Course Profile Dramatic Arts (ADA4O), Grade 12, Open, Catholic and Public
Unit 1: The Art of Making Theatre
Time: 22.5
hours
Activity
1 | Activity 2 | Activity
3 | Activity 4 | Activity
5
Unit Description
A workshop approach
defines the specific roles and interrelated tasks of the members of a theatre
company: production team, technical and acting troupe. Students explore the
theory and practice of design through the conventions of production. Beginning
with team-building and moving through a series of workshops which build upon
the elements of developmental drama learned in previous courses, this
preliminary unit establishes practices for the subsequent units of this course.
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:
|
Concurrent
model: explores the three
areas of the theatre company. Students are divided into three groups. Each
group rotates concurrently through the three stations. |
|||
|
|
Week 1 |
Week 2 |
Week 3 |
|
Production |
Group A |
Group B |
Group C |
|
Technical |
Group B |
Group C |
Group A |
|
Acting |
Group C |
Group A |
Group B |
|
Distributive
model: follows the same
concept as the concurrent model but executes the three stations in one-week
units preceding each of the three productions in Unit 2; students take the
workshop which corresponds with their production duties on the production
immediately following the workshop. |
|||
|
|
Week 1 |
Week 5 |
Week 9 |
|
Production |
Group A} |
Group B} |
Group C} |
|
Technical |
Group B} 1st |
Group C} 2nd |
Group A} 3rd |
|
Acting |
Group C} Play |
Group A} Play |
Group B} Play |
|
Consecutive
model: uses a whole-class
approach with a week of production, followed by a week of technical work,
followed by a week of acting techniques. |
|||
|
|
Week 1 |
Week 2 |
Week 3 |
|
|
Production (Full
Class) |
Acting (Full Class) |
Technical (Full
Class) |
·
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?
|
Activity |
Time |
Learning Expectations |
Assessment Categories |
Tasks |
|
1. |
2.5 hours |
THV.02, CR2.01,
CR2.02 |
Communication
Application |
Team-building,
introduction to roles of theatre company |
|
2. Specialized Workshop: Production |
6.25 hours |
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 |
Exploration of production roles through theatre and developmental
drama techniques |
|
3. Specialized
Workshop: Technical |
6.25 hours |
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 |
Exploration of
technical roles through theatre and developmental drama techniques |
|
4. Specialized
Workshop: Acting |
6.25 hours |
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 |
Exploration of
acting techniques through theatre and developmental drama techniques |
|
5. |
1.25 hours |
ANV.05, AN1.01,
AN1.02, AN2.01, AN2.05, AN2.06 |
Knowledge/
Understanding Thinking/ Inquiry Communication |
Critical self- and
teacher assessment |
Time: 2.5 hours
Students explore and
develop group dynamics through a series of team-building activities that
support the concept of the theatre company as a collaborative team. These activities
build on students’ background experience from previous drama courses, using
developmental drama techniques to explore and create the cooperative context of
the company. They engage in a variety of group activities designed to foster
awareness and to emphasize leadership abilities, while building the classroom
community. Having established this critical, collaborative environment, group
members examine the character of the theatre company itself. The introduction
of the elements, principles and techniques of theatre production reveals the
distinct and interrelated roles, tasks, and responsibilities of the members of
a theatre company. Students assess their personal skills and abilities in these
areas as they establish their portfolio for the course.
Strand(s): Theory, Creation
Overall
Expectations
THV.02 - describe
the elements, principles, and techniques of dramatic arts and theatre
production using appropriate terminology.
Specific
Expectations
CR2.01 - demonstrate
an understanding of an individual’s responsibilities in the development and
presentation of a theatre production;
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.
·
Knowledge of
drama exercises and collaborative activities;
·
Trust,
concentration, sensory awareness, and active listening skills;
·
Willingness to
participate and take safe risks when working in the drama class;
·
Reading,
comprehension, and note-taking skills.
·
The teacher
assigns students to one of three areas: the production team, the technical team
or the acting troupe for Unit 2, Module 1. The teacher may explain the rotation
for Modules 2 and 3 at this time as well.
·
The teacher
encourages the students assigned to the first production team or group of
directors to make a timely script selection.
·
The teacher
emphasizes the importance of safety and teaches safe, healthy practices as
appropriate. Protocols and routines are established at the outset of the
course.
·
The teacher
reviews the elements, principles, and techniques of theatre production and
learns the distinct and interrelated tasks and responsibilities of members of a
theatre company. Further information is available at
http://www.theatreontario.org.
·
The teacher
provides a variety of resource materials (books, websites) for research into
the roles of theatre company members.
Students
are in a circle.
A – A leader turns
to the person on his/her right and delivers his/her own name with some distinct
emotion attached.
B – The person on
the right repeats this name and emotional delivery. This same person then
repeats the name to the entire circle, but transforms the emotion.
C – This same person
then turns to the person on his/her right and delivers his/her own name with a
completely different emotion. This process continues for the rest of the
circle.
Students are
standing in a circle. A leader makes eye-contact with another student in the
circle and calls that student’s name. The student called upon responds, “Yes!”
thereby inviting the caller to take the respondent’s spot in the circle. This
exchange requires the respondent to make eye-contact quickly with another
student in the circle and call upon him/her in order to be invited by a “Yes!”
to take that student’s place in the circle. Students may not move from their
places in the circle until they have received the “Yes!” This pattern
continues.
Enrichment/Extension: Eye-contact is made with one student, but the
name called out is that of another student. The student whose name is called
(not the one whose eye-contact is being held) responds with “Yes!” and it is
that student’s place which is taken by the caller.
Students silently
walk about the classroom, randomly changing direction until the teacher calls
“Freeze.” Standing where they are, students look for the negative space or “holes”
in between each other. Silently and individually, students reflect on the
following:
·
If they take a
step of any size in any direction with the goal of achieving a consistent
amount of negative space among students, where will they step?
On
the count of 3, delivered by the teacher, students take this step.
·
If they stay on
their spots, can they reach out with their arms and make contact with other
students?
Discuss:
·
How successful
are they in achieving a consistency in the size of the “holes?” If they
envision themselves as an “oilslick,” how evenly distributed is this slick?
Students
silently walk about the classroom as above until the teachers calls “Freeze”.
Rather than taking their step on cue from the teacher, this time students take
30 seconds to decide upon and take their step. Students may confer among
themselves, but again, only one step of any size is permitted and it must be
taken within the 30 seconds.
·
If they stay on
their spot, can they reach out with their arms and make contact with other
students?
Discuss:
How does this method
compare with their success in achieving an even distribution of students in
their previous attempt? To what can they attribute this difference?
What is the importance
of collaboration to achieve a common goal and the applications of this exercise
to a “theatre company.” What are its applications to life situations?
Students assemble at
one end of the classroom with the context of being survivors of a shipwreck.
The teacher scatters large pieces of paper that represents floating wreckage,
across the floor which survivors use to reach land on the other side of the
classroom. The goal of the survivors is to ensure the safe delivery of ALL
passengers to land. The rules of using the “wreckage” to achieve this goal are:
·
Once a piece of
wreckage has been touched by a passenger, it must always have some part of some
passenger touching it, or the “wind and waves” (the teacher) will pick it up
and carry it away.
·
Passengers cannot
touch the “water” (bare floor) or they will fall prey to sharks and/or drowning
(and are out of the game). Note: the teacher and students do not want
this to happen, as it represents the failure of the task. Though they must have
this rule presented at the onset of the activity in order to provide the
necessary challenges, the teacher is advised to become a “life-guard” or to
provide other interpretations, such as “the sharks were in a different area of
the ocean at that point!” which will enable the class to be successful.
The
teacher encourages creative solutions and provides a short period of time (2
minutes or so) for students to discuss approaches before the voyage begins.
Discuss:
·
What roles did
students take on as strategies were discussed e.g., leader, follower,
peace-maker? How did these roles help or hinder the process?
·
What strategies
were attempted? What was their success rate? To what do you attribute this
outcome?
·
What are the
applications of this exercise to a theatre company? To life situations?
Note: There is a possibility that this activity might represent a
difficult memory for some students. Teacher awareness of students background
and a high degree of sensitivity will be necessary.
The teacher
provides a variety of resources to students, in the form of reference books,
websites, etc. such as http://www.theatreontario.org. Resources such as Now
What? The Guide to Post Secondary Theatre Training in Canada (published by
Theatre Ontario), career search software, such as Career Cruising, Bridges,
Choices, into Action, etc. can be very helpful. Students need hands-on
access to the information in order to complete the activity. The
library/resource centre may be used if it is a more convenient setting for this
class. As well, having a theatre professional as a guest in the classroom or
available by e-mail to discuss theatre jobs may provide students with another
perspective on the breadth and depth of training and commitment needed. The
teacher posts a master chart illustrating the position titles of the members of
the theatre company, and may provide individual hand-outs for the members of
the class.
