Course Profile Comprehensive Arts, Grade 9 open, Catholic
Unit #2
Activity 1½Activity 2½Activity 3½Activity 4½Activity 5½Activity 6½Activity 7
Title: Dramatic Arts
Time: 27.5 hours
Unit Developer(s)
John Burns, St. Theresa Catholic Secondary School
Paula Kolodzie Moffat, St. John Catholic High School
Development Date: February, 1999.
Unit Description
In the Dramatic Arts unit, the students will explore and apply their knowledge of a variety of dramatic forms, structures and conventions. In particular, the course will focus on the skills of tableau, mime, character development, improvisational role play and scene study. Critical group and self analysis and assessment will refine the students' work and understanding of the course content. The students will learn to improve their abilities to work alone and with others. Each topic explored will conclude with a presentation of increasing complexity. The cumulative skills will allow for a valid assessment and evaluation based on the overall course contexts: care for the environment, the human experience, making the ordinary extraordinary, and social justice.
Strand(s) & Expectations
Ontario Catholic School Graduate Expectations: 1i, 3c, 4a, 4b, 4e, 4f, 5a, 5e, 5f, 5g,
Strand(s): Creation,
Analysis and Theory
Overall Expectations: LCV.01x, LCV.02x LAV.01x, LTV.01x, LTV.02x, LTV.03x
Specific Expectations: LCI.09x, LAI.01x, LAI.03x,LTI.03x, LTI.07x, LTI.09x.
Activity Titles (Time and Sequence)
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Activity 1 |
Introduction to the Four Drama Skills |
120 min |
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Activity 2 |
Introduction to Group Activities |
75 min |
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Activity 3 |
Areas of the Stage |
75 min |
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Activity 4 |
Tableau |
315 min |
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Activity 5 |
Mime |
375 min |
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Activity 6 |
Improvisational Role Study and Character Study |
315 min |
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Activity 7 |
Scene Study Formats |
375 min |
Unit Planning Notes
This unit proceeds in a prescriptive and linear manner. All lessons are designed to introduce, develop and enhance four areas of learning: concentration, control, co-operation and trust. The course itself is organized under five general headings: Introduction, Tableau, Mime, Character Development, and Scene Study. The activities reflect the course thematic contexts: care for the environment, the human experience and making the ordinary extraordinary. Suggested sources for this work are: the Gospels (i.e., parables), current events (i.e., poverty, war), historical events (i.e., genocide - [holocaust/Cambodia], Ghandi, Martin Luther King), and Canadian issues. It is within these powerful contexts that the Catholic Expectations may be introduced, developed and presented. Many approaches and methodologies could attain the basic goals of the unit, in both the thematic and the technical areas. The teacher is encouraged to substitute contexts or lessons based on their experience or locale, as they incorporate the fundamental structures and conventions of the unit.
Prior Knowledge Required
The student is expected to have a working understanding of the mechanics and behaviours of a drama classroom. The student is able to demonstrate a practical knowledge and some of the basic conventions of drama in education (i.e., tableau, mime).
Teaching/Learning Strategies
The teacher should employ a variety of teaching strategies and techniques such as brainstorming, questioning, modelling, lecturing, role-playing, and collaborative/co-operative learning. The students will experience a variety of group work activities as well as have the opportunity for reflection and analysis. The conventions of drama in education will be introduced to the students using powerful source materials rooted in story.
In all activities, the teacher will provide the structure while the student will supply the content. As a result, the learning is both student and teacher directed. The student is responsible for raising issues of importance to them, their community, and their faith community, within a context. They will explore these issues in performances, (e.g. racism, discrimination, equality and pollution).
Drama honours all of the principle sensory learning styles. For example, students listen to theatre history and constructive criticism (auditory), write notes in their journals and complete checklists (tactile), see a demonstration of a skill or a performance (visual) and create a performance (kinesthetic). In addition, drama requires a high level of creative (right brain) and analytical (left brain) activity.
Assessment/Evaluation
A variety of assessment and evaluation methods, strategies, and tools are used in this unit such as rubrics, checklists, pencil and paper tests, reflective journals and writing in-role. Both informal and formal performances will be assessed by students and the teacher to ensure that students have the opportunity to improve their work and their communication skills.
Every activity will include diagnostic, formative and summative evaluation. To begin each activity, the teacher will diagnose the level of the students knowledge and skill. The teacher will assess how to plan, modify and/or adjust the activity through a task such as an informal performance or a whole class discussion. Formative assessment will occur for several small tasks such as informal performances in the middle of each activity. The student - teacher conference, whole class discussion, and student self assessment via checklists and journals are the main methods of formative assessment. To facilitate improvement, it is essential that students have feedback prior to a summative evaluation. Each activity will conclude with a summative evaluation, using a rubric for a performance. The student and/or the teacher can create the rubric. The teacher will evaluate knowledge with a pencil-and-paper test twice in this unit. The unit will conclude with a teacher evaluation of the sketchbook/journal based upon a rubric.
