Course Profile Dramatic Arts (ADA4O), Grade 12, Open, Catholic and Public
Unit 2: Establishing the Company
Time: 56.25 hours (18.75 hours for each of 3 modules)
Activity
1 | Activity 2 | Activity
3 | Activity 4 | Activity
5
Unit Description
This unit allots
equal time to each of 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 comprised of a Production Team, a
Technical Team, and an Acting Troupe, plan, rehearse and present these short,
scripted pieces. In the second production module, students rotate to assume
different roles in one of the other two areas of the theatre company, and
repeat the process of planning, rehearsing, and presenting short, scripted
pieces. The third production module repeats this rotation and completes the
students’ experience in all three company areas. The portfolio documents the
student’s accomplishments and reflections throughout their cycle of production
work.
·
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?
|
Activity |
Time |
Learning Expectations |
Assessment Categories |
Tasks |
|
1. |
1.25 hours |
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 |
Theatre company
meeting to delineate tasks for Production Team, Technical Team and Actors;
set timelines |
|
2. |
2.5 hours |
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 |
Identify and design
all production aspects; identification and design of all technical aspects |
|
3. |
10 hours |
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 |
Rehearse and implement all design principles; scene rehearsal with
character exploration |
|
4. |
2.5 hours |
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 |
Scene performance
integrating all production, technical, and acting principles |
|
5. |
2.5 hours |
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 |
Analysis of process;
critique of performance using evaluation strategies |
Time: 1.25
hours
Students, organized
into student theatre companies during Unit 1, meet to plan and produce a timeline
for the first production. Each student theatre company includes students
representing the Production Team, Technical Team and Acting Troupe. In
collaboration with the teacher, the students assign roles, tasks and
responsibilities to achieve a balanced workload. Students produce individual
timelines for teacher assessment, to be included in the portfolio.
Ontario Catholic
School Graduation Expectations: See Appendix 2.2
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.
Specific
Expectations
TH1.01 - describe
how dramatic elements are used to develop character and theme;
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;
TH3.04 - 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;
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;
CR2.04 - identify
and apply marketing principles and techniques to promote a theatre presentation
or 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;
AN1.01 - 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.
·
Collaborative
group skills;
·
Workshop
information from Unit 1;
·
The nature of the
roles, tasks and responsibilities of a student company;
·
Timeline
outlines; active listening and problem-solving skills;
·
Reading skills.
·
Student theatre
companies were organized and scripts chosen in Unit 1. The teacher should give
careful consideration the cultural and socioeconomic composition of the class
when selecting scripts.
·
The teacher makes
appropriate plans to collaboratively assign roles, tasks, and responsibilities
on an equitable basis for a balanced company.
·
The teacher
should allow some students to choose their area of expertise for their first
module. They may then act as a resource during future modules.
·
Design and
adherence to individual timelines is imperative to meet production dates. See
sample timelines in Appendix 2.4.
·
The teacher
creates a smooth transition to the next unit by holding a post-production
meeting in Activity 5.
·
The teacher
facilitates Christian leadership in the achievement of individual and group
goals.
·
The teacher
should be thoroughly familiar with their board’s safety policies regarding the
use of all theatrical equipment.
·
The teacher
facilitates the students’ development of productions. The teacher does not
direct the productions. The students are the primary creators of the process.
·
The teacher,
noting the composition of the class, makes available scripts of various
lengths, from 10-20 minutes. Possibilities include 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.
·
Students meet in
their first production module. Through negotiation and collaboration the
following roles and responsibilities are assigned or confirmed:
· The Production Team includes: director, stage manager, producer. Additional Production Team members may be added depending on the class (e.g., assistant stage manager, assistant director, financial director).
· The Technical Team’s responsibilities include: set, lighting, sound, costumes/make-up/props.
· The Acting Troupe includes the characters required by the selected script. The teacher considers the need for doubling when assigning roles to students.
·
The student
company negotiates timelines to meet production dates. Brief student company
meetings to assess adherence to timelines are scheduled.
·
The student
company analyses potential audiences. The projected audience is discussed, in
consultation with the teacher. The projected audience should be considered when
planning production timelines, marketing strategies and space allocation.
·
Students enter
their individually completed timelines, based on their newly-assigned role,
into their portfolio for assessment by the teacher.
·
Students continue
the use of reflective learning logs and start analysis of the creative process.
Students are encouraged to examine and reflect on their Christian values in
their selection of their scripts for this unit.
·
Students are
encouraged to use proper English format and literacy skills in their written
work.
·
Every attempt
should be made to connect scene work to other curriculum areas. Contact is made
with subject teachers relevant to the scene content to enhance in-depth study.
·
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.
·
Teacher
observation for formative assessment and feedback to students is ongoing.
·
Students’ written
individual timelines are assessed for completeness and ability to meet
production dates and are included in the portfolios.
·
Learning log
entries are assessed for quality and completeness.
Greater detailed or
modified timelines can be tailored to meet the needs of students with IEPs.
Encourage students to review the achievement of the timeline daily with the
teacher or a peer within their student company.
See the
Dramatic Arts, Gr. 12, University/College Preparation, Course Profile for
additional resources.
Brenna,
Dwayne (ed.). Scenes From Canadian Plays. Toronto: Fifth House
Publishers, 1989.
ISBN 0920079458
Cassady,
Marsh. The Book of Scenes for Aspiring Actors. Lincolnwood, Ill.: 1995.
ISBN 0844257699
Fairhead,
Wayne (ed.). Concrete Daisy. Sears Ontario Drama Festival: 1991. ISBN
0969521901
Ferguson,
Keith. Drama for Worship, Vol. 2. Texas: Word Inc. 1991.