Students
work in small groups to research a particular position in the theatre company,
using the resources provided and take notes to describe the role, tasks, and
responsibilities of each. They transfer this information to chart paper; each
small group posts its research around the room after a brief research period.
Students take
a gallery walk to read all of the posted job descriptions. They use this
information with details of each company role to complete the assignment.
Students
return to the posted information to complete personal responses to each. Using
sticky notes, students respond to the job descriptions by flagging with their
names:
·
the role with
which they find themselves most comfortable and experienced;
·
the role which
presents them with an interesting new challenge;
·
the role which
they find most intimidating.
Portfolio .: This activity culminates with a reflective
learning log entry, which is submitted for response by the teacher, who uses
this information to gain insight into the students’ experience and interests.
·
Learning log
following the gallery walk. Students’ reflections are guided by the teacher:
· To which roles did you gravitate and why? Consider the skills and abilities you bring to this course that help you identify with a particular role in the theatre company?
· To which roles in the theatre company are you least drawn and why?
· Which role do you feel would help you fulfill your personal goals for the course?
· What personal qualities and abilities have been revealed in the company-building activities?
·
The learning log
initiates the Portfolio .. The teacher reads and responds to the
students’ written submission as part of Activity 5. This piece is the
cornerstone of the portfolio, and is central to future portfolio considerations
and growth as a company member.
·
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.
Consult the student
IEPs. For students with behaviour/emotional disorders, the teacher emphasizes
clear expectations, and establishes classroom routines and protocols to ensure
a safe, structured environment. For students with physical disabilities, the teacher
assigns a partner to provide assistance and support where necessary. Students
with learning disabilities may need a scribe or voice recognition software to
complete the personal reflections or may benefit from the option of maintaining
an electronic portfolio.
Boal, Augusto. Games for Actors and
Non-Actors. London: Routledge, 1992. ISBN 0415061555
Gillette, J. Michael. Theatrical Design and Production, 3rd ed. Toronto: Mayfield Pub. Co., 1997.
ISBN 1559347015
Neelands,
Jonothan. Structuring Drama Work. Cambridge, U.K., 1999. ISBN 0521376351
Theatre
Ontario – http://www.theatreontario.org. Select the School Tools link.
Time: 6.25
hours
The first of three
specialized workshops, this activity focuses on the roles, tasks and
responsibilities which comprise the production area of the theatre company.
Students participate in a week-long workshop that introduces the skills and
knowledge that the students must apply to their responsibilities during Unit 2.
This activity addresses learning expectations clustered around artistic
decisions, e.g., central metaphors, textual analysis, historical background and
social contexts; organizational structures, e.g., scheduling of rehearsals,
target-setting for work completion, specialized terminology; and research
methods, e.g., selection criteria. Students develop a clear concept of the
roles within the production area, and discover the tools required for the
successful implementation of these tasks in Unit 2. Assembly of these tools for
inclusion in the Portfolio provides the opportunity for student reflection.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
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;
THV.02 - describe
the elements, principles, and techniques of dramatic arts and theatre
production using appropriate terminology;
THV.03 - describe how
the style, genre, and historical and cultural background of a piece of theatre
influence production decisions;
CRV.02 - carry out
all aspects of rehearsal and production effectively, working in collaboration
with others;
CRV.03 - adapt or
interpret a variety of dramatic works, focusing on works by contemporary
Canadian playwrights;
CRV.04 - use a
variety of technologies appropriately to enhance the communicative power of a
dramatic work.
Specific
Expectations
TH2.01 - describe
how acting techniques are used to develop characters that are in keeping with
the themes in the script;
TH2.05 - demonstrate
an understanding of the fundamental techniques of stage management;
TH2.06 - describe
the tasks and responsibilities of the technical crew and the stage crew;
TH3.01 - describe
how character and theme are communicated in different forms of theatre;
TH3.02 - describe
some of the scripts, performance spaces, and theatre conventions of different
periods and cultures;
TH3.03 - describe
the criteria used for selecting a play or scene for production;
TH3.04 - describe
methods of researching the background of a particular scene or play;
TH3.05 - describe
the process used to analyse a scene or a play prior to rehearsal and
performance;
TH3.06 - describe
the social and historical contexts of the plays studied;
CR2.01 - demonstrate
an understanding of an individual’s responsibilities in the development and
presentation of a theatre production;
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;
CR2.05 - identify
and apply the criteria used to select performance spaces and audiences for
particular productions or presentations;
CR2.06 - take into
account community interests and concerns when choosing dramatic works for
presentation;
AN1.02 - defend the
artistic choices made in productions, using an established framework;
AN1.04 - explain the
factors considered in the “selection of a theatre season”;
AN2.02 - identify
the central metaphor of a play and connect it to their own lives.
·
Suitable reading
comprehension skills;
·
Analytical
skills;
·
Note-making,
record-keeping and organizational strategies, including computer skills such as
electronic
·
Data storage and
management;
·
Library research
and internet search skills;
·
Some knowledge of
historical periods in theatre history, and their related genres and production
styles;
·
Knowledge of
basic stage terminology.
·
The teacher becomes
familiar with the distinct and interrelated roles, tasks, and responsibilities
of the members of a theatre company, as these are crucial to the production
work in Units 2 and 3. See the Theatre Ontario website –
http://www.theatreontario.org.
·
The teacher
decides and schedules the delivery mode for Activities 2, 3, and 4 from the
following three models: concurrent, distributive, and consecutive.
This choice determines the organization, strategies, and space used. For
example, the concurrent model requires both teacher-centred strategies,
and independent, student-centred strategies. The careful organization of these
two approaches is necessary so that the teacher may best facilitate concurrent
activities at three different stations while maintaining safe practices in the
classroom. In contrast, the distributive model of delivery allows the
immediate application of knowledge within the Unit 2 production context.
However, this model also creates time constraints for script selection and
memorization. Finally, the consecutive model works best when class size is
small; however, students’ application of the skills and knowledge acquired in
the workshop is delayed until the production work of Unit 2.
·
The teacher
provides a script excerpt of approximately two pages, which serves as a vehicle
for the production work throughout the workshop activities. It must provide the
possibility for visual interpretation, costume research, variety of properties,
incorporation of sound cues, and several potential lighting changes. See
Motives on the Council of Drama and Dance website,
– http://www.code.on.ca, as an example.
·
The teacher,
considering the composition of the class, makes available scripts of various
lengths, from 10 - 20 minutes. Possibilities are one-act plays, scenes from
various plays, or different scenes from the same play. The class produces one
play in segments; each company produces one part of the overall play. This
script selection provides the basis for the company production in Unit 2.
·
The teacher
ensures the safety and professional supervision of the physical environment in
which student-centred and independent learning takes place. The work of the
Technical Workshops is primarily theoretical in nature and must not present any
requirements which would pose safety risks for students.
·
The teacher helps
students to set up a segment of the Portfolio which becomes the Theatre Company
Manual (referred to as the TCM in this Course Profile); students keep notes
throughout the workshops and include any handouts, so that at the conclusion of
Unit 1 they will have a practical guide for the production work that follows in
Units 2 and 3.
·
The teacher
maintains the chart of the roles, tasks, and responsibilities of the members of
the theatre company throughout the unit, posting information to add to the job
descriptions as students work through Activity 2.
·
This activity is
based on dividing the 6.25 hours as follows: producer and stage manager
roles–1.25 hours each; the role of the director–3.75 hours. The activities
should be taught in this order.
·
The teacher is
familiar with a variety of references and resources, both for planning purposes
and to guide students’ research and design work. For example, the teacher could
provide a theatre history timeline, available in the classroom so that students
may make quick references to historical contexts when researching and
designing. See the reference text Living Theatre.
·
The teacher
reviews developmental drama techniques to help student directors with script
analysis and rehearsal techniques.
·
The teacher
reviews the protocols of stage management and the standards for recording and
calling cues.
The teacher reviews
the roles of the production team: producer, stage manager, and director that
were established in Activity 1. The teacher introduces the essential decisions
that dictate the production work to follow: choosing a script, targeting an
audience, selecting a space, determining the artistic choices to be made.
Discussion, brainstorming, and note making are possible approaches to these
issues.
Script and audience: The teacher provides the script excerpt that
the class reads; students discuss a potential target audience for the play.
Promotion strategy: The teacher introduces the concept of
“promotion strategy,” that the students discuss from their experience with
media and advertising. The class divides into small groups, each of which
outlines a promotion strategy to promote the play, from which the script
excerpt is taken, in an assigned medium. All group members record the details
of the strategy developed in the group. Using the jigsaw model, the groups
reconfigure to create a new group, each member of which contributes a description
of the promotion strategy developed in the original group. Members of this new
group add to their notes, recording details of each of the promotion strategies
presented in their theatre company manual.