Accommodations
The source materials, conventions and methodologies in Dramatic Arts can accommodate most learning challenges. The host teacher must develop an Individual Educational Plan that will accommodate the particular needs of the student. This plan will be developed in consultation with the Special Education resource teacher, the administration and the family. For example:
I Learning Difficulties (i.e. spatial, attention deficit, dyslexia, etc)
For Dyslexia:
print material could be recorded on an auditory device
writing can be done by scribes (another student, or resource teacher), or recorded on tape for assessment or presentation
journal may be presented using audio tape for text or visual imagery to convey meaning
students tests may be extended in time, written in the resource centre or demonstrated physically, as deemed appropriate.
II Functional Impairment (i.e. hearing, visual, cerebral palsy)
For hearing impairment:
the student and the teacher use a phonic ear system
be certain that teacher facial hair, beard and/or moustache, is clear of mouth
the teacher should not work with their back to window or bright light
use a sign interpreter
develop alternate presentation modes that will suit student (i.e., mime, tableau)
III Intellectual Impairment
vary expectations so that they are appropriate to student needs
assessment may be accomplished through oral presentation or demonstration (student can show you what they mean)
additional time and resource assistance is available as needed
use an Educational Assistant
encourage interaction and bonding in group situations through pairing of students
IV Mobility Impairment (i.e. wheelchair, walker, cane, crutches)
modify rules to accommodate
incorporate a different role that validates students contribution
be certain that space is appropriate for the needs of the student
V English as a Second Language
pairing or teaming with students who are strong in English and empathetic
locate other students who may share the same second language to act as interpreter and to welcome students
generate dramas that are visual in output (tableau/mime)
use non-print drama source material
consider heritage drama (see Booth/Lundy Improvisation.)
Title: An
Introduction to the Four Skills:
Concentration, Control,
Co-operation and Trust
Time: (125 minutes)
Description:
This activity involves the explanation and practice of concentration, control, co-operation and trust through drama games.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate:
demonstrates ability and flexibility. (OCE 4b)v
respects the rights, responsibilities of self and others. (OCE 5e)v
Strand(s): Theory, Analysis
Overall Expectations
At the end of Grade 9, students will:
demonstrates an understanding of common practices (e.g. health and safety) while working in the drama classroom. (LCV.01X)v
Specific Expectations
Students will:
appropriately uses language specific to drama when doing critical analysis. (LAI.03X)v
explain the physical and environmental implications of drama. (LTI.09X)
Planning Notes
Students should wear comfortable loose-fitting clothing that will allow for vigorous movement. They must wear footwear that is stable. In a carpeted studio, shoes should be removed.
The drama room must be a large, single-level, uninterrupted space. It should have good lighting, ventilation and a stable floor.
In virtually all drama activities, but in particular the first three activities of this unit, vigorous movement is integral to the introduction and development of dramatic material. Before the students embark on each activity, the teacher will take precautions and explain to the students the safety expectations for the course. The teacher should check the actual physical space to remove any hazards (e.g. desks, chairs) or other physical impediments.
Concentration, control, co-operation and trust are employability skills.
If drama is the first unit the group of students experience, the teacher must explain how to create a sketchbook/journal. The teacher should refer to the course overview for further explanation. The evaluation rubric is found in the Visual Arts unit under Activity #1.
Prior Knowledge Required
Experience in developing warm-up routines and exercises from the grade 8 program.
Teaching/Learning Strategies
The learner acquires and uses the vocabulary of the four major skills of the drama unit: concentration, control, co-operation, and trust.
The students define and explain these skills. If necessary, the teacher corrects and adds to the students ideas.
The teacher reviews the health and safety expectations with the students.
The teacher explains and demonstrates the rules of several games to the students (e.g., Fox and Rabbit, Caterpillar).
While students play the games, the teacher reinforces co-operative behaviour and, if necessary, redirects the students attention back to the intent of the activity.
The teacher introduces the idea that drama class is a community, as is the school, the town, and the Catholic faith community and explains that the four skills ensure harmony and productivity in all types of communities. The teacher stresses the individuals role in taking responsibility for his/her own actions as these impact others.
The students complete a journal which reflects on their development of the four skills.
Assessment/Evaluation
The teacher and students assess how the different games develop the four skills and the skill level the students exhibit. (OCE 4b, 5e, LTV 03X, LAI 03X).
The teacher evaluates the students journals with a rubric which assesses their understanding of the four skills and their perceived skill level. (OCE 4b, 5e, LTV 03X, LAI 03X).
Resources
Booth, David and Lundy, Charles. Improvisation: Learning Through Drama. Toronto: Harcourt, Brace, 1988.
Booth, David. Games for Everyone. Markham: Pembroke Publishers Limited, 1986.
Kemp, David. A Different Drummer. Toronto: McLellan and Stewart Inc., 1990.
Accommodations
A physically challenged student can act as the caller in certain games, such as Atom (see Booth and Lundy Improvisation) and Simon Says.