Gray, Mike
and Colleen. The Worship Drama Library, Vol. 8. Kansas: Lillenas, 1994.
Hamill, Tony
(ed.). You’re Making a Scene - Scenes From Canadian Plays. Toronto:
1993. Playwrights Canada Press. ISBN 00887544894
Hamill, Tony
(ed.). The Perfect Piece - Monologues From Canadian Plays. Toronto:
1990. Playwrights Canada Press. ISBN 0887544983
Handman,
Wynn (ed.). Modern American Scenes for Student Actors. Toronto: Bantam
Books, 1978.
ISBN 0553145592
Kalman, Rolf
(ed.). A Collection of Canadian Plays, Vol. I. Toronto: Bastet Books,
1972.
ISBN 0969045409
Kalman, Rolf
(ed.). A Collection of Canadian Plays, Vol. II. Toronto: Bastet Books,
1973.
ISBN 0969045506
Kalman, Rolf
(ed.). A Collection of Canadian Plays, Vol. III. Toronto: Bastet Books,
1973.
ISBN 0889240000
Kalman, Rolf
(ed.). A Collection of Canadian Plays, Vol. IV. Toronto: Bastet Books,
1975.
ISBN 0889240132
Karton,
Joshua (ed.). Film Scenes for Actors. Toronto: Bantam Books, 1983. ISBN
0553226029
Kindall,
Brad. The Worship Drama Library. Kansas: Lillenas Pub. Co., 1993.
Mekler, Eva
and Michael Schulman (eds.). The Actor’s Scenebook. Toronto: Bantam
Books, 1984.
ISBN 0553243489
Olfson, Lewy
(ed.). 50 Great Scenes for Student Actors. Toronto: Bantam Books, 1977.
ISBN 0553103318
Ratliff,
Gerald Lee. Playing Scenes, A Source Book For Performers. Colorado
Springs: Meriwether
Publishing Ltd., 1993. ISBN 0916260895
Steffenson,
James L. (ed.). Great Scenes from the World Theatre, Vol. 1. New
York: Bard/Avon, 1965.
ISBN 0380007932
Steffenson,
James L. (ed.). Great Scenes from the World Theatre, Vol. 2. New York:
Bard/Avon, 1972.
ISBN 038001033
Wasserman,
Jerry (ed.). Modern Canadian Plays, Vol. I. Vancouver:
Talonbooks, 1994.
ISBN 0889223394
Wasserman, Jerry
(ed.). Modern Canadian Plays, Vol. II. Vancouver: Talonbooks,
1994.
ISBN 0889223408
Appendix 2.1 –
Sample Timelines
Time: 2.5 hours
Production and
Technical Teams use the design process learned in Unit 1 to create designs for
their areas. Actors analyse their assigned characters. Students produce design plans
and character analysis for teacher assessment, and include these in their
portfolio.
Ontario Catholic
School Graduation Expectations: See Appendix 2.2
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;
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;
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;
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;
ANV.01 - evaluate
all aspects of rehearsal and production, using a variety of strategies.
Specific
Expectations
TH1.01 - describe
how dramatic elements are used to develop character and theme;
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;
TH2.01 - 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;
TH2.03 - describe
the vocal techniques used by actors;
TH2.04 - explain
methods of training the body;
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;
TH3.04 - 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;
CR1.01 - interpret a
character by applying a variety of approaches;
CR1.02 - identify
and use specific criteria for selecting props, costumes, and make-up to help
portray characters;
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;
CR1.08 - 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;
CR1.11 - 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;
CR2.04 - identify
and apply marketing principles and techniques to promote a theatre presentation
or production;
CR2.05 - identify
and apply the criteria used to select performance spaces and audiences for
particular productions or presentations;
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 (e.g., by actors, writers, technicians,
designers, or directors), using an established framework;
AN2.01 - analyse all
stages of the creative process in dramatic arts, using a variety of approaches;
AN2.04 - explain the
life and leadership skills acquired through the design, creation, and
presentation of a dramatic work.
·
Production,
technical and acting workshop information from Unit 1;
·
Collaborative
group skills;
·
Active listening,
problem solving skills and reading skills;
·
Creation,
research and analysis skills;
·
Thorough
understanding of Theatre Company Manual (TCM) produced in Unit 1.
·
The teacher prepares
for observation and tracking of collaborative group skills, participation,
active listening, time-management and negotiation skills.
·
The teacher books
computers so students may utilize the computer for designing, word processing, proofreading,
and editing.
·
The teacher
distributes copies of Appendices 2.4, 2.5, and 2.6 according to the students’
assigned role, task, and responsibility.
These are the
requirements for each student theatre company based on their chosen scripted
piece:
·
Production Team:
Director analyses script, begins blocking notes; Stage Manager creates prompt
book, including light, sound and props cues; Producer creates marketing
strategies.
·
Technical Team:
Set crew creates ground plan, rendering, analysis checklist; Lighting crew
creates simple lighting design, cue sheet, prompt book; Sound crew creates
sound cue sheet, prompt book; Costume crew designs costume sketch, analysis
checklist; Make-up crew create make-up designs, analysis checklist; Props crew
builds props list, running plot, props table diagram(s).
·
Acting Troupe
analyses characters.
·
The full student
company meets to assess adherence to agreed-upon timelines.
·
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.
·
Teacher
observation for formative assessment and feedback to students is ongoing.
·
The teacher
assesses students’ design for completeness and in-depth analysis.
·
Students put
designs into their portfolio, continuing their reflective learning logs and
analysis of their creative process.
·
Rubrics for
specific roles, tasks, and responsibilities can be developed using the
Director’s Design Rubric as a model.