Visual image: In preparation for the assessment of this activity, students explore
principles and elements of graphic design appropriate for poster, ticket, or
program creation. Resources or expertise from the Visual Arts teacher may
support this work. Students investigate software applications relevant to the
task.
Students select one
promotional vehicle and create a sample, which is added to their Portfolio
..
Responsibilities: The teacher reviews the stage manager’s
primary duties: task organization, scheduling and prioritizing. Students
discuss the differences between the pre-production duties and running the show.
Organization: Working in pairs, students organize the contents of their backpacks,
pencil cases, or notebooks. They determine categories of objects, and prepare
an itemized contents list. Discuss how the decisions to group objects were
made, and the advantages of the new arrangement and contents list. Through
discussion and brainstorming, draw on students’ experience to make connections
with the tasks of organizing the production elements under the stage manager’s
supervision.
Individually,
students create a personal timeline for the month. Using information from
personal planners and calendars, as well as the school/class calendar and work
schedules, each student completes a schedule in two formats: a record of events
on a calendar template and a linear schedule in chronological order. Both of
these records are added to the portfolio. The teacher may choose to have
students use computer software programs for these tasks. Students become aware
of the possibilities for generating forms and organizational tools using word
processing software.
Authority: The teacher leads the class in a discussion of the relationship between
a production’s stage manager and its director. Students brainstorm the kinds of
supervisory responsibilities of the stage manager.
Using role
play, students portray different management styles. In each group of four or
five, one person is designated as the Stage Manager. Each of the other group
members is secretly assigned a role. These roles might include “a blocker,” “a
know it all,” “a passive person,” and other types which hinder or help group
process. The Stage Manager’s task is to introduce a rehearsal schedule to this
group. They may all use their personal planning sheet from the exercise above.
After some time of discussion, debate, and negotiation in role, students step
out of role to consider, through a whole-class discussion, what took place in
the small group, and the particular obstacles faced by the Stage Manager in
dealing with the various personalities. Through this exercise, the class
generates and posts a list of positive qualities for the Stage Manager, which
are added to the original job description in Activity 1.
Rehearsing and running the production: The teacher introduces the task of “calling
cues.” The class brainstorms answers to these questions and generates additions
to the chart describing the role of the Stage Manager:
·
What is a cue? [an
instruction for a change in a technical element, such as sound or lighting]
·
Why does it have
to be called? (discuss the link between the Stage Manager and the technical
crew during the running of a show)
·
What technology
is involved in calling cues? (discuss the technology of headsets)
·
How might cues
best be represented in a script? (examine samples, using the standard script
excerpt already introduced, but with cues for lighting and sound now added to
it)
·
What is a “stand
by” [an instruction to a technician of an imminent change], and how is
it called in relation to the cue? (explain the proper responses that are
required of the technicians)
Responsibilities:
The teacher introduces the various
responsibilities of the Director, which for the purposes of the course include
selecting a script; researching style, period, theme, and social context;
achieving an overall vision; textual analysis; planning and executing efficient
rehearsals; helping actors to access sub-text and physicalize sub-text;
establishing effective stage pictures; and collaborating with the running crews
who operate the show.
Using the
script excerpt that has been provided throughout the activity, students suggest
methods of researching the play, and clarify the director’s thoughts by
obtaining details, photographs, copies of paintings, illustrations of period
dress, and other resources that help to fix the “look” of the piece. For the
script excerpt provided, students collect materials (print, graphic, fabric,
three-dimensional) and create a collage that captures and conveys their overall
sense of the piece.
The teacher
reviews the principles and elements of “stage picture,” e.g., levels, planes,
balance, spatial relationships, the visual representation of status.
The teacher
provides a number of small flexible figures, of the type children use for doll
houses and similar activities. If available, assorted small furniture pieces
(between 10 and 20 cm) may also be used. Using the script excerpt provided,
students work in small groups to create a series of tableaux for the scene with
the small figures. As part of creating these still images, students experiment
with the positions of the figures in relation to one another, and in relation
to objects that may also be part of the scene. The teacher asks questions which
help to guide the activity, for example:
·
Which entrance
positions are the most powerful?
·
Which entrance
positions are the weakest?
·
Which stage
positions represent positions of strength and submission?
·
When the
positions of the figures are altered to sitting, lying, or turning away; how
are the relationships between the figures changed?
The groups
discuss each “scene” and explain their understanding of the stage picture, as
well as the physical representation of relationship and dramatic tension.
If the
teacher has chosen to combine the actors and the directors groups (in the concurrent
or distributive delivery models), these same exercises may be done with
the student directors using the student actors to experiment with stage
picture. The same approach is suggested in Activity 4 - Specialized Workshop:
Actors.
To provide
the student directors with strategies for textual interpretation, the teacher
revisits and builds on the concept of still image with thought tracking
(explored in the Dramatic Arts Course Profile,
Grade 11, University/College Preparation, Unit 3). Using developmental drama
techniques, students work in small groups to re-examine the script excerpt. Students
create a series of still images which portray the sub-text of the scene. To
begin, some group members contribute to a tableau, while others provide the
thought tracking, giving voice to the thoughts and emotions of characters that
have not been expressed in the dialogue. The students who are creating the
still image then respond to the spoken words expressed through the thought
tracking by creating a subsequent still image. This process repeats until the
scene concludes. Students work independently to apply additional techniques for
script analysis and interpretation; both actioning the text and writing
in role are approaches that will yield further insights into the text when
practised by the director in pre-rehearsal, and which can be applied by the director
when working with the actors in the rehearsal process. Note that these and
other techniques of developmental drama are appropriate here to guide the
beginning directors in their interpretation of the text and sub-text, but also
to provide the directors with strategies that can be applied in their Unit 2
work. The same activities will help them to guide the actors through the
rehearsal process. For this reason, students benefit if these exercises are
recorded in the TCM. See the Dramatic Arts Grade 11 Course Profiles; Neelands
and Dobson, Theatre Directions; O’Neill, Drama Worlds.
The Production Team
and the Acting Troupe could come together at this point to study the concepts
of French scene, beat analysis, and paraphrase. Using these strategies, the
students further analyse the script excerpt, as a preparatory step for the
rehearsal process. Students record this information in their notebooks. After
sharing their various perspectives in the whole group setting, the students
retain this information for subsequent transfer into the directing section of
the TCM.
·
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
teacher checks the following for completion and inclusion in the portfolio:
·
The Production
section of the TCM including notes on promotional strategies and a sample of
poster, ticket, or program;
·
The Stage
Manager’s section of the TCM including the two sample schedules and a sample
cue sheet;
·
The Directing
section of the TCM including the collage vision of the script, the director’s
notes for the rehearsal process including techniques of developmental drama and
the director’s sample of textual analysis.
·
The Reflection
section of the portfolio including personal notes and reflections, taken during
the in-class exercises, subsequent reflection in which students consider their
personal skills, qualities, and abilities relative to the three different
duties explored throughout this activity.
Additional
formative assessment may include:
·
teacher or peer
assessment of the still image/thought tracking activity;
·
self-assessment
of the collage and staging exercises;
·
teacher
evaluation of the promotional materials created;
·
pencil-and-paper
or multiple-choice quiz to test terms and key concepts.
·
Adapt script
excerpts 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;
·
Provide peer
assistance to complete written or artistic products;
·
Provide
alternative tasks, where appropriate
Books
Carter,
Paul. Backstage Forms. Shelter Isl., New York: Broadway Press, 1990.
ISBN 0911747354
Gruver,
Bert. The Stage Manager’s Handbook revised by Frank Hamilton. New York:
Drama Book Publishers,1972. ISBN 0896760073
Hawkins,
Terry and Pauline Menear. Stage Management and Theatre Administration.
New York: Shirmer Books, 1989. ISBN 002871346
Ionazzi,
Daniel A. The Stage Management Handbook. Cincinnati: Betterway Books,
1992.
ISBN 1558702350
Kelly,
Thomas. The Backstage Guide to Stage Management. New York: Back Stage
Books, 1991.
ISBN 0823076814
Neelands,
Jonothan. Structuring Drama Work. Cambridge, UK: 1999. ISBN 0521376351
Neelands,
Jonothan and Warwick Dobson. Theatre Directions. Hodder & Stoughton.
London: 2000.
ISBN 0340758619
O’Neill, Cecily. Drama Worlds. Portsmouth, NH: Heinemann, 1995. ISBN 0435086715
Websites
See the
Council of Drama and Dance in Education (CODE) website for a brief, original
script called Motives which can be used in conjunction with Activities
2, 3 and 4.