Pair mentally challenged students with buddies to ensure that they participate fully.
Title: An Introduction to Group Dynamics
Time: (75 minutes)
Description:
The students will acquire and demonstrate an understanding of positive group dynamics. They will learn how to identify the different positive roles one can play in a group and reflect on the roles they contribute.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate:
works effectively as an independent team member. (5a)v
respects the rights, responsibilities, and contributions of self and others. (5e)v
exercises Christian leadership in the achievement of individual and group goals. (5f)v
Strand(s): Analysis,
Theory
Overall Expectations
At the end of grade 9, students will:
demonstrate an understanding of the common practices while working in the various art areas. (LTV.03X)
demonstrate the ability to conduct a step by step critical analysis of their own work and that of others. (LAV.01X)v
Specific Expectations
Students will:
appropriately use language specific to each of the arts when doing critical analysis. (LAI.03X)v
use vocabulary appropriate to each specific art form in describing artistic elements and principles in works and productions. (LTI.03X)v
Planning Notes
The teacher may wish to substitute a model of different group dynamics (e.g., Kagan Structure).
The teacher may wish to create specific questions for students to respond to in a journal. (e.g., explaining the strengths in their performance and providing further suggestions for improvement).
There is a connection to English across the curriculum.
The ability to work effectively in a group is an employability skill.
Prior Knowledge Required
To describe attitudes and skills needed to organize and perform a group and/or theatrical work.
Teaching/Learning Strategies
The students create a tower in small groups. The tower must be strong, beautiful, tall, and ingenious.
The teacher provides a box of identical materials for each group such as markers, magazines, masking tape, construction paper, newspapers, and pencil crayons. The teacher asks a student to act as an observer for each small group and record his/her impressions of the groups dynamics.
The teacher and the students assess the tower according to the preset criteria. The student observers debrief the rest of the class on their observations of how the groups functioned.
The teacher distributes and debriefs a prepared handout outlining the vocabulary of Task Functions and Maintenance Functions in a group (see Improvisation pg. 76-77).
The teacher and the students discuss the importance of positive group dynamics in the different levels of community. The responsibility of the individual to play positive roles is stressed in the conversation.
In their journals, the students reflect on the group dynamic roles they demonstrated during the activity.
Assessment/Evaluation
The teacher and the
students orally assess the strength, height, beauty, and ingenuity of the
tower. (LTV 03X)
The peer observers orally assesses the dynamics of their group. (OCE 5A, LAI 03X, LTV 03X)
In their journals, the students reflect upon the group dynamic roles they demonstrated in the activity. (OCE 5A, 5F, LTV O3X, LAI 03X, LTA 03X)
The teacher evaluates
the students journals with a rubric (Visual Arts Unit, Activity 1,
Appendix A). (LTV 03X, LAI 03X, LTA 03X)
Resources
Booth, David and Lundy, Improvisation: Learning Through Drama. Toronto: Harcourt Brace, 1985.
Accommodations
Non-writers could draw
or create a collage in their journals to represent the group dynamic roles
they demonstrated in the activity.
Gifted students could analyze the group dynamics of the class and present their findings orally or in writing.
Teacher Observation: Group Dynamics
STUDENT:_____________________________ DATE:______________________
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Items: |
Rarely |
Sometimes |
Usually |
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The student helps the group to set its goals. |
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The student contributes ideas to the group. |
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The
student communicates his |
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The student helps the group to stay on task.The student helps the group to find the resources necessary to achieve its goals. |
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The
student is able |
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The student encourages harmony in the group. |
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Additional comments: |
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Activity #3
Title: An Introduction to the Areas of the Stage
Time: (75 minutes)
Description
The students will demonstrate an understanding of the areas of the stage. A performance based on the context the environment will facilitate the learning process.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate:
works effectively as an interdependent team member. (5a)
demonstrates flexibility and adaptability. (4b)
Strand(s): Theory
Overall Expectations
At the end of Grade 9, students will:
describe orally and in writing, the elements and principles of the arts found in their own work and in the work of others. (LTV.01X)v
Specific Expectations
Students will:
use vocabulary appropriate to each specific art form in describing artistic elements and principles in works and productions. (LTI.03X)v
explain how chosen
techniques used in works and productions communicate mood and
message. (LTI.07X)
Planning Notes
The teacher reviews
the health and safety procedures with the students before beginning
the activity.
The ability to understand stage directions connects with English and Design and Technology.
The teacher may wish to substitute the context the environment for faith and use the psalms or Christian songs or/and lyrics as texts for the students presentation.
To facilitate integration, a teacher may wish to use music, art, etc. from the other units in this course as inspiration.
Prior Knowledge Required
Identify different theatrical venues and their effects on modes of presentation.
Teaching/Learning Strategies
The students brainstorm what care for the environment looks like, sounds like, smells like, and feels like. The students and the teacher discuss how they can care for the environment in the drama class and in their daily lives.