Director’s Design Rubric
|
Criteria/ Evaluation |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Communication Script analysis
THV.01, THV.02, TH3.01, TH3.03 |
- demonstrates
limited understanding through script analysis |
- script analysis
demonstrates moderate understanding |
- script analysis
demonstrates considerable understanding |
- script analysis demonstrates
thorough understanding |
|
Communication Script research -
for background TH3.04, TH3.05, TH3.06 |
- script research
demonstrates limited understanding |
- script research
demonstrates moderate understanding |
- script research
demonstrates considerable understanding |
- script research
demonstrates thorough understanding |
|
Communication Script research -
for social and historical contexts TH3.04, TH3.05, TH3.06 |
- script research
demonstrates limited understanding |
- script research demonstrates
moderate understanding |
- script research
demonstrates considerable understanding |
- script research
demonstrates thorough understanding |
|
Communication Artistic choices
explanation AN1.02 |
- artistic choices
explained with limited effectiveness |
- artistic choices
explained with moderate effectiveness |
- artistic choices
explained with considerable effectiveness |
- artistic choices
explained with thorough effectiveness |
|
Knowledge/
Understanding Central metaphor
connected to self AN2.02 |
- metaphor
identified and connection to self, explained with limited effectiveness |
- metaphor
identified and connection to self, explained with moderate effectiveness |
- metaphor
identified and connection to self, explained with considerable effectiveness |
- metaphor
identified and connection to self, explained with thorough effectiveness |
Note: A student whose achievement is below Level 1 (50%) has not met the expectations for this assignment or activity.
·
Provide students
who can act as mentors for students who will find the work challenging; greater
detailed instructions for the design unit can be tailored to meet the needs of
students with IEPs; encourage students to review daily, with the teacher or a
peer within their student company, the achievement of the timeline; encourage
students to utilize the computer for designing, word processing, proofreading,
and editing.
Berry,
Ralph. On Directing Shakespeare. London: Penguin, 1989. ISBN 0241126894
Cameron Ron.
Acting Skills for Life. Toronto: Simon & Pierre, 1999. ISBN
0889241953
Engelsman,
Alan and Penny Engelsman. Theatre Arts 1: Teacher’s Course Guide.
Colorado Springs: Meriwether Pub., 1997. ISBN 1566080320
Engelsman,
Alan and Penny Engelsman. Theatre Arts 1: Student Handbook. Colorado
Springs: Meriwether Pub., 1997. ISBN 1566080312
Hagen, Uta
and Haskel Frankel. Respect for Acting. New York: MacMillan Pub., 1973.
ISBN 0025475905
Neelands,
Jonothan. Structuring Drama Work. New York: Cambridge University Press,
1991.
ISBN 0521376351
Neelands,
Jonothan and Warwick Dobson. Drama and Theatre Studies at AS/A Level.
London: Hodder & Stoughton, 2000. ISBN 0340758600
White, Edwin
and Marguerite Battye. Acting and Movement on Stage for Amateurs and
Professionals. Colorado Springs: Meriwether Pub., 1985. ISBN 0916260305
Wilson,
Edwin. The Theatre Experience. Toronto: McGraw Hill, 1985. ISBN
0070706719
Corel
Corporation – http://www.corel.com – Corel Stock Music Library.
Films for the
Humanities & Sciences – http://www.films.com – Production Music Library,
The Complete BBC Sound Effects Library, Period Backgrounds Sound Effects
Time: 10 hours
Students engage in
the implementation of the designs and plans created in Activities 1 and 2.
Ongoing collaboration among the production team, technical team and acting
troupe moves the scripted pieces from planning to performance readiness. It is
imperative to adhere to timelines with any necessary alterations. Reflective
learning log entries, ongoing peer assessments, updated designs and
characterizations, and writing in role show progression through the development
of the rehearsal process.
Ontario Catholic
School Graduation Expectations: See Appendix 2.2
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;
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;
ANV.01 - evaluate all
aspects of rehearsal and production, using a variety of strategies.
Specific
Expectations
TH1.01 - describe
how dramatic elements are used to develop character and theme;
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;
TH2.02 - describe
the steps required to create a set, costume, or lighting plot;
TH2.03 - describe
the vocal techniques used by actors;
TH2.04 - explain
methods of training the body;
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;
CR1.01 - interpret a
character by applying a variety of approaches;
CR1.02 - identify
and use specific criteria for selecting props, costumes, and make-up to help
portray characters;
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;
CR1.06 - integrate
the suggestions or notes provided by the director and peers into subsequent
rehearsals and performances;
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 (e.g., devise a
special effect, deal with set changes between scenes);
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;
CR2.04 - identify
and apply marketing principles and techniques to promote a theatre presentation
or production;
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;
AN2.04 - 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.
·
Production,
technical and acting workshop manual from Unit 1;
·
Collaborative
group skills;
·
Active listening,
problem-solving skills, and reading skills;
·
Creation and
analysis skills;
·
Thorough
understanding of Unit 1 TCM;
·
Timelines and
planning information from Unit 2, Activity 2.
·
The teacher uses
tracking sheets to observe collaborative group skills, participation, active
listening, time management, and negotiation skills.
·
The teacher notes
the individual timelines in Activities 1 and 2 as they are imperative to meet
production dates. Necessary alterations must be communicated to the entire
student company.
·
The addition of
costumes, sets, props, lights, and sound are added to the rehearsal process as
soon as possible. This facilitates the discovery of conflict in design and
direction and through resolution leads to harmonization of these elements.
·
The teacher helps
students demonstrate flexibility and adaptability throughout the rehearsal
period.
·
The teacher
reminds students that they should be prepared for the possibility of
disagreement and conflict in the creative process. While maintaining commitment
to their own ideas, students need to show sensitivity toward the ideas of
others.