Dramatic
Arts Grade 10, Course Profile – http://www.curriculum.org
Dramatic
Arts Grade 11, Open Course Profile – http://www.curriculum.org
Dramatic
Arts Grade 11, University/College Preparation Course Profile –
http://www.curriculum.org
Council of
Drama and Dance in Education – http://www.code.on.ca
Educational
Theatre Association – http://etassoc.org
Dramawest
(Australia) – http://members.iinet.net.au/~kimbo2/Dramawest
Theatre Ontario –
http://www.theatreontario.org
Time: 6.25
hours
This activity
focuses on the roles, tasks, and responsibilities which comprise the technical
area of the theatre company. For subsequent units in this course, lighting,
sound, costume, makeup, properties and set are concerned primarily with the
elements and principles of design and their practice. Students participate in a
workshop which introduces the skills and knowledge that must be applied during
Unit 2. This activity addresses learning expectations clustered around artistic
decisions and the use of technology. Students develop a clear concept of the
roles within the technical area, and discover the tools required for the
successful completion of these tasks in Unit 2. Assembly of these tools for
inclusion in the portfolio provides the opportunity for student reflection.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
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;
THV.02 - describe
the elements, principles, and techniques of dramatic arts and theatre
production using appropriate terminology;
THV.03 - describe
how the style, genre, and historical and cultural background of a piece of
theatre influence production decisions;
CRV.02 - carry out
all aspects of rehearsal and production effectively, working in collaboration
with others;
CRV.04 - use a
variety of technologies appropriately to enhance the communicative power of a
dramatic work.
Specific Expectations
TH1.01 - describe
how dramatic elements are used to develop character and theme;
TH2.01 - describe
the elements and principles of design as they apply to dramatic arts;
TH2.02 - describe
the steps required to create a set, costume, or lighting plot;
TH2.05 - demonstrate
an understanding of the fundamental techniques of stage management;
TH2.06 - describe
the tasks and responsibilities of the technical crew and the stage crew;
TH3.02 - describe
some of the scripts, performance spaces, and theatre conventions of different
periods and cultures;
TH3.04 - describe
methods of researching the background of a particular scene or play;
TH3.05 - describe
the process used to analyse a scene or a play prior to rehearsal and
performance;
TH3.06 - describe
the social and historical contexts of the plays studied;
CR1.02 - identify
and use specific criteria for selecting props, costumes, and make-up to help
portray characters;
CR1.08 - use light
and sound appropriately to develop and communicate character, theme, plot, and
setting in a production;
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;
CR1.10 - solve
problems that arise as a result of staging dramatic works;
CR1.11 - use
technical equipment appropriately;
CR2.01 - demonstrate
an understanding of an individual’s responsibilities in the development and
presentation of a theatre production;
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;
CR2.03 - apply the
conventions of rehearsal and production;
AN1.02 - defend the artistic
choices made in productions using an established framework.
·
Suitable reading
comprehension, analytical skills;
·
Note-making,
record-keeping and organizational strategies, including electronic data storage
and management;
·
Library research
and internet search skills;
·
Some knowledge of
historical periods in theatre history, and their related genres and production
styles;
·
Knowledge of
basic stage terminology (e.g. nine areas of the stage, wings, etc.)
·
The teacher reviews
Planning Notes from Activity 2.
·
The teacher, in
carrying out the workshops, acts as a facilitator, mentor and resource person,
which may include setting up work stations, providing resource material,
inviting theatre experts into the class, arranging out of class visits to
theatre spaces, booking necessary equipment and alternative spaces for
specialized tasks, linking students with websites or theatre professionals, and
other supports.
·
The teacher
provides a ground plan of the stage area as described in Strategy 1.
·
The teacher
ensures that safety practices required by the use of technical equipment and
facilities are followed. For this activity in particular, special safety
considerations must be taken into account; if students will be working in a stage
facility outside their normal classroom, they must be made aware of rules for
safety and correct handling of equipment. Equipment must be appropriate to
student use. Hazardous materials must be handled in accordance with the
approved safety procedures of the Board or other governing agency.
·
This activity is
based on dividing the 6.25 hours as follows: stage design/props 2.5 hours;
lighting/sound 2.5 hours; costume/make-up design 1.25 hours. It is also
recommended that the activities be delivered in this order.
|
Special Note: The teacher considers the needs of the
students, the resources, and other factors and chooses from the suggested
strategies. For example, students may elect one of the two technical areas
paired (set/props, lighting/sound, costume/make-up) for assessment, producing
work to be evaluated in three of the six areas. |
Strategy
1: The Objectives of Scene Design. The teacher asks students, What information does a set give us? and What
practical concerns must a set accommodate? As part of this discussion, the
teacher shares the information on the CODE website (http://www.code.on.ca):
Objectives of Scene Design. The students are then divided into small groups.
Each group receives a set design which may be accessed through websites, or
reproduced from reference books, and brainstorms the ways in which this set
design fulfills the objectives of scene design. Students share their
observations with the rest of the class.
Extension/Enrichment: The teacher provides a sample of design analysis (see Gillette, pp.
84-88). The teacher provides 2 or more set designs by different designers for
the same play (see Websites).
Strategy 2: The Design Process. This strategy works best in groups of five.
Each student receives a card with one of the following steps of the design
process written on it: analysis, research, selection, implementation, and
evaluation (these are listed here in their proper order). The teacher instructs
each group to put the cards in the order they believe the design process
follows. Groups share this information with the class by standing in the order
of their decision and revealing their cards. The group justifies their decision
by explaining what they feel each step involves. The teacher offers feedback,
and takes this opportunity to correct or supplement students’ explanations with
the following information:
1. Analysis: Read the script. In
collaboration with other members of the theatre company at the production
meeting, discuss:
· What is the mood and spirit of the play?
· What is the historical period of the play?
· What is the locale of the play?
· What are the socioeconomic status and personality of the characters?
· What is the season of the year in the play?
· What are the needs of the director?
· What are the needs of the actors?
· What are the technical demands of the production?
· What are possible fiscal and time constraints?
If there is no script, create a ground plan of the stage on which the
play will be produced (a plan showing the exact placement of all items standing
on the stage floor and indicating the positions of items suspending from
above). This plan should include information regarding the stage configuration,
sightlines (visual lines which indicate the limits of audience vision from
extreme seats), general stage equipment, and other aspects of the physical
structure of the theatre.
2. Research: Find resources which will
help establish the architectural, sociological, and cultural background of the environment
of the realistic play. Examine the psychological roots of the non-realistic
play so that a non-representational setting can be a physical extension of the
psychological environment. Experiment and create thumbnail sketches of the
possibilities.
3. Selection: Select the best solution
for the design challenges based on your analysis and research.
4. Implementation: Produce the ground plan and renderings of
your design.
5. Evaluation: Discuss:
· How did your scene design work in relation to the concepts established at the production meeting?
· Review the communication that took place between yourself and the other members of the company. Did consultation continue throughout the whole process?
Post the
correct order of these steps in the classroom for future reference in the
costume and make-up design activities.
Portfolio .: Students transfer answers from Strategy 2 to
their Portfolio for future use in costume and make-up design strategies.
Strategy
3: Applying the Design Process.
Students apply the Analysis and Research steps relevant to the script excerpt
used in Activities 2 and 3.
Students
answer the first question posed in the Evaluation step of the design process
for future inclusion in the Technical Team section of the TCM.
Students
answer the second question posed in the Evaluation step (#5 above) of the
design process for future inclusion in the Reflection section of the Portfolio.
Strategy
4: The Stage. Place some
members of the Technical Team on stage in various positions and conduct a walkabout
with the team in the house to establish sightlines of their stage area.
Students tape out the sightlines on the stage floor with masking tape or spike
tape.
Place some
members of the Technical Team on stage to walk about in order to establish
strong and weak stage positions. The strongest place for an actor is Up Centre,
where the upstage sightlines cross and the audience is most accessible by that
actor. Students should think of all acting positions as triangles which form
natural positions of strength and weakness. This is valuable for ensuring that
important entrances are strong.
Place
furniture or furniture substitutes on stage in various positions. Use members
of the Technical Team to explore how set pieces can affect an actor’s movement
about the stage, including the sightlines, most effective stage positions; the
balance between furniture and open space; the use of entrances; appropriate
movement diagonals; motivation; and communication with the audience.
Strategy 5: Drawings. The teacher provides examples of ground plans
and renderings from texts and websites for students to examine. Individually,
or in pairs, students apply the Selection and Implementation steps to the
script excerpt. Students turn the questions used in the Analysis step of Strategy
2 into a checklist to be used in the application of these steps.
Extension/Enrichment: Students with experience in scene design may
create front elevations or models.
Strategy
1: Properties List. Students
create a Props List for the script excerpt by noting props called for in the
text. Students must note that in rehearsal, the Props List would change as
props are added and/or deleted. In Unit 2, Property Heads will divide their
Props Lists according to the French scenes developed in consultation with the
director.