- The students form small groups. The teacher gives each group a poem and a childrens book, such as Old Turtle and Just A Dream (See the resource list and/or piece of music based on the context the environment.)
- Each group creates a performance of their text which includes movement to at least 5 different areas of the stage.
- The students present their work to the class. The students and the teacher discuss and assess the effectiveness of the movement choices.
- An extension to this lesson is an analysis of status and body language.
The teacher asks the
students to identify the nine areas of the stage. The teacher defines
and explains the terms upstage, downstage, stage right, stage left, and centre.
The students record this information in their notes. Then, the students
assemble in the centre of the room together in a
tight group.
- The teacher instructs the students to move upstage as a unit. The same procedure is followed for downstage, stage left, stage right.
- The teacher instructs the students to move from upstage right to downstage left.
- The teacher instructs the students to move to centre stage and to face upstage. The teacher should be aware that students may become confused between stage right and their right at this point and encourage them to discover the solution to this problem. The teacher corrects the students, if necessary.
- The teacher continues to call directions until the students move as a group without error.
- The teacher explains the significance of the areas of the stage to students and demonstrates the status implications of each area.
Assessment/Evaluation
The teacher observes the students to assess their understanding of the areas of the stage, through their physical movement to different areas of the stage. (LAV. 01X, LTI 03X)
The students and the teacher assess the effectiveness of their choice of the areas of the stage.
Resources
Everett Tanner, Fran. Basic Drama Projects. Pocatello: Clarke Publishing Company, 1972.
Van Allsburg, Chris. Just a Dream. Boston: Houghton Mifflin Company, 1990.
Wood, Douglas. Old Turtle. St. Duluth: Pfeifer-Hamilton Publisher 1992.
Accommodations
A scribe could copy
the notes of the areas of the stage for a non-writer or a student who is
hearing-impaired.
Activity #4
Title: An Introduction to Tableau
Time: (315 minutes)
Description
Students will acquire and demonstrate an understanding of the elements of tableau through group activities of increasing complexity. The final product is a performance based on the context the human experience.
Picture books are a powerful source for further exploration of the variety of human experiences. Tableau work is at its very best when rooted in the significant imagery and text of these sources. A small group of representative books are included in the resource section in Activity 5.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate:
applies effective communication, decision making, problem-solving, time management, and resource management skills. (4f)v
works effectively as an interdependent team member. (4e)v
achieves excellence, originality, and integrity in ones own work and supports these qualities in the work of others. (5g)v
Strand(s): Creation, Analysis, Theory
Overall Expectations
At the end of Grade 9,
students will:
demonstrate the ability to conduct a step-by-step critical analysis of their own work and the work of others. (LAV.01X)
create a work by applying concepts common to all arts areas. (LCV.01X)v
create works in all art areas by applying techniques specific to each. (LCV.02X)v
Specific Expectations
Students will:
apply the process of critical analysis to selected works and productions. (LAI.01X)v
document the creative process through blocking, choreographic notes, sketches, and musical outlines. (LCI.09X)
explain how chosen techniques used in works and communicate mood and message. (LTI.07X)v
Planning Notes
Gospel stories,
current events, and historical events are good sources of inspiration for
scenes.
The tableau work
connects to photography, and to the concepts of plot and theme as used
in English.
Prior Knowledge Required
an understanding of the structure of a story
how to make decisions in small groups and defend their artistic choices
Teaching/Learning Strategies
The students create a tableau (e.g., life at school, or one of the picture books). The teacher assesses the level of the students knowledge and skill from this task and modify the unit accordingly.
- The students acquire, record and begin to use the vocabulary of the elements of tableau: facial expressions, body language, connection between characters, levels, point of focus, tension, concentration, effective blocking, depth and timing.
- The teacher defines and explains the elements and theatre history of tableau.
- The teacher instructs students to form small groups and to create a family portrait based on an attitude (e.g., loving, paranoid, sleepy, etc.) The students perform their portraits for the class.
- The students and teacher identify each element of tableau from each portrait.
- In small groups, students create a tableau based on a teacher assigned topic (e.g., at the playground, a concept from a picture book, panic at the office, etc.)
- The students present their tableaux to the class and the teacher and students will identify the strong elements of tableau and explore further the elements which need improvement.
The students develop a series of three tableaux inspired by a piece of art. The teacher introduces a visual stimulus to the class, such as a painting, magazine advertisement, student artwork, the picture book, etc.
- The students create a tableau which uses the art as an inspiration. They then create a tableau of the moment before and the moment after the original tableau.
- The teacher assists the students to create effective transitions between the tableaux to ensure that they stay in character and use the full time count.
- The students present their tableaux to the class. The students and the teacher discuss the differences in the tableaux, despite the same art source as inspiration. Together, they identify the elements of tableau used effectively in the performances and explore/work on the elements which need improvement.
The students create a
7 to 10 frame tableau based on the context the human experience.