·
Each student
company implements their design and character analysis according to timelines
developed in Activity 1 and the rehearsal process.
·
All students
assess a peer within their area, e.g., production area, technical area, acting
area according to agreed criteria.
·
Requirements for
each student company based on their scripted piece:
· Production Team: Directors implement blocking plan created in Activity 2. They work with actors to build character, uncover motivations and share the overall vision of the scripted piece. They liaise with the other production areas to work toward a cohesive performance. The Stage Manager observes the process with the directors and actors, recording blocking cues and notes to build the prompt book. Stage Managers tape (“spike”) the set and organize the set load-in and strike order. Stage Managers liaise with students in the technical team to include light, sound, and props cues. The Producer implements agreed-upon design elements of marketing strategies, for example, posters, advertising, programs, and tickets.
· Technical Team: The team implements the set design and ground plan and adds them to the rehearsal process according to agreed-upon timelines. The lighting team designs the lighting plot and cue sheets, sets, and focuses fixtures. The sound team designs the sound, e.g., sound effects, music, and assembles cues onto sound cue sheets. Rehearsal with sound and lighting leads to alteration of cue sheets, prompt books, and acting procedures. This is an evolutionary process of rehearsal. The costumes team assembles and/or builds costumes and props based on designs created in Activity 2. The make-up team creates work charts on a trial basis, utilizing designs created in Activity 2.
· Acting Troupe: The actors lead and participate in daily vocal and body warm-up exercises. The director leads the actors in an exploration and discovery of characters utilizing techniques learned in Unit 1. In collaboration with the director, the actors implement characterizations, utilizing strategies explored in Activity 2. As elements of production are added, actors incorporate them into their individual performances. Practical and conceptual conflicts are discussed and compromises are reached.
·
All students
reflect upon the rehearsal process, the creation process, and their personal
growth.
·
The student
company meets regularly to assess adherence to agreed-upon time-lines.
·
At the
appropriate time on the timeline a technical rehearsal (cue-to-cue) is held.
This rehearsal finalizes the cue sheets, prompt books, and the actor’s
reactions. In the process of a technical rehearsal, all actors’ entrances, and
exits, all light cues, and all sound cues are practised without intermediary
dialogue. Only dialogue relevant to light, sound, cues for entrances and exits
is used.
·
The Dress
Rehearsal includes all technical aspects, sets, sound, lights, costumes, props,
and make-up, as well as acting, in a full run-through.
·
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.
·
See Appendix 2.3
– Production Areas Formative Assessment models.
·
Reflective
learning log entries, ongoing peer assessments, updated designs and characterizations,
and writing in role are utilized to increase the students’ understanding of the
rehearsal process.
·
Possible
questions for reflective learning log:
· What modifications to your original design/concept occurred during the rehearsal process?
· How did collaboration with other people and their design plans influence the implementation of your creative process?
· Comment on what you learned about your own strengths/weaknesses.
·
Teacher
observation for formative assessment and feedback to students is ongoing.
·
Provide students
who can act as mentors for students who will find the work challenging; ongoing
communication with Resource personnel necessary to meet the needs of students
with IEPs; encourage students to review daily with the teacher or a peer,
within their student company, the achievement of the timeline.
Books
Berry,
Ralph. On Directing Shakespeare. London: Penguin, 1989. ISBN 0241126894
Cameron,
Ron. Acting Skills for Life. Toronto: Simon & Pierre, 1999. ISBN
0889241953
Engelsman,
Alan and Penny Engelsman. Theatre Arts 1: Teacher’s Course Guide.
Colorado Spring: Meriwether Pub., 1997. ISBN 1566080320
Engelsman,
Alan and Penny Engelsman. Theatre Arts 1: Student Handbook. Colorado Springs:
Meriwether Pub. 1997. ISBN 1566080312
Hagen, Uta
and Haskel Frankel. Respect for Acting. New York: MacMillan Pub., 1973.
Meriwether Pub., 1997. ISBN 1566080312
Neelands,
Jonothan. Structuring Drama Work. New York: Cambridge University Press,
1991.
ISBN 0521376351
White, Edwin and Marguerite Battye. Acting
and Movement on Stage for Amateurs and Professionals. Colorado Springs:
Meriwether Pub., 1985. ISBN 0916260305
Wilson, Edwin. The Theatre Experience. Toronto: McGraw Hill, 1985. ISBN 0070706719
Websites
Corel
Corporation – http://www.corel.com - Corel Stock Music Library.
Films for
the Humanities & Sciences – http://www.films.com - Production Music
Library, The Complete BBC Sound Effects Library, Period Backgrounds Sound
Effects
Sears
Ontario Drama Festival – http://www.searsdramafestival.com
Theatre
Ontario – http://www.theatreontario.org
Appendix 2.3 –
Production Areas Formative Assessment
Time: 2.5 hours
Each student company
presents their scripted piece integrating all design and rehearsal elements
from Activities 1-3, culminating in a polished performance. Students write
reflective learning logs after their performance.
Ontario Catholic
School Graduation Expectations: See Appendix 2.2
Strand(s): Creation
Overall
Expectations
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;
CRV.04 - use a
variety of technologies appropriately to enhance the communicative power of a
dramatic work.
Specific
Expectations
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;
CR1.06 - integrate
the suggestions or notes provided by the director and peers into subsequent
rehearsals and performances;
CR1.07 - present a
range of original or adapted Canadian and international dramatic works that
address relevant student, community, or international issues and concerns;
CR1.08 - use light
and sound appropriately to develop and communicate character, theme, plot, and
setting in a production;
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.
Collaborative group
skills; skills and products developed in Activities 1, 2, and 3.