Strategy
2: Running Plots. Students
create a running plot for the script excerpt. A running plot notes the onstage
placement of all props, whether they are taken onstage right or left, whether
they are struck stage right or left, and who takes them on and offstage. Since
the Technical Team does not have access to the directors’ blocking decisions at
this point of the workshop, many of these decisions will be arbitrary but will
still serve as an example of implementing a Running Plot.
Strategy
3: Props Table. Students
create a diagram of the placement of these props on both stage right and left
tables. Information on this diagram includes a “tracing” of each prop or a
reserved space marked off for each prop, as well as a “Start” which indicates
who takes the prop in which scene and an “End” which indicates who returns the
prop in which scene. As with the running plot, many of the decisions based on
this script excerpt will be arbitrary at this point, but serve as an example of
implementing the organization of a Props Table.
Strategy 4:
Property Acquisition, Storage, and Maintenance. The teacher concludes the exploration of the
responsibilities of a Props Master by discussing the importance of keeping
accurate records of property loan arrangements, securing safe storage of props
following each rehearsal, and maintaining them in good repair.
Strategy
1: Background Notes. The
teacher provides background information about the purpose and objectives of
lighting design. This information should be conveyed in the form of handouts or
board notes which then become part of the students’ TCM. The teacher may
encourage students to supplement these notes with additional research. Students
should practise and use terms and concepts in their Unit 2 and Unit 3
production work.
Strategy
2: Touring the House. The
teacher takes students on a tour of the facility they will use in subsequent
production work. If the facility is a theatre space in the school or community,
the resident house technician will be valuable in assisting the teacher in
demonstrating the capability of the equipment, and emphasizing safety issues
and procedures for the space.
Students should consider:
·
the kind of
lighting instruments [the term most often used to refer to an individual
spotlight or reflector] in use - stage lighting fixtures? type? age? other?
·
the control
method that is used - dimmer board [the device that is used to adjust the
combinations of lighting instruments and intensity of light that is desired]? two
scene pre-set? computerized? other?
·
the location of
power sources - safety? proper use? controls?
·
safety
considerations and cautions for maintenance and handling of valuable equipment
·
the basic
lighting areas of the “house” wash [the general onstage lighting that is
provided to illuminate the entire area, which is usually fixed for a particular
theatre space]
·
special lighting
features (cyclorama [a white fabric backdrop, or painted wall, upon which
colours and images are projected], scrim [a loosely-woven fabric hanging, which
is opaque when front lit, and translucent or transparent when back lit],
specials [lights which are hung in a special position, or with a special gel or
pattern insert, designed for an effect particular to a specific production, and
not in general use])
Students record the location of various
instruments and controls on a blank diagram of the facility. Upon return to the
classroom, they brainstorm a set of instructions, rules, and cautions, which
become part of the Production Notes in each student’s TCM. In addition, they
generate a diagram of the “house” wash, indicating which lighting areas can be
independently controlled. Should students not have access to a theatre space
equipped with stage lighting, the teacher may be able to arrange a tour of a
local or regional theatre space to look at the lighting equipment. Additional
information and workshop support may be obtained from both Theatre Ontario
(http://www.theatreontario.org) and The Canadian Institute of Theatre
Technology (http://www.citt.org)
Strategy
3: Experimenting with Light.
Students experiment with the properties of light. Whether or not the school’s
facility has a lighting board and many lighting instruments, students can still
understand the principles of lighting using virtual lighting software. Some of
these resources can be accessed through the Internet connection (see
Resources). This exploration includes the concepts of the effects of colour and
making artistic choices; warm and cool colours and colour mixing; gels and
diffusers; angles of light; the effects of front, side, back, and fill lighting
on objects and the human form; the contrast between wash, and specials, hard
edge versus soft edge lighting; ellipsoidal, Fresnel, PAR, and other instrument
types; and use of specials, such as the gobo [a thin metal template, inserted
into an ellipsoidal lighting
Instrument,
in order to cast a shadow pattern of light].
Strategy
4: Creating the Design. Using
software or a paper version of the house lighting plot, students use the
standard scripted excerpt to create a simple lighting design for the scene. On
a blank stage diagram, and assuming a top view of the stage, student designers
indicate areas of lighting used at different points in the scene, resulting in
the production of three to six drawings as part of the design.
Strategy 5:
Recording the Levels and Cues.
Having completed a simple plot, students next consider lighting in terms of
intensity and colour. Once the simple designs have been created on paper,
students create a mini cue sheet, incorporating the appropriate instruments and
levels, along with any gels or specials. In addition to the cue sheet created
for the use of the lighting technician, the designer provides the cues to the
Stage Manager, for inclusion in the prompt book. The lighting designer should
also record the cues in the script, creating the lighting prompt book. These
cues relate to cue lines in the dialogue, and serve as a back up record for the
running crew. The lighting prompt book is also a record for the TCM, where it
serves as a model for further production work in Units 2 and 3.
Strategy
1: Understanding the Equipment.
The teacher provides students with access to the sound system that they will
use for production work in the course. Whether this equipment consists of a
simple portable CD player, or a complex sound system installed in a
well-equipped theatre space, students must understand its operation. Before
design issues can be considered, students must discover the limitations of
their equipment. The teacher may be able to provide students with operating
manuals for the sound equipment, so that students can quickly assess its
flexibility and limits in their planning. The use of other technologies should
be investigated, so that students are fully aware of their potential, e.g.,
creating sound effects, finding and recording original or local music.
Students
prepare a summary of instructions for operation of the sound equipment, and
insert this sheet in the TCM.
Strategy
2: Selecting Sound Effects and Music Cues. The teacher must be familiar with copyright restrictions on recorded
sound. If sound cues incorporating pre-recorded music are desired, the teacher
and students must follow the requirements governing the use of such music in a
performance. Generally, if a short segment of music is needed for an
introduction or a transition in a play, one may apply for permission to use the
artist’s work. [The teacher and/or the student must contact the distributor of
the recording, and provide details including the title of the collection, the
name of the composer and the performing artist, track number and title of the
piece. Permission is granted in writing. Prohibitions generally apply to any
re-recording; cues are played directly from the original CD or tape. The
teacher may wish to research music and sound effects which are in the public
domain, and are packaged and sold with permission for performance. The teacher
should note that there is some music for which copyright is strictly held; under
no circumstances should this music be used. Most major distributors can be
contacted through their main Canadian offices in Toronto, Montreal, and
Vancouver.]
Students
select the music or sound effect, and arrange for permission to use it. Copies
of agreements and permissions, letters, faxes and telephone logs should be
retained in the TCM.
Students
write a rationale for their choices in the Reflection section of the Portfolio
..
Strategy 3:
Creating a Cue Sheet. In the
same way that cues for lighting were recorded on the scripted excerpt, sound
cues are entered and related directly to dialogue cue lines, creating the sound
prompt book. Similarly, the student creates a cue sheet that summarizes the
sound cues in a more succinct form. Both of these documents are shared with the
Stage Manager. The sound prompt book is also a record for the TCM, where it
serves as a model for further production work in Units 2 and 3.
Strategy 1: The
Objectives of Costume Design.
The teacher asks What information does costuming give us?” and “What practical
concerns must costuming accommodate? The teacher points out that costume
designs for a production need to:
·
reflect the
interpretation of the production arrived at in the Theatre Company meeting;
·
exhibit a unity
of style;
·
reflect the
personality of a specific character at a given time and place.
The students
are divided into small groups. Each group receives a costume design (may be
accessed through websites or reproduced in reference books) and brainstorms the
ways in which this costume design fulfills these objectives. Students share
their observations with the rest of the class.
Strategy
2: The Design Process.
Students revisit the steps of the design process posted in the classroom from
Scene Design Strategy 2. In the same groups formed for Scene Design Strategy 2,
students brainstorm the possible applications of these steps to costuming.
Groups share this information with the class; the teacher offers feedback, and
takes this opportunity to correct or supplement students’ explanations with the
following information:
1. Analysis: The students read the
script, listen and ask questions. In collaboration with other members of the
theatre company at the production meeting, they discuss:
· What is the production concept?
· In what time period is the play being presented?
· When does the director want to see the costumes?
· When is the dress rehearsal?
· What does the set look like? What colours are used?
· Are there coloured gels used by lighting? What are they?
· What is the budget?
Identify areas that require additional research.
2. Research: The students find resources
that will help establish the time period and production concept selected for
the play.
3. Selection: Select the best solution
for both the overall concept and individual costume designs based on your
analysis and research.
4. Implementation: Produce the coloured
costume sketches for your designs, including information on the fabrics
selected.
5. Evaluation: Answer:
· How did your costume designs work in relation to the concepts established at the production meeting?
· Review the communication that took place between yourself and the other members of the company. Did consultation continue throughout the whole process?