The tableau must contain the elements of plot: introduction, rising action,
climax, falling action, conclusion.
- The students form small groups, rehearse their presentation, and perform their tableaux for the class.
- The students and the teacher assess the performance orally, based on the elements of tableau and story.
- The students reflect on the process and product of creating a tableau in their journals.
The students complete test #1.
Assessment/Evaluation
The students and the teacher orally assess the family portrait and the tableaux for the correct demonstration of the elements of tableau. (LCV.01x, LTV.01x, LAI.03x, LAI.01x)
The teacher uses a roving conference to assess the use of the elements of tableau in the activity. The students and the teacher orally examine the tableau sequence to assess and improve, if necessary, the elements of tableau and the use of transitions. (OCE.2c, LCV.01x, LTV.01x, LAI.03x)
During roving conferences, the teacher assesses the elements of tableau, transitions, the context, the elements of a story, and group dynamics. The teacher evaluates the tableau performance with a rubric. The students assess their performance in their journals. (OCE.4e, 5g, LCV.01x, LCV.02x, LCI.01x, LCI.05x, LTV.01x, LAI.03x, LTI.03x, LAI.02x)
The teacher evaluates test #1. (LTI.03x, LAI.03x)
Resources
Barton, Robert. Nobody in the Cast. Don Mills: Academic Press Canada Ltd., 1969.
Booth, David and Lundy, Charles. Improvisation. Toronto: Harcourt Brace Jovanovich, 1985.
Accommodations
The length of the test could be modified; the test could be administered orally; and/or the responses on the test could be demonstrated.
Mentally challenged students could mirror their role in a tableau. Their educational assistant or a buddy could stand in the audience during the performance or act as a facilitator in the performance with the student.
DRAMATIC ARTS
Test #1
Name ______________________________ Date _____________
Total mark /40 level _________
1. List and explain the four skills introduced through drama games. 2 ΄ 4 = /8
a)
b)
c)
d)
2. Select one skill and explain how it is developed in any three activities. /4
3. Explain any three of the following roles: 3 ΄ 2 = /6
starter-
coordinator-
harmoniser/compromiser-
process observer -
4. Define tableau - /2
5. List the ten elements of tableau: 1 ΄ 10 = /10
6. Draw and label a diagram of the areas of the stage. Write out all
words in full.
You must label the audience.
/10
Activity #5
Title: An Introduction to the Concepts of Mime
Time: (315 minutes)
Description
The students will acquire and demonstrate an understanding of the elements of mime through group activities of increasing complexity. The final product is a presentation based on the context the human experience.
The themes presented are relevant and powerful, and will add appropriate and interconnected themes to the work presented. A brief representative list of picture books is included in the resources list at the conclusion of Activity 5.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate:
integrates faith with life. (1i)
demonstrates a
confident and positive sense of self and respect for the dignity and welfare
of others. (4a)
thinks reflectively and creatively to evaluate situations and solve problems. (3c)v
Strand(s): Creation, Analysis, and Theory
Overall Expectations
At the end of Grade 9, students will:
explain historical context and style of particular art works/art forms. (LTV.03X)
create a work by applying concepts common to all art areas. (LCV.01X)v
Specific Expectations
Students will:
explain the physical and environmental implications of artistic endeavour. (LCT.09X)
document the creative process through blocking, choreographic notes, sketches and musical outlines. (LCT.09X)
explain how chosen techniques used in works and productions communicate mood and message. (LTI.07X)v
Planning Notes
There is a connection to Religion and English.
Learning to display positive body language is an employability skill.
The teacher reinforces the skills learned in previous activities, particularly blocking and exaggerated body language and facial expressions.
The teacher stresses that it is the students responsibility to make their scene clear to their audience.
Prior Knowledge Required
communicate abstract ideas through drama and dance
produce work as a member of an ensemble
describe attitudes and skills needed to organize and present a dramatic piece
Teaching/Learning Strategies
The students acquire and begin to use the vocabulary of mime.
- The students identify and demonstrate the elements of mime. If necessary, the teacher expands on the students ideas. The elements of mime are: emphasis on movement and gesture, size and weight of invisible objects, use of pointe-fixe, tension, motivated movement only, exaggeration and slow pace.
- The teacher explains the theatre history of mime. The students provide modern examples of mime (e.g., Cirque de Soleil, Mr. Bean, etc.).
- The teacher instructs the students to a) focus on a spot - the pointe-fixe. b) imagine a box c) decide on the dimensions of the box.
- The students trace the outline of the imaginary box twice to ensure that the dimensions do not change.
- The teacher instructs the students to decide on the weight of the box and consider the physical tension in their limbs necessary to support the weight. The students lift the imaginary box.
- The teacher instructs the students to imagine a new box which opens. The students repeat the procedures for miming this new box.
- The teacher has the students open their box and lift an imaginary object out of the box, using appropriate weight.
- The students outline the dimensions and weight of the new object and provide the audience with a clue as to what the object is (e.g., if the object is ring the student puts it on his or her finger).