·
The teacher
ensures that sufficient time is allotted for all performances.
·
Timelines for
set-up and striking of sets for each student company are pre-determined to
ensure time for completion of all performances. The number of student
companies, the length of each scripted piece, the projected set-up and strike
time, and the length of the class determines the number of performances per
day.
·
The teacher
builds in time for a class discussion on good production and audience
etiquette.
·
The teacher books
a video camera to tape the performances for assessment, evaluation, and
performance review.
·
The teacher
encourages students to develop a confident and positive sense of self and
respect for the dignity and welfare of others throughout the performance phase.
·
Each student
company is given a time allotment for set-up, performance, and striking of sets
to ensure that all student companies perform in a timely manner. The audience
can be the class only or the audience proposed in Activity 1.
·
Student companies
perform their polished scripted pieces.
·
Students write
reflective learning logs after their performance.
·
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.
·
Teacher
observation for formative assessment and feedback to students is ongoing.
·
Summative Evaluation
Rubrics A, B, and C (see Appendices 2.4, 2.5, and 2.6) can be used for
evaluation purposes.
·
Students continue
their reflective learning logs and analysis of their creative growth process,
after their performance.
·
Provide students
who can act as mentors for students who will find the work challenging; greater
detailed instructions for the performance can be tailored to meet the needs of
students with IEPs.
Appendix 2.4 –
Summative Evaluation Rubric A - Production Team
Appendix 2.5 –
Summative Evaluation Rubric B - Technical Team
Appendix 2.6 –
Summative Evaluation Rubric C - Acting Troupe
Time: 2.5 hours
Each student company creates appropriate
criteria and critiques its own performance, as well as the other companies’
performances integrating all design and rehearsal elements, from Activities
1-3. Students write reflective learning logs after critiquing performances.
This activity finishes one complete module. After fulfilling all requirements
stated, this module is then repeated two more times in its entirety. The
repetition allows the students to rotate through the production, technical and
acting areas.
Ontario Catholic
School Graduation Expectations: See Appendix 2.2
Strand(s): Theory, 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;
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;
ANV.01 - evaluate
all aspects of rehearsal and production, using a variety of strategies;
ANV.02 - evaluate
dramatic presentations in the school or community, using appropriate dramatic
arts terminology;
ANV.03 - evaluate
the contribution of dramatic arts to individuals and the community;
ANV.04 - analyse the
social and cultural impact of dramatic arts;
ANV.05 - analyse education
and career opportunities in dramatic arts and related arts fields.
Specific
Expectations
TH1.01 - describe
how dramatic elements are used to develop character and theme;
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;
TH2.01 - 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;
TH2.03 - describe
the vocal techniques used by actors;
TH2.04 - explain
methods of training the body;
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;
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;
AN1.03 - demonstrate
an ability to review a live theatre performance;
AN1.04 - explain the
factors considered in the “selection of a theatre season” (e.g., audience
needs, individual strengths within the company, financial constraints);
AN1.05 - explain how
Canadian theatre interprets and reflects Canadian issues and concerns;
AN1.06 - explain how
dramatic arts contribute to and represent culture and society, both locally and
internationally;
AN2.01 - analyse all
stages of the creative process in dramatic arts, using a variety of approaches;
AN2.02 - identify
the central metaphor of a play and connect it to their own lives;
AN2.03 - explain how
role play and character development foster self-development;
AN2.04 - explain the
life and leadership skills acquired through the design, creation, and
presentation of a dramatic work;
AN2.05 - research and
describe the career opportunities available in all aspects of production.
Skills and products
of Activities 1, 2, 3 and 4; the ability to reflect on their own work and that
of their peers as a positive tool to foster dramatic growth within all class
members; the four basic skills of dramatic arts: cooperation, concentration,
control, and trust.
·
The teacher
determines the amount of critique/review time according to the number of
student companies, the length of each performance, and the length of the class.
·
The teacher books
a video camera for assessment evaluation and performance review.
·
The teacher books
computers for students and encourages them to utilize the computer for
analysing, word processing, proofreading, and editing.
·
A post-production
meeting is necessary to address debriefing to avoid potential conflicts for the
next module.
·
Teacher and/or
students create critiquing criteria based on course expectations. The critique
and assessment focuses on excellence, originality, and integrity in the
student’s own work. Critique elements include any or all of: casting,
characterization, period, style, setting, props, costumes, scenery, sound,
rhythm and pacing of voice and action, images retained, strongest moment,
weakest moment, inconsistencies, use of acting/audience space, and personal
responses. Performances are critiqued in a written or oral assessment. If
performances are videotaped, tapes may be viewed for critiquing purposes.
·
A post-production
meeting assesses all strengths and weaknesses, determining future changes
necessary for the smooth running of the 2nd rotation. After the 2nd rotation,
another post-production meeting occurs before the 3rd rotation. A final
post-production meeting occurs before Unit 3.
·
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.
·
Teacher
observation for formative assessment and feedback to students is ongoing.
·
The teacher
assesses students’ design for completeness and in-depth analysis.
·
Sample assessment
for student designs based on Unit 1 checklists.
·
Rubrics for
specific roles, tasks, and responsibility can be developed using Appendix 2.4 –
Summative Evaluation Rubric A - Production Team as a model.
·
Provide students
who can act as mentors for students who will find the work challenging; the use
of a scribe or word processing software may be useful for some students.
Conelly,
L.W. Canadian Drama and The Critics. Vancouver: Talon Books, 1987.
ISBN0889222517
Lee,
Charlotte and David Grote. Theatre, Preparation and Performance. Scott,
Foresman and Co., 1989.