Strategy
3: Applying the Design Process. In
their technical team, students apply the Analysis and Research steps relevant
to the script excerpt used in Activities 2 and 3. Students answer the first
question posed in the Evaluation step of the design process for future
inclusion in the Technical Team section of the TCM. Students answer the second
question posed in the Evaluation step of the design process for future
inclusion in the Reflection section of the Portfolio.
Strategy
4: The Costume Sketch. Students
apply the selection and implementation steps to one character in the script
excerpt. Students turn the questions used in the Analysis step of Strategy 2
into a checklist to be used in the application of these steps.
Strategy 5:
Costume Acquisition, Storage, and Maintenance. The teacher concludes the exploration of the
responsibilities of a Costume Head by discussing the importance of keeping
accurate records of costume loan arrangements, securing safe storage of
costumes following each rehearsal, and maintaining them in good repair.
Strategy
1: The Objectives of Make-up Design. The teacher asks students, What are the main influences that affect
physical appearance? The teacher supplements discussion with the following
suggestions: genetics, environment, health, physical features, fashion, age,
and personality.
Strategy
2: The Design Process. The
students revisit the steps of the design process posted in the classroom from
Scene Design Strategy 2. In the same groups formed for Scene Design, Strategy 2
students brainstorm the possible applications of these steps to costuming.
Groups share this information with the class; the teacher offers feedback, and
takes this opportunity to correct or supplement students’ explanations with the
following information.
1. Analysis: Students read the script,
listen, and ask questions. In collaboration with other members of the theatre
company at the production meeting, they establish the influences of each
character as seen in the objectives. The students identify areas that require
additional research.
2. Research: The primary resources for
research include the analysis above, conversations with the costume designer,
and character analysis established by the actors. Students explore types of
make-up and application techniques, and experiment and create thumbnail
sketches of the possibilities.
3. Selection: Students select the best
solution for the design challenges based on their analysis and research.
4. Implementation: A make-up worksheet
for each character is produced.
5. Evaluation: Discuss:
· Did you do enough background research?
· Review the communication that took place between yourself and the other members of the company. Did consultation continue throughout the whole process?
Strategy
3: Applying the Design Process. In
the Technical Team, students apply the Analysis and Research steps relevant to
the script excerpt used in Activities 2 and 3. The teacher provides resources
specific to types and application of make-up.
Portfolio .: Students transfer their answers from Strategy
2 to their Portfolio for future use in costume and make-up design strategies.
Students answer the first question posed in the Evaluation step of the design
process for future inclusion in the Technical Team section of the TCM.
Students answer
the second question posed in the Evaluation step of the design process for
future inclusion in the Reflection section of the Portfolio.
Strategy 5:
Drawings. Students apply the Selection
and Implementation steps to one character in the script excerpt. Students turn
the questions used in the Analysis step of Strategy 2 into a checklist to be
used in the application of these steps.
·
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.
·
A
pencil-and-paper or multiple-choice quiz testing key concepts is an option.
The
teacher checks the following for completion and inclusion in the portfolio:
·
Scene Design: The checklist formed in Strategy 5 is included
in the Technical Team section of the TCM.
Students include their ground plan and rendering of the scene design for the
script excerpt in the Technical Team section of the TCM.
·
Properties: The Props list, running plot, and props table
diagrams are included in the Technical Team section of the TCM.
·
Lighting Design:
All notes inserted into the
Theatre Company Manual are assessed for completion; the following elements are
included for future reference.
· The House Wash diagram is assessed for accuracy.
· Students log and record details of time spent in virtual lighting activities and/or with software applications.
· A pencil-and-paper quiz of terms and concepts assesses student knowledge.
· The simple lighting design, lighting promptbook, and cue sheet are teacher- and self-assessed for accuracy and become the basis of further discussion about artistic choices.
·
Sound Design: All notes inserted into the Theatre Company
Manual are assessed for completion; the following elements are included for
future reference: specific instructions for the operation of the sound
equipment that will be used; the letter that the student sends to the music
distributor in order to arrange permission to use pre-recorded music is
assessed for accuracy of the recording details, and for clarity of
communication.
· The sound cue sheet and sound promptbook are teacher- and self-assessed for accuracy.
·
Costume
Design: The checklist formed
in Strategy 4 is included in the Technical Team section of the TCM. Students
include their costume sketch for one character from the script excerpt in the
Technical Team section of the TCM.
·
Make-up
Design: The Analysis Checklist formed in Strategy 4
is included in the Technical Team section of the Theatre Company Manual.
Students include their make-up worksheet for one character from the script
excerpt in the Technical Team section of the Theatre Company Manual.
·
Consult the
student’s IEP.
·
Adapt script
excerpts to students’ reading levels;
·
Provide peer
assistance to complete written or artistic products;
·
Allow
opportunities for collaborative analysis;
·
Provide alternative
tasks where appropriate or where necessitated by resources/facilities;
·
For students with
physical/learning disabilities, assign a partner to provide assistance and
support, when necessary.
Books
Brockett,
Oscar Gross. The Essential Theatre. 7th ed. New York: Harcourt, 2000. ISBN 0155072293
Fraser,
Neil. Lighting and Sound. New York: Schirmer Books, 1989. ISBN 0028713443
Gillette,
J. Michael. Theatrical Design
and Production, 3rd ed.
Toronto: Mayfield Pub. Co., 1997.
ISBN 1559347015
Govier,
Jacquie. Create Your Own Stage
Props. London: A&C Black,
1991. ISBN 071363037
Holt,
Michael. Costume and Makeup. New York: Schirmer Books, 1989. ISBN
0028713451
Holt,
Michael. Stage Design and Properties. New York: Schirmer Books, 1989.
ISBN 0028713435
Hull Miller,
James. Small Stage Sets on Tour: A Practical Guide to Portable Stage Sets.
2nd ed. Colorado: Meriwether Pub. Ltd., 1987. ISBN 0916260461
Ionazzi,
Daniel A. The Stagecraft Handbook. Cincinnati: Betterway Books, 1996.
ISBN 1558704043
Kidd, Mary
T. Stage Costume: Step-by-Step. Cincinnati: Betterway Books, 1996. ISBN
155870406
Pecktal,
Lynn. Designing and Drawing for the Theatre. New York: McGraw Hill,
1994.
ISBN 007557232
Reid,
Francis. Designing for the Theatre, 2nd ed. New York: Routledge, 1996.
ISBN 0713643986
Reid,
Francis. The Staging Handbook, 2nd ed. London: Heinemann, 1995. ISBN
0713641762
Thomas, Terry. Create Your Own Stage Sets. London: A & C Black, 1991. ISBN 0713630388
Websites
See the
Council of Drama and Dance in Education (CODE) website for a brief, original
script called Motives which can be used in conjunction with Activities
2, 3 and 4.
DramaWest (Australia) – http://www.members.iinet.net.au/~Kimbo2/Dramawest: links to a variety of technical and background resources
Theatre Ontario
– http://www.theatreontario.org: production roles, practical instruction for
tech and design, workshop support
Virtual
Lighting Lab, University of Pennsylvania –
http://dolphin.upenn.edu/~pacshop/lab/lab.html
Time: 6.25
hours
This activity
focuses on the tasks and responsibilities of the actors in the theatre company.
For purposes of subsequent units in this course, actors are primarily concerned
with role/character. Students participate in a workshop that introduces the
skills and knowledge that the students apply to their responsibilities during
Unit 2. This activity addresses learning expectations clustered around artistic
decisions, e.g., textual analysis, character interpretation, as well as the
conventions of rehearsal and production, e.g., physical and vocal warm ups.
Actors use developmental drama techniques such as hotseating, interviews, and
writing in role to explore character. Similarly, script exploration includes
strategies such as research, beat analysis, and actioning the text. Students
develop a clear concept of the responsibilities of the actor, and discover the
tools required for the successful completion of these tasks. Assembly of these
tools for inclusion in the portfolio provides the opportunity for student
reflection.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
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;
THV.02 - describe
the elements, principles, and techniques of dramatic arts and theatre
production using appropriate terminology;
THV.03 - describe
how the style, genre, and historical and cultural background of a piece of theatre
influence production decisions;
CRV.01 - create and
sustain characters that are consistent with their interpretations and with the
intentions of the script;
CRV.02 - carry out all
aspects of rehearsal and production effectively, working in collaboration with
others.