- The students form pairs and create a scene in which each partner presents the box and exchanges objects as characters in a location.
The students list the body language displayed by a teacher, a news reporter, a person in an interview.
- The students create a short performance of an emotional phrase (e.g., Its not my fault. Dont bug me. I love you. etc.). The students present their mime to the class.
- The teacher decides on a theme based on the Catholic liturgical calendar (Easter, Christmas, etc.). In pairs, the students create a short mime which reflects the theme and contains at least two mimed objects.
- The students form a new partnership and create a new mime based on the same liturgical season.
- The students present their scenes to the class and then discuss the use of the liturgical season and the demonstration of the elements of mime.
The teacher asks for five volunteers. Each volunteer enters a location/room (e.g., a garage through a door) and then creates and uses an appropriate imaginary object (e.g. exits the room through the same door).
- The students form small groups and create a scene based on a set location/room. They create characters appropriate to their location.
- The students perform their scene to the class.
- Each group prepares a written critique of a different groups performance and orally presents its comments to the rest of the class. The critique reflects on the elements of mime and story.
The teacher asks the students to define ordinary and the extraordinary. Students list examples of each. Students brainstorm examples of moments where they experienced awe - such as a sunset, etc.
- Students form small groups and create a slow motion movie in mime, based on the context making the ordinary extraordinary.
- Students must select a piece of music to accompany their performance. The teacher conferences with the students to assess the performances. The students record blocking, planning, and brainstorming in their journals.
The students rehearse their movie for a short period of time.
- The students perform their slow motion movie which is video-taped.
- The students and the teacher critique the performances. The video tape aids in this process.
- The students complete an entry in their reflection journals on the process and product of creating a slow motion movie.
Assessment/Evaluation
The teacher observes and assesses the students demonstration of the elements of mime. (LCV 10X)
Teacher and students discuss on the elements of mime. The students assess the performance in their journals. The teacher evaluates the journals with a rubric.(LTV O1X, LAV 01X, LTI 03X, LAI O3X, LAI 01X) See Appendix - Visual Arts Unit, activity 1.
Using a roving conference, the teacher assesses the elements of mime, time management, group dynamics, the elements of a story and the appropriate application of the context in the students' performance. (OCE 3C, LTV O1X, LAV 01X, LTI 03X, LAI O3X, LAI 01X)
The teacher and students assess the presentation of performances for the purpose of oral critique, enactment of journal research and journal entries, and demonstration of the product which is creating a slow motions movie.(OCE 3C, 4F, 5G, LTV O1X, LAV 01X, LTI 03X, LAI O3X, LAI 01X, LAI 02X, LT1 07X, LCV 01X)
Resources
Booth, David and Lundy, Charles. Improvisation. Toronto: Harcourt Brace Jovanovich, 1985.
Brockett,
Oscar. History of the Theatre. Needham
Heights: Simon and Schuster, 1991.
Picture Books
Bunting, Eve and Himler, Ronald. Fly Away Home. New York: Clarion Books, 1991.
Van Allsburg, Chris. Just A Dream. Boston: Houghton Mifflin Company, 1990.
Wood, Douglas and Chee, Cheng-Khee. Old Turtle. Duluth: Pfeifer-Hamilton Publishers, 1992.
Yagawa, Sumiko and Paterson, Katherine, Akaba Suekichi. The Crane Wife. New York: William Morrow and Company, 1981.
Accommodations
Mentally challenged students could be paired with buddies to help them remember their parts in the performance.The educational assistant or buddy could perform the same part with them in the scene.
DRAMATIC ARTS
Student/Teacher Conference: Slow Motion Movie
STUDENT(S):_____________________________ DATE:______________________
|
PROBE QUESTIONS |
ANECDOTAL NOTES |
|
Explain your use of each element of mime. |
|
|
Explain how the
mime experience changed when actors were added or removed from |
|
|
Outline the advantages and disadvantages of mime as a dramatic form. |
|
|
Was it easy or difficult for you to communicate your ideas through mime? |
|
|
Discuss your groups musical choice. How does performing to music affect your mood and the mood of the performance? |
|
|
Explain how your group incorporates the idea of the context of making the ordinary extraordinary. |
|
|
Comment on the future applications of tableau and mime for you as a student. |
|
Activity #6
Title: An Introduction to the Elements of Character
Time: (300 minutes)
Description
The students acquire and demonstrate an understanding of the elements of character through a whole class improvisation. The teacher sets the parameters for the improvisation and the students direct the content of the drama.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate is expected to:
demonstrate flexibility and adaptability (4b)
work effectively as an interdependent team member (5a)v
is expected to achieve excellence, originality and integrity in ones own work and supports these qualities in the works of others (5g)
Strand(s): Creation,
Analysis, Theory
Overall Expectations
At the end of Grade 9, students will:
use the creative process to produce artworks that demonstrate innovative connections among the arts; (LCV.04X)
demonstrates the ability to conduct step-by-step critical analysis of their own work and the work of others; (LAV.01X)v
describe, orally and in writing, the elements and principles of the arts found in their own work and that of others. (LTV.01X)v
Specific Expectations
Students will:
appropriately use language specific to each of the arts when doing critical analysis; (LAI.03X)v
explain how chosen techniques used in works and productions communicate mood and message; (LTI.07X)v
explain the physical and environmental implications of artistic endeavour (e.g., body image, physical and muscular stresses); (LTI.09X)
Planning Notes
The primary focus of this activity is to explore motivation as the basis for development of character in the drama.