ISBN 0673271900
Neelands, Jonothan
and Warwick Dobson. Drama and Theatre Studies at AS/A Level. London:
Hodder & Stoughton, 2000. ISBN0340758600
Appendix 2.1 –
Sample Timelines
Appendix 2.4 –
Summative Evaluation Rubric A - Production Team
|
Sample
Production Area Timeline (based on an 18.25 hour (3-week)
production schedule) |
|
|
Day 1 |
Production
Meeting: timeline set, analysis of creation process started |
|
Day 2-3 |
Script Analysis:
Theme, metaphor explored; relationships, conflict; stage pictures |
|
Day 4 - 9 |
Rehearsal period |
|
Day 10 |
Technical
rehearsal |
|
Day 11 |
Dress/Make-up
rehearsal |
|
Day 12, 13 |
Performances |
|
Day 14 |
Critique and Evaluation
of Performance, reflective learning logs |
|
Day 15 |
Post-production
meeting |
|
Sample
Technical Area Timeline (based on an 18.25 hour (3-week)
production schedule) |
|
|
Day 1 |
Production Meeting:
timeline set, analysis of creation process started |
|
Day 2 |
Prompt Book
started |
|
Day 3 |
Lighting/Sound
cues added to prompt book |
|
Day 4 - 9 |
Working with the
Director and Actors during the rehearsal period, incorporating additional
cues as needed |
|
Day 10 |
Technical
rehearsal |
|
Day 11 |
Dress/Make-up
rehearsal |
|
Day 12, 13 |
Performances |
|
Day 14 |
Critique and
Evaluation of Performance, reflective learning logs |
|
Day 15 |
Post-production
meeting |
|
Sample Actor’s
Area Timeline (based on an 18.25 hour
(3-week) production schedule) |
|
|
Day 1 |
Production
Meeting: timeline set, analysis of creation process started |
|
Day 2 |
Text analysis |
|
Day 3 |
Character analysis |
|
Day 4 - 9 |
Rehearsal period, memorization
checked on agreed timeline |
|
Day 10 |
Technical
rehearsal |
|
Day 11 |
Dress/Make-up
rehearsal |
|
Day 12, 13 |
Performances |
|
Day 14 |
Critique and
Evaluation of Performance, reflective learning logs |
|
Day 15 |
Post-production
meeting |
|
|
Activity |
||||
|
1 |
2 |
3 |
4 |
5 |
|
|
CGE1a -
illustrates a basic understanding of the saving story of our Christian faith |
|
|
|
|
4 |
|
CGE1d - develops
attitudes and values founded on Catholic social teaching and acts to promote
social responsibility, human solidarity, and the common good |
4 |
|
|
|
4 |
|
CGE1e - speaks the
language of life... “recognizing that life is an unearned gift and that a person
entrusted with life does not own it but that one is called to protect and
cherish it” |
4 |
|
|
|
|
|
CGE1i - integrates
faith with life |
4 |
4 |
4 |
4 |
4 |
|
CGE1j - recognizes
that “sin, human weakness, conflict, and forgiveness are part of the human
journey” and that the cross, the ultimate sign of forgiveness is at the heart
of redemption |
4 |
|
|
|
|
|
CGE2a - listens actively
and critically to understand and learn in light of gospel values |
4 |
4 |
4 |
|
4 |
|
CGE2b - reads,
understands, and uses written materials effectively; |
4 |
4 |
4 |
|
|
|
CGE2c - presents information
and ideas clearly and honestly and with sensitivity to others |
4 |
4 |
4 |
4 |
4 |
|
CGE2e - uses and
integrates the Catholic faith tradition, in the critical analysis of the arts,
media, technology and information systems to enhance the quality of life |
4 |
4 |
4 |
|
4 |
|
CGE3a - recognizes
there is more grace in our world than sin and that hope is essential in
facing all challenge |
|
|
4 |
|
4 |
|
CGE3b - creates, adapts,
evaluates new ideas in light of the common good |
4 |
4 |
4 |
|
4 |
|
CGE3c - thinks
reflectively and creatively to evaluate situations and solve problems |
4 |
4 |
4 |
4 |
4 |
|
CGE3d - makes decisions
in light of gospel values with an informed moral conscience |
4 |
4 |
4 |
4 |
4 |
|
CGE3e - adopts a
holistic approach to life by integrating learning from various subject areas
and experience |
|
4 |
4 |
|
4 |
|
CGE3f - examines, evaluates
and applies knowledge of interdependent systems (physical, political,
ethical, socioeconomic and ecological) for the development of a just and
compassionate society |
|
|
|
|
4 |
|
CGE4a - demonstrates
a confident and positive sense of self and respect for the dignity and
welfare of others |
4 |
4 |
4 |
4 |
4 |
|
CGE4b -
demonstrates flexibility and adaptability |
4 |
4 |
4 |
4 |
4 |
|
CGE4c - takes initiative
and demonstrates Christian leadership |
4 |
4 |
4 |
4 |
4 |
|
CGE4d - responds
to, manages, and constructively influences change in a discerning manner |
4 |
4 |
4 |
4 |
4 |
|
CGE4e - sets
appropriate goals and priorities in school, work, and personal life |
4 |
|
|
|
|
|
CGE4f - applies
effective communication, decision-making, problem-solving, time and resource
management skills |
4 |
|
4 |
4 |
4 |
|
CGE4g - examines and
reflects on one’s personal values, abilities, and aspirations influencing
life’s choices and opportunities |
|
|
|
|
4 |
|
CGE5a - works
effectively as an interdependent team member |
4 |
4 |
4 |
4 |
4 |
|
CGE5b - thinks critically
about the meaning and purpose of work |
|
4 |
4 |
|
4 |
|
CGE5c - develops
one’s God-given potential and makes a meaningful contribution to society |
4 |
4 |
4 |
4 |
4 |
|
CGE5d - finds meaning,
dignity, fulfillment, and vocation in work which contributes to the common
good |
4 |
4 |
4 |
4 |
4 |
|
CGE5e - respects
the rights, responsibilities, and contributions of self and others |
4 |
4 |
4 |
4 |
4 |
|
CGE5f - exercises Christian
leadership in the achievement of individual and group goals |
4 |
4 |
4 |
4 |
4 |
|
CGE5g - achieves
excellence, originality, and integrity in one’s own work and supports these
qualities in the work of others |
4 |
4 |
4 |
4 |
4 |
|
CGE5h - applies
skills for employability, self-employment, and entrepreneurship relative to
Christian vocation |
|
|
|
|
4 |
|
CGE7b - accepts
accountability for one’s own actions |
4 |
4 |
4 |
4 |
4 |
|
CGE7c - seeks and
grants forgiveness |
|
|
4 |
4 |
4 |
|
CGE7g - respects
and understands the history, cultural heritage and pluralism of today’s
contemporary society |
4 |
|
|
|
|
|
CGE7i - respects
the environment and uses resources wisely |
|
4 |
4 |
|
|
Learning Skills
Assessment. Use in combination with charts from each production area.