Specific
Expectations
TH1.02 - describe
how acting techniques are used to develop characters that are in keeping with
the themes in the script;
TH1.03 - describe
the acting styles employed for different genres of theatre;
TH2.03 - describe
the vocal techniques used by actors;
TH2.04 - explain
methods of training the body;
TH3.01 - describe
how character and theme are communicated in different forms of theatre;
CR1.01 - interpret a
character by applying a variety of approaches;
CR1.03 - use voice
and movement techniques appropriately in all aspects of rehearsal and
performance;
CR1.04 - reinterpret
roles in rehearsal and performance, demonstrating commitment and insight into
character;
CR1.05 - script,
revise, and present a scene, making appropriate use of research, improvisation,
and rehearsal;
CR1.07 - present a
range of original or adapted Canadian and international dramatic works that
address relevant student, community, or international issues and concerns;
CR2.01 - demonstrate
an understanding of an individual’s responsibilities in the development and
presentation of a theatre production;
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;
CR2.03 - apply the
conventions of rehearsal and production;
AN1.02 - defend the
artistic choices made in productions (e.g., by actors, writers, technicians,
designers, or directors), using an established framework.
·
Familiarity with
developmental drama techniques;
·
Basic control,
concentration, cooperation, and trust;
·
Active listening
and collaborative group skills;
·
Ability to
creatively use voice and movement;
·
Familiarity with
various acting theories and techniques;
·
An understanding
and application of theatre terminology;
·
Suitable reading
comprehension abilities;
·
Analytical
skills;
·
Note-making,
record keeping and organizational strategies, including electronic data storage
and management;
·
Library research
and Internet search skills;
·
Basic knowledge
of theatre history, and their related genres and production styles.
·
The teacher
reviews Planning Notes 1-9 from Activity 2.
·
The teacher must
be familiar with a variety of references and resources, both for planning
purposes, and to guide students’ work. Examples include acting strategies
developed by well-known theatre teachers (e.g., Konstantin Stanislavski,
Augusto Boal, Lee Strasberg, Uta Hagen; see Grade 10
and 11 Dramatic Arts Course Profiles).
·
The teacher
should have knowledge of developmental drama techniques to help actors with
script analysis and rehearsal techniques.
·
The teacher
considers incorporating Strategies 1 and 2 throughout Activity 4 and as
relevant in
Unit 2.
·
In Strategies 1
and 2, the teacher assesses the experience level of the class. Using more
sophisticated exercises with students who are ready for them is highly
recommended.
·
The teacher
considers students’ physical limitations for Strategies 1 and 2. Students
should never exercise to the point of discomfort.
A) Tense/Relax. Students lie down on their
backs, spread out with adequate space, and their knees bent to support the
small of the back. With their eyes closed, students tense and then release
individual body parts, adding to the parts held tense and released. For
example, the teacher directs: Begin by making a tight fist with both hands,
hold this...and release the tension. Wiggle your fingers. Now make a tight fist
with both hands and let the muscle contraction travel up your forearm. Hold
this...and release the tension. Make tight fists...let it travel up your
forearm and tense your biceps. Hold this...and release. This tensing and
releasing continues through the shoulders, chest, abdomen, buttocks, thighs,
calves, toes, and finally, face. During the release, students are encouraged to
wiggle, rotate, etc. to ensure proper release of tension.
B) Relaxation. Students stand, spread out
throughout the classroom with adequate space around each. The teacher instructs
them to stand with their feet shoulder-width apart and continues: Circle the
shoulders around. Release. Swing each arm like a wheel and let it drop back
into place at your side. Lift and drop the shoulders until they fall into place
naturally. Gently allow your head to drop onto the chest. With the head still
down, gently swing the head back and forth across the chest. Allow the weight
of the head to flop the whole torso over from the waist. Keep the knees
slightly bent. Once flopped over, shake the shoulders out and try to release
the neck. Spend a few seconds in this flopped-over position and then slowly
come up through the spine, visualizing your spinal column returning to a normal
upright position, one vertebra at a time, to standing. The head should be the
last thing to find its place. Do not shift your position; the spine is now
properly aligned and the body centred. Gently massage all your facial muscles.
Bunch up the face and then release. Stretch the mouth open and then release.
Gently rotate the jaw. Smile, and keeping the smile in place, open the jaw.
A complete
vocal warm up, including breathing exercises is available in the Dramatic Arts
Grade 10 Open Catholic Course Profile: Unit 2, pages 16 - 18, Enriching the
Voice.
A) Breathing and the Voice. Students stand
and spread out throughout the classroom with adequate space around each. The
teacher instructs them to stand with their feet shoulder-width apart and
continues: Place one palm on your diaphragm, in the centre of your torso just
below the rib cage. Breathe in through your nose and out through your mouth in
a nice, steady rhythm. Feel the rise of the diaphragm muscle as you exhale.
Never lift the shoulders or the upper chest while breathing. Concentrate on the
breath. Drop your hand. While standing centred, flop over to one side. Breathe.
Feel the ribcage on that side open. Repeat on the other side. Return to centre.
Hug yourself gently across the chest, your hands reaching back towards your
shoulder blades. Breathe deeply. Still hugging, flop over at the waist. Keep
the knees slightly bent. Breathe. Feel the back ribcage open. Let your arms
drop toward the ground and slowly come up through the spine, visualizing your
spinal column returning to a normal upright position, one vertebra at a time,
to standing. The head should be the last thing to find its place. Do not shift
your position; the spine is now aligned. Standing centred, breathe deeply in
through the nose, and out through the mouth, checking the proper use of the
diaphragm muscle with one palm. Get onto your hands and knees, head down, neck
released. Breathe in and out, allowing your stomach muscles to release. Return
to a centred, standing position and breathe deeply in through the nose, and out
through the mouth. Looking straight out to a point on the horizon, breathe in
and release an “sssssssssss” sound. Repeat. Pressing gently on the diaphragm,
breathe in and repeat the sounds “ha, ha, ha; he, he, he; ho, ho, ho”. Repeat
the breath and the sounds until the breath is steady and consistent. Drop your
hand. Breathe deeply in through the nose, and out through the mouth. As you
exhale your next breath, release the word “one” on a single support of breath.
Breathe in, count 1, 2 on a single support of breath, continue up to a count of
10.
Apply this same principle to spoken improvisation of any kind, speaking
in short sections and then in longer and longer sections on a single support of
breath.
Working with the
script excerpt and its context within the play established in Activity 2,
students read and discuss:
·
Where and when
does this take place? (setting)
·
What is happening
in the excerpt? (plot, action)
·
How do the
characters relate to one another in this scene? (characterization)
·
What are the
conflicts in this scene? (dramatic tension)
The actors divide
into groups as required by the number of characters in the script excerpt. Each
group uses marking the moment with tableau to portray the key moment in the
scene. Tableaux are shared, and the students discuss the questions above in the
context of the representation offered by the tableaux.
If time
permits, exercises to clarify these concepts may be found in the Grade 11
University/College Dramatic Arts Profile. Otherwise, the teacher introduces the
terms:
·
intention – what
the character wishes to accomplish immediately;
·
objective – what
the character wants to happen next and that can be expressed with the preface
“I want...”;
·
goal – what the
character wants from the action of the play.
Portfolio .: Students transfer this information into their
notebooks for later inclusion in the acting section of their TCM.
In character groups based on the character
portrayed in the tableau exercise above, students examine this character’s
intentions, objectives, goals, and obstacles using the following framing
questions:
·
What does this
character want in this excerpt?
·
What is the
character’s motive for this goal?
·
What obstacles
stand in his or her way?
·
What happens when
this character confronts these obstacles?
The last two framing
questions may require supposition, due to the brevity of the excerpt. A
discussion of how suppositions must be based on textual and subtextual cues may
be required.
This
exercise builds upon the Grade 11 University/College Dramatic Arts Course
Profile, Unit 3, p. 5. Students reform the groups from Strategy 3 and recreate
their tableaux. Thought-tracking provides interior thoughts of each character
as the teacher “taps in.” Students create a contrasting still image which
reveals these interior thoughts physically. Tableau 1 is revisited to
incorporate the subconscious physically through proximity, levels, symbols, and
other creative means.
Portfolio .: Students create a storyboard of the still images they created in
marking these moments to record this experience for future inclusion in the
Acting section of their TCM.
Based on the
components of a Tridimensional Character Sketch (see sample at
http://www.code.on.ca), and based on exploration of character in Strategies
3-5, students complete a Tridimensional Character Sketch.
Portfolio .: Students include this sketch in the Acting
section of their TCM.
This exercise builds
upon the Dramatic Arts, Grade 11, University/College Course Profile, Unit 3, p.
5. Students read through the script in groups formed in Strategy 3 and break
the text down into “beats.” Each “beat” consists of a unit of thought. When a
new thought is introduced, a new beat is established. The group then titles
these beats. Using the “actioning formula” (Cameron, p. 213-219), students work
from the script to translate the beats of the script into a series of active
verbs specific to their character. This process enables students to understand
the feelings behind the words. Specifically, students reduce the meaning of a
beat to the pronoun “I” plus a particular active verb. Following this
individual analysis, the group rehearses the script excerpt by reading aloud
only these clauses, delivering these clauses in the emotion demanded by the
verb.