When the teacher uses the convention of teacher-in-role and wants to address the class out-of-role, s/he stands and raises his/her hand and speaks to the students.
Before the trial phase of this drama, a decision must be made as to whether the verdict will be decided by consensus or by majority.
There is a connection to Law, History, English, and Religion.
Prior Knowledge Required
the ability to create tableau and mime
the ability to work in a variety of group circumstances
the ability to work in interdependent situations and analyze their work and the work of their peers
Teaching/Learning Strategies
The teacher defines and explains the elements of character: motivation, point-of-view, and behaviour (including voice and gesture).
- The students explore the physical creation of the elements of character.
-
The teacher uses any childrens story (e.g.The Three Little Pigs) as the
basis
for this activity. The "The Three Little Pigs" is used as a model for
a whole class improvisation.
-
The teacher establishes the details of this story so the plot is clear. The
teacher divides the class into four groups and assigns principle characters
(e.g. straw pig,
wolf, etc.)
- Each group of students forms a collective tableau that represents a character. The wolf tableau must be able to move in space.
- The students rehearse and present their tableaux to each other.
- At this point, the members of the wolf tableau become observers. One volunteer is taken from each group and is removed from the room. The remaining members of the groups form their bodies into piles of building materials: straw, sticks, bricks. The volunteer pigs re-enter the classroom and sculpt houses from the construction materials. The houses must be large enough to hold the pigs.
- On completion, the students present their houses to their peers and the members of the wolf tableau comment on their effectiveness.
The pigs sit outside their houses as the teacher begins a voice-over narrating the story. Simultaneously, the students perform the details of the plot. At the final house, the wolf group goes down the chimney. This completes the re-enactment of the story.
- The teacher introduces a new dramatic convention called Whole Class Drama. For the purposes of this convention, the teacher creates an extension to the original story (e.g., the three pigs are arrested, charged with the murder of the wolf). The teacher assigns the appropriate roles which are filled by the students. The teacher also takes on a role (e.g. the role of judge).
The trial takes place in Wolf Court, all characters except for the pigs are wolves.
- Assign all students a role in the court context.
- In character, the prosecution and defence prepare their cases, document them and exchange information.
- The jury meets to set the rules and elect a foreman.
- The judge (teacher) meets with the recording secretary and sargent-at-arms to set procedures.
- The trial begins next class.
The students rearrange the classroom to create the appearance of a courtroom. The teacher and the students assume their roles and improvise the new events until a conclusion to the drama is reached.
The teacher leads a discussion of events of the whole class improvisation which includes an examination of the values displayed by the various characters.
- The students reflect on the process and product of creating a role in their journal.
The students complete a second test.
Assessment/Evaluation
The teacher uses roving conferences to assess the student-created roles. (OCE 5A, LCI 01X)
The students assess the role development process in a checklist. (LTV 01X, LAI 03X, LTI 07X)
The teacher evaluates the elements of character present in the students improvisation with a rubric (In activity 7) (LTV 01X, LAI 03X, LTI 07X)
The students write a journal reflection which reflects on their role-playing experience. The teacher evaluates the journal. (OCE 5G, LTV 01X, LAI 03X, LAI 07X) (Visual Arts Unit, Activity 1)
The students complete a summative paper and pencil test to assess the elements of mime and elements of character. (LAV 01X, LAI 03X, LAI 07X)
Resources
Booth, David W. and Lundy, Charles J. Improvisation: Learning Through Drama. Toronto: Harcourt Brace Jovanovich Canada Inc., 1995.
Accommodations
For hearing impaired students, a sign language interpreter stands beside the teacher and opposite to the students. The students and the teacher create a cue, for example, a tap on the shoulder. This cue indicates to the students that they must look at the teacher for an instruction. Ideally the interpreter will also be in-role during the performance to communicate the thoughts of the hearing impaired students. The teacher should encourage the hearing impaired students to build signing into the drama. Another option is to video the hearing impaired students and to create voice overs on the tape.
DRAMATIC ARTS
Self Reflection: Character Development
Student ___________________________ Date _____________
|
Items: |
Rarely |
Sometimes |
Usually |
|
I understand the motivation
of |
|
|
|
|
I share the motivation of my character with others. |
|
|
|
|
I demonstrate the motivation of my character through gesture and body language. |
|
|
|
|
I demonstrate the motivation of my character through the tone, volume and articulation of my voice |
|
|
|
|
I concentrate on the assigned task. I stay in character. |
|
|
|
|
I work co-operatively with others. |
|
|
|
|
I encourage others through supportive comments. |
|
|
|
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I offer constructive suggestions for improvement. |
|
|
|
|
Comments: |
|||
Activity #7
Title: Scene Study Formats and Contexts
Time: (375 minutes)
Description
The
students will learn the conventions of thought tracking, step out, walk and
talk. The final product is a performance based on the context social justice.
The performance incorporates library research, lighting and sound effects.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
The graduate:
demonstrates a
confident and positive sense of self and respect for the dignity
and welfare of others (4b)v
demonstrates flexibility and adaptability (5a)v
applies effective communication, decision-making, problem-solving, time and resource management skills (5g)v
Strand(s): Creation, Analysis, Theory
Overall Expectations
At the end of Grade 9, students will:
create works in all arts by applying techniques specific to each; (LCV.02X)
demonstrate an ability to conduct a step-by-step critical analysis of their own work and that of others. (LAV.01X)v
Specific Expectations
Students will:
apply the process of critical analysis (initial reaction, description, analysis, interpretation and judgement) to selected works and productions; (LAI.01X)v
use vocabulary appropriate to each specific art form in describing the artistic elements and principles in works and productions; (LTI.03X)v
explain how chosen techniques used in works and productions communicate mood and message. (LTI.07X)v
Planning Notes
For additional dramatic formats see Structuring Drama Work in the resource list.
There is a link to Design and Technology, English, Communications and Technology.
As this is the final activity in the drama unit, it is important for the teacher to reinforce the skills learned in all the previous activities.
It is essential to address career opportunities in this unit, as students now have enough experience to draw some conclusions on their own.
The teacher must explain the safety procedures for lighting and sound to the students.
If the students use
the Internet for their research, the teacher must address the issues of bias
and ethics.
Prior Knowledge Required
The students will be conversant in the areas of movement and drama (tableau, mime etc.).
The student will be skilled in formal and improvisational role-playing in dramatic situations.
Teaching/Learning Strategies
The teacher asks for volunteers and gives the students a scenario to explore in a short scene (e.g., your favourite aunt gives you a sweater you dislike and you do not want to tell her as you do not want to hurt her feelings).
- The teacher explains the format of thought-tracking: a scene involving people; two people play characters; two play the thoughts; one character speaks the words; the other character reveals the thoughts.
- The teacher asks the students to develop, rehearse, and present a scene based on this convention.
- The teacher explains the second format of "thought-tracking. One person plays the character; a character struggling with a difficult moral decision; each voice speaks one side of the argument; the character must assign its action based on the debate.
- The students prepare, rehearse and present a scene based on this convention.
- The students develop the idea of honesty in their drama and stress the importance to work beyond cliche and stereotype.
- The students introduce a theme into their drama that involves a moral or message.
The teacher asks for four volunteers who are given the same scenario as in Activity 1. The teacher explains the following formats:
a) Step out: in the process of the scene each character steps out and speaks their thoughts at that moment
b) Walk and talk: in the context of the scenario the students generate a tableau of a significant moment; a walker approaches each character and engages them in conversation that reveals a characters thoughts.
- The students create, rehearse and present the scenes based on these new formats to the class.
The teacher demonstrates how to use the lighting board, music and sound. The students list suggestions as to how they could incorporate lighting , music and sound into all of the formats. The teacher and students discuss the use of technology in drama. The students provide specific examples of other technology used in drama and in the arts in general.
- The teacher explains proper lighting, sound and sound effects safety procedures to students (e.g., to avoid strobe lights, to ensure circuits are in good working order, to ensure lights are properly secured with safety cables, etc.)
In small groups, the students create a scene based on the context and issues of social justice.
- The students must include the use of lighting in their performance.
The teacher takes the class to the library where they research their topics to ensure that their information is current and accurate. Some of this information (e.g., statistics) must be worked into their performance.
The students briefly rehearse their scene.
- The students present their scene to the rest of the class and it is video-taped.
- The students and teacher orally assess the performance with the aid of the videotape. (See Appendix A.)
- The students complete an activity in their reflection journals.
The students brainstorm their ideas as to what career opportunities there are in drama. If necessary the teacher will make additional suggestions. If available a member of the community should speak to the students about their experiences and the work opportunities available in the community (e.g., such as job shadowing and mentioning). The students discuss how work opportunities in drama promote the Catholic view of the dignity of work. The students and the teacher discuss the meaning of the word vocation and explain how God calls each person to a vocation.
Assessment/Evaluation
The students and teacher orally assess the mastery of the format. (LCV 01X, LAIO1X, LAI 03X, LTI 03X, LTI 07X)
In a roving conference, the teacher assesses time management, group dynamics, application of theme, honesty and format mastery. (OCE 4f, LCI 03X)
The students and teacher orally assess the application of theme, honesty and format mastery of the performance. (OCE