|
Role, Task, Responsibility |
Student Assessment NI/S/G/E |
Teacher Assessment NI/S/G/E |
Teacher Comment(s) |
|
Learning Skills |
|
|
|
|
Initiative |
|
|
|
|
Team Work |
|
|
|
|
Independent Work |
|
|
|
|
Organization |
|
|
|
|
Work Habits |
|
|
|
Director’s
Formative Assessment
|
Role, Task, Responsibility |
Student Assessment Level 1 - 4 |
Teacher Assessment Level 1 - 4 |
Teacher Comment(s) |
|
Learning
Expectations |
|
|
|
|
Rehearsal
effectiveness |
|
|
|
|
Collaboration with
Prod. Area |
|
|
|
|
Collaboration with
Tech. Area |
|
|
|
|
Collaboration with
Actors |
|
|
|
|
Script analysis
and research |
|
|
|
|
Blocking plan |
|
|
|
Stage Manager’s
Formative Assessment
|
Learning Expectations |
Student Assessment Level 1 - 4 |
Teacher Assessment Level 1 - 4 |
Teacher Comment(s) |
|
Prompt book |
|
|
|
|
Backstage
Co-ordination |
|
|
|
|
Collaboration with
Technical |
|
|
|
|
Area |
|
|
|
|
Collaboration with
Actors |
|
|
|
|
Tape stage
appropriately |
|
|
|
|
Calling the
rehearsal/show |
|
|
|
Producer’s Formative
Assessment
|
Role, Task, Responsibility |
Student Assessment Level 1 -
4 |
Teacher Assessment Level 1 -
4 |
Teacher Comment(s) |
|
Learning Expectations |
|
|
|
|
Advertising plan |
|
|
|
|
Poster, ticket |
|
|
|
|
Program |
|
|
|
|
Marketing plan |
|
|
|
|
Audience profile |
|
|
|
|
Collaboration with
Prod. Area |
|
|
|
Sound Design
Formative Assessment
|
Role, Task, Responsibility |
Student Assessment Level 1 - 4 |
Teacher Assessment Level 1 - 4 |
Teacher Comment(s) |
|
Learning
Expectations |
|
|
|
|
FX and Music list |
|
|
|
|
Cue sheet |
|
|
|
|
Music FX assembled |
|
|
|
|
Collaboration with
Actors |
|
|
|
|
Collaboration with
Production Area |
|
|
|
|
Rehearsal process,
run |
|
|
|
Lighting Design
Formative Assessment
|
Role, Task, Responsibility |
Student Assessment Level 1 - 4 |
Teacher Assessment Level 1 - 4 |
Teacher Comment(s) |
|
Learning
Expectations |
|
|
|
|
Cue sheet |
|
|
|
|
Collaboration with
Production |
|
|
|
|
Area |
|
|
|
|
Cooperation with
Actors |
|
|
|
|
“Program” cues |
|
|
|
|
Rehearsal
process/run |
|
|
|
|
Revisions |
|
|
|
Sets Formative
Assessment
|
Role, Task, Responsibility |
Student Assessment Level 1 - 4 |
Teacher Assessment Level 1 - 4 |
Teacher Comment(s) |
|
Learning
Expectations |
|
|
|
|
Construction/assembly
of set |
|
|
|
|
Stage set quality
and safety |
|
|
|
|
Collaboration with
Production Area |
|
|
|
|
Collaboration with
Actors |
|
|
|
|
Stage crew during
rehearsals |
|
|
|
Costume/Make-up/Props
Formative Assessment
|
Role, Task, Responsibility |
Student Assessment Level 1 - 4 |
Teacher Assessment Level 1 - 4 |
Teacher Comment(s) |
|
Learning Expectations |
|
|
|
|
Execution of
designs |
|
|
|
|
Maintenance of
items |
|
|
|
|
Responsibility and
clean up |
|
|
|
|
Collaboration with
Production Area |
|
|
|
|
Collaboration with
Actors |
|
|
|
|
Rehearsal
process/runs |
|
|
|
Actor’s Formative
Assessment
|
Role, Task, Responsibility |
Student Assessment Level 1 - 4 |
Teacher Assessment Level 1 - 4 |
Teacher Comment(s) |
|
Learning
Expectations |
|
|
|
|
Text analysis |
|
|
|
|
Character sketch |
|
|
|
|
Book deadlines |
|
|
|
|
Collaboration with
Production Area |
|
|
|
|
Collaboration with
Technical Area |
|
|
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Rehearsal
process/runs |
|
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|
Criteria/ Evaluation |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Application Production
collaboration CRV.02 |
- collaborates
with limited effectiveness |
- collaborates
with some effectiveness |
- collaborates
with considerable effectiveness |
- collaborates with
a high degree of effectiveness |
|
Application Production
principles TH2.01, TH2.05, CR2.04, CR2.05, CR2.06 |
- applies
principles with limited effectiveness |
- applies
principles with some effectiveness |
- applies principles
with considerable effectiveness |
- applies
principles with a high degree of effectiveness |
|
Application Integration of
peer suggestions CR1.06 |
- integrates
suggestions with limited effectiveness |
- integrates
suggestions with some effectiveness |
- integrates
suggestions with considerable effectiveness |
- integrates
suggestions with a high degree of effectiveness |
|
Application Problem-solving
CR1.10 |
- solves problems
with limited effectiveness |
- solves problems
with some effectiveness |
- solves problems
with considerable effectiveness |
- solves problems
with a high degree of effectiveness |
|
Application Use of evaluation
strategies for rehearsal and production ANV.01, ANV.02, AN1.03 |
- understands and
uses strategies with limited effectiveness |
- understands and
uses strategies with some effectiveness |
- understands and
uses strategies with considerable effectiveness |
- understands and
uses strategies with a high degree of effectiveness |
|
Communication Defence of artistic
choices |
- defends choices