In the groups formed
in Strategy 3, students reduce each line of their character to the single word
which best encapsulates the line. Students highlight these words on their
script. Following this individual analysis, the group then rehearses the script
by reading aloud only these highlighted words, delivering these key words in
the emotion demanded by the verbs from Strategy 7.
Within the
acting group, or in conjunction with the group of directors (in the concurrent
and distributive delivery models), students explore characterization using
various developmental drama strategies. This strategy is based on the script
excerpt and roles played in Strategy 3.
Writing in
Role: Actors compile a personal diary, or write a letter in their character’s
voice.
Hotseating: In role, students answer questions posed by
other members of the ensemble. They answer them imaginatively and truthfully
and remain true to the textual fact, but can create subtext by creatively
adding personal information and reflection that takes them beyond the text, yet
fits their vision.
Voices in
the Head: Students explore
their character’s motivations and create subtext by verbalizing the thoughts of
their character in the scene situations. Other students may also contribute by
tapping the actor on the shoulder, and offering a “thought.”
Corridor
of Decision: Actors move down
a corridor of their peers while “hearing” their subconscious thought. Their
peers whisper the thoughts or advice they feel would be appropriate at the
time.
Broken
Roles: Characters are put into
an unexpected or uncomfortable situation to help stretch the character.
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 to
investigate what led up to the event.
Vary the
Style: A different
presentational style is used to rehearse the scene, i.e., in Western style, in
Opera style, etc.
Appendix 4.1
of the Dramatic Arts, Grade 11, Open Course Profile offers definitions of
dramatic conventions and terms used in the Grade 9, 10 and 11 Dramatic Arts
Course Profiles.
Portfolio .: Which of the developmental drama techniques
did you find provided a breakthrough for you personally as you explored this
character?
The teacher
checks the following for completion and inclusion in the Portfolio:
The
Acting section of the TCM which includes:
·
Intention,
Objective, and Goal notes
·
Storyboard
·
Tridimensional
Character Sketch
·
Script excerpts
with highlighted key words and verb clauses
The
Reflection section of the Portfolio which includes:
·
Developmental
drama reflection
Additional
assessment and evaluation may include:
·
Teacher and/or
peer assessment of hotseating in Strategy 3.
·
A written
description of a personal warm-up specific to the student and based on individual
needs.
·
A
pencil-and-paper or multiple-choice quiz testing key concepts.
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.
·
Consult the
student’s IEP;
·
Adapt the type
and/or level of difficulty of physical or vocal warm-ups;
·
Provide direct
instruction for areas of reading needs; adapt script excerpts 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;
·
Provide oral
discussion prior to writing; provide peer assistance for students with special
needs if necessary during warm-up, main activities, and writing;
·
Allow
opportunities for collaborative analysis;
·
Provide extra
time for students to process spoken responses.
Books
Berry,
Cecily. Voice and the Actor. Macmillan General Reference, A Simon &
Shuster Macmillan
Company, 1973. ISBN 0020415559
Boal,
Augusto. Games for Actors and Non-Actors. Routledge, 1992. ISBN
0415061555
Booth, David
and Jonothan Neelands. Writing in Role. Hamilton: Caliburn Press Inc.,
1998.
ISBN 096000673
Brennan,
Richard. The Alexander Technique Manual. New York: Charles Tuttle, 1996.
ISBN 1885203381
Cameron,
Ron. Acting Skills for Life. Simon & Pierre, 1999. ISBN 0889241953
Easty,
Edward Dwight. On Method Acting. Ballantine Books, 1991. ISBN 0804105227
Grote,
David. Theatre, Preparation and Performance Revised Edition. Scott,
Foresman and Company,
1989. ISBN 0673271900
Linnell,
Rosemary. Practical Drama Handbook. Toronto: Hodder and Stoughton, 1991.
ISBN 0340487089
Neelands,
Jonothan. Structuring Drama Work. Cambridge, UK: 1999. ISBN 0521376351
Novelly,
Maria. Theatre Games for the Young Performers. Meriwether Pub. Ltd.,
1985.
ISBN 0916260313
Rodenburg,
Patsy. The Need for Words: Voice and the Text. New York: Routledge,
Inc., 1993.
ISBN 878300511
Spolin,
Viola. Theatre Games for the Classroom. Northwestern University Press,
1986.
ISBN 0810140047
Stevens, Chris. Alexander Technique: An Introductory Guide to the Technique and its Benefits. London: Random House, 1995. ISBN 0091809797
Websites
See the
Council of Drama and Dance in Education (CODE) website for a brief, original
script called Motives which can be used in conjunction with Activities
2, 3, and 4.
Dramatic
Arts, Grade 10, Course Profile – http://www.curriculum.org
Dramatic
Arts, Grade 11, Open Course Profile – http://www.curriculum.org
Dramatic
Arts, Grade 11, University/College Preparation Course Profile –
http://www.curriculum.org
Council of
Drama and Dance in Education – http://www.code.on.ca
Time: 1.25
hours
This final activity
focuses on a review of the portfolio components, and provides an opportunity
for students to reflect on what they have learned about the roles in the
theatre company and the particular skills, abilities, and knowledge acquired
during the company-building activities and during the specialized workshops. In
addition, the students initiate an independent research project, which explores
theatre careers and postsecondary drama and theatre education opportunities.
This research project is part of the culminating unit for the course and, with
the elements of the reflective learning log and the theatre company manual,
comprises the completed portfolio. Specifically, students sort the actual
portfolio, complete a checklist of its contents to ensure completion of all
requirements, and set up the research component.
Strand(s):
Analysis
Overall
Expectations
ANV.05 - analyse
education and career opportunities in dramatic arts and related arts fields.
Specific
Expectations
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;
AN1.02 - defend the
artistic choices made in productions using an established framework;
AN2.01 - analyse all
stages of the creative process in dramatic arts, using a variety of approaches;
AN2.05 - research
and describe the career opportunities available in all aspects of production;
AN2.06 - research
and describe postsecondary programs in dramatic arts and related arts
disciplines.
Students use
organizational and research skills in completion of the tasks of this activity.
·
The teacher
provides supports and resources to facilitate the physical creation of the
portfolio.
·
The teacher
establishes a standard format and style for the portfolio to ensure that
students follow procedures easily.
·
The teacher
provides appropriate storage for the portfolios in the classroom and a method
of tracking them if they are checked in and out by the students.
·
The teacher may
contact the Student Services department for additional resources and support.
·
The teacher
creates a portfolio checklist based on the items assigned in the unit; use the
assessment/evaluation details to help plan.
Strategy
1: Using the career exploration
software that may be available to students through the Student Services office,
or other online or print resources, students research Canadian postsecondary
education and training for one member of the theatre company. They record their
search, citing their references, and retain a hard copy for their Portfolio.
Strategy
2: Where time and resources
permit, students may use the same software and reference materials to explore
the career opportunities, salaries, job availability, geographic locations, and
other aspects of their chosen theatre career from Strategy 1.
Strategy 3: Where time permits, students may share their
research into theatre careers in the form of posters for the classroom.
·
The research is preserved
in the student’s portfolio.
·
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.
Check the student’s
IEP. Students with limited reading skills may be paired with another student
for this activity. The assignment may be edited or broken down into smaller
units to include fewer elements.
Theatre
Ontario – http://www.theatreontario.org – Now What? A Guide to Post
Secondary Theatre Training in Canada Career search software programs and
Student Services personnel.
Appendix 1.1 –
Portfolio Checklist: Unit 1
Company Roles
(Activity 1)
Personal notes and
reflections taken during the in-class exercises, subsequent reflection in which
students consider their personal skills, qualities, and abilities, relative to
the duties of the Production Team, Technical Team, and Actors (Activities 2, 3,
4)
Production Team
(Activity 2)
q A
sample of poster, ticket, or program
q Two
sample schedules and a sample cue sheet
q The collage
vision of the script, the director’s notes for the rehearsal process including
techniques of developmental drama, the director’s sample of textual analysis
Technical Team
(Activity 3)
q Scene
design checklist
q Scene
design ground plan and rendering
q Props
list, running plot, and props table diagrams
q Lighting
design notes
q House
Wash diagram
q Lighting
promptbook and cue sheet
q Sound
design notes
q Specific
instructions for the operation of the sound equipment
q The
letter that the student sends to the music distributor in order to arrange
permission to use pre-recorded music
q Sound
cue sheet and sound promptbook
q Costume
design checklist
q Costume
sketch for one character
q Make-up
design checklist
q Make-up
worksheet for one character
Acting Team
(Activity 4)
q Intention,
Objective, and Goal notes
q Storyboard
q Tridimensional
Character Sketch
q Script
excerpts with highlighted key words and verb clauses
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