they apply to dramatic arts; |
C |
|
3 |
1 |
|
|
TH2.02: describe the
steps required to create a set, costume, or lighting plot; |
C |
|
3 |
1 |
|
|
TH2.03: describe
the vocal techniques (i.e., articulation and projection) used by actors; |
C |
1 |
3 |
|
|
|
TH2.04: explain methods
of training the body (e.g., focused movement, acrobatics, stage fighting); |
C |
1 |
3 |
|
|
|
TH2.05:
demonstrate an understanding of the fundamental techniques of stage
management; |
A |
|
3 |
1 |
|
|
TH2.06: describe the
tasks and responsibilities of the technical crew and the stage crew. |
C |
2 |
4 |
2 |
|
|
TH3.01: describe how character and theme are communicated in different
forms of theatre; |
C |
3 |
3 |
1 |
|
|
TH3.02: describe some of the scripts, performance spaces, and theatre
conventions of different periods and cultures; |
C |
2 |
2 |
1 |
|
|
TH3.03: describe the criteria used for selecting a play or scene for
production; |
C |
1 |
2 |
2 |
|
|
TH3.04: describe methods of researching the background of a particular
scene or play; |
C |
2 |
2 |
2 |
|
|
TH3.05: describe the process used to analyse a scene or a play prior
to rehearsal and performance; |
C |
2 |
2 |
1 |
|
|
TH3.06: describe the
social and historical contexts of the plays studied. |
C |
2 |
2 |
1 |
|
|
Creation |
|
||||
|
CRV.01: create and
sustain characters that are consistent with their interpretations and with
the intentions of the script; |
A |
1 |
3 |
1 |
|
|
CRV.02: carry out all
aspects of rehearsal and production effectively, working in collaboration
with others; |
A |
3 |
4 |
1 |
|
|
CRV.03: adapt or
interpret a variety of dramatic works, focusing on works by contemporary
Canadian playwrights; |
A |
1 |
3 |
1 |
|
|
CRV.04: use a variety
of technologies appropriately to enhance the communicative power of a
dramatic work. |
A |
2 |
3 |
1 |
|
|
CR1.01: interpret
a character by applying a variety of approaches (e.g., script analysis,
character biography, research); |
A |
1 |
2 |
1 |
|
|
CR1.02: identify
and use specific criteria for selecting props, costumes, and make-up to help
portray characters; |
K/U, A |
|
2 |
1 |
|
|
CR1.03: use voice
and movement techniques appropriately in all aspects of rehearsal and
performance; |
A |
1 |
2 |
1 |
|
|
CR1.04:
reinterpret roles in rehearsal and performance, demonstrating commitment and
insight into character; |
K |
1 |
2 |
1 |
|
|
CR1.05: script,
revise, and present a scene, making appropriate use of research,
improvisation, and rehearsal; |
C, A |
1 |
3 |
|
|
|
CR1.06: integrate
the suggestions or notes provided by the director and peers into subsequent
rehearsals and performances; |
A |
|
2 |
1 |
|
|
CR1.07: present a
range of original or adapted Canadian and international dramatic works that address
relevant student, community, or international issues and concerns (e.g.,
works by David French, Judith Thompson, Ann-Marie MacDonald); |
A |
1 |
1 |
1 |
|
|
CR1.08: use light
and sound appropriately to develop and communicate character, theme, plot, and
setting in a production; |
A |
|
3 |
1 |
|
|
CR1.09: create a
set design, a lighting plot, or costume sketches for a specific dramatic
scene or play, using the elements and principles of design appropriately; |
A |
|
2 |
1 |
|
|
CR1.10: solve problems
that arise as a result of staging dramatic works (e.g., devise a special
effect, deal with set changes between scenes); |
A |
|
1 |
1 |
|
|
CR1.11: use
technical equipment appropriately (e.g., projectors, microphones, sound and
light consoles). |
A |
|
3 |
1 |
|
|
CR2.01: demonstrate an understanding of an individual’s
responsibilities in the development and presentation of a theatre production
(e.g., the responsibility to arrive punctually, attend all classes and rehearsals,
demonstrate respect for others and the performance space, and exhibit
cooperation, determination, and flexibility); |
K/U, A |
3 |
3 |
2 |
|
|
CR2.02:
demonstrate an understanding of the interrelated tasks and responsibilities of
the members of a theatre company at all stages of rehearsal and production; |
K/U, A |
4 |
4 |
2 |
|
|
CR2.03: apply the
conventions of rehearsal and production (e.g., warming up the voice and body,
recording and assimilating the director’s notes, remaining silent backstage
during dramatic presentations); |
A |
2 |
2 |
1 |
|
|
CR2.04: identify
and apply marketing principles and techniques to promote a theatre
presentation or production (e.g., press releases, programs, posters, ticket
sales); |
K/U, A |
|
3 |
2 |
|
|
CR2.05: identify
and apply the criteria used to select performance spaces and audiences for
particular productions or presentations (e.g., audience demographics, seating
and performance-space limitations); |
K/U, A |
1 |
2 |
|
|
|
CR2.06: take into account
community interests and concerns when choosing dramatic works for
presentation (e.g., opposition to presenting an issue-based drama to local
elementary school students). |
T/I |
1 |
1 |
2 |
|
|
Analysis |
|
||||
|
ANV.01: evaluate all
aspects of rehearsal and production, using a variety of strategies; |
A |
|
3 |
2 |
|
|
ANV.02: evaluate
dramatic presentations in the school or community, using appropriate dramatic
arts terminology; |
A |
|
1 |
2 |
|
|
ANV.03: evaluate the
contribution of dramatic arts to individuals and the community; |
A |
|
1 |
1 |
|
|
ANV.04: analyse
the social and cultural impact of dramatic arts; |
T/I |
|
1 |
1 |
|
|
ANV.05: analyse education
and career opportunities in dramatic arts and related arts fields. |
T/I |
1 |
1 |
1 |
|
|
AN1.01: use
student-produced criteria to evaluate their work, to set goals for their own
performances, and to determine the success of a production from a variety of
points of view (e.g., the point of view of the director, the stage manager, a
reviewer, the audience); |
A |
1 |
4 |
2 |
|
|
AN1.02: defend the
artistic choices made in productions (e.g., by actors, writers, technicians, designers,
or directors), using an established framework; |
C |
4 |
4 |
2 |
|
|
AN1.03:
demonstrate an ability to review a live theatre performance; |
A |
|
1 |
1 |
|
|
AN1.04: explain the
factors considered in the “selection of a theatre season” (e.g., audience
needs, individual strengths within the company, financial constraints); |
C |
1 |
1 |
1 |
|
|
AN1.05: explain how
Canadian theatre interprets and reflects Canadian issues and concerns (e.g.,
Dennis Foon’s exploration of racism in Skin, Rick Salutin’s investigation of
unrest in Upper Canada in 1837 in The Farmer’s Revolt, the recognition of
Native sovereignty in Drew Hayden Taylor’s Dreamer’s Rock); |
C |
|
1 |
1 |
|
|
AN1.06: explain
how dramatic arts contribute to and represent culture and society, both
locally and internationally. |
C |
|
1 |
1 |
|
|
AN2.01: analyse all stages of the creative process in dramatic arts,
using a variety of approaches (e.g., writing personal responses in a journal,
discussing issues in a group, writing in role and evaluating the results); |
T/I |
1 |
4 |
1 |
|
|
AN2.02: identify the central metaphor of a play and connect it to
their own lives; |
K/U, A |
1 |
1 |
2 |
|
|
AN2.03: explain how role play and character development foster
self-development (e.g., the development of the ability to empathize, respect others,
and resolve conflicts); |
C |
|
1 |
1 |
|
|
AN2.04: explain
the life and leadership skills (e.g., skills in critical and creative
thinking, teamwork, risk taking, interpersonal communication, and problem
solving) acquired through the design, creation, and presentation of a
dramatic work; |
C |
|
3 |
1 |
|
|
AN2.05: research
and describe the career opportunities available in all aspects of production
(e.g., careers in acting, designing, directing, writing); |
T/I, C |
1 |
1 |
1 |
|
|
AN2.06: research and
describe postsecondary programs in dramatic arts and related arts
disciplines. |
T/I, C |
1 |
|
1 |
|