with limited effectiveness |
- defends choices
with some effectiveness |
- defends choices
with considerable effectiveness |
- defends choices
with a high degree of effectiveness |
|
Thinking/
Inquiry Analysis of
creative process AN2.01 |
- analyses process
with limited effectiveness |
- analyses process
with some effectiveness |
- analyses process
with considerable effectiveness |
- analyses process
with a high degree of effectiveness |
Note: A student whose achievement is below Level 1
(50%) has not met the expectations for this assignment or activity.
|
Criteria/ Evaluation |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Application Technical collaboration CRV.02 |
- collaborates
with limited effectiveness |
- collaborates
with some effectiveness |
- collaborates
with considerable effectiveness |
- collaborates
with a high degree of effectiveness |
|
Communication Application Use of technology
TH2.02, TH2.06, CR1.08, CR1.09, CR1.11 |
- applies
technological principles with limited effectiveness |
- applies
technological principles with some effectiveness |
- applies
technological principles with considerable effectiveness |
- applies
technological principles with a high degree of effectiveness |
|
Application Integration of peer suggestions CR1.06 |
- integrates
suggestions with limited effectiveness |
- integrates
suggestions with some effectiveness |
- integrates
suggestions with considerable effectiveness |
- integrates
suggestions with a high degree of effectiveness |
|
Application Problem-solving CR1.10 |
- solves problems
with limited effectiveness |
- solves problems with
some effectiveness |
- solves problems
with considerable effectiveness |
- solves problems
with a high degree of effectiveness |
|
Application Use of evaluation
strategies for rehearsal and production ANV.01, ANV.02, AN1.03 |
- understands and
uses strategies with limited effectiveness |
- understands and
uses strategies with some effectiveness |
- understands and
uses strategies with considerable effectiveness |
- understands and
uses strategies with a high degree of effectiveness |
|
Communication Defence of
artistic choices |
- defends choices
with limited effectiveness |
- defends choices
with some effectiveness |
- defends choices
with considerable effectiveness |
- defends choices
with a high degree of effectiveness |
|
Thinking/
Inquiry Analysis of
creative process AN2.01 |
- analyses process
with limited effectiveness |
- analyses process
with some effectiveness |
- analyses process
with considerable effectiveness |
- analyses process
with a high degree of effectiveness |
Note: A student whose achievement is below Level 1
(50%) has not met the expectations for this assignment or activity.
|
Criteria/ Evaluation |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Application Rehearsal collaboration CRV.02 |
- collaborates
with limited effectiveness |
- collaborates
with some effectiveness |
- collaborates
with considerable effectiveness |
- collaborates
with a high degree of effectiveness |
|
Communication Application Interpretation and
development of a character |
- applies acting
principles with limited effectiveness |
- applies
acting principles with some
effectiveness |
- applies acting principles
with considerable effectiveness |
- applies acting
principles with a high degree of effectiveness |
|
Application Integration of peer suggestions CR1.06 |
- integrates
suggestions with limited effectiveness |
- integrates
suggestions with some effectiveness |
- integrates
suggestions with considerable effectiveness |
- integrates suggestions with a high degree of
effectiveness |
|
Application Problem-solving CR1.10 |
- solves problems
with limited effectiveness |
- solves problems with
some effectiveness |
- solves problems
with considerable effectiveness |
- solves problems
with a high degree of effectiveness |
|
Application Use of evaluation
strategies for rehearsal and production ANV.01, ANV.02, AN1.03 |
- understands and
uses strategies with limited effectiveness |
- understands and
uses strategies with some effectiveness |
- understands and
uses strategies with considerable effectiveness |
- understands and
uses strategies with a high degree of effectiveness |
|
Communication Defence of
artistic choices |
- defends choices
with limited effectiveness |
- defends choices
with some effectiveness |
- defends choices
with considerable effectiveness |
- defends choices
with a high degree of effectiveness |
|
Thinking/
Inquiry Analysis of
creative process AN2.01 |
- analyses process
with limited effectiveness |
- analyses process
with some effectiveness |
- analyses process
with considerable effectiveness |
- analyses process
with a high degree of effectiveness |
Note: A student whose achievement is below Level 1
(50%) has not met the expectations for this assignment or activity.
Overview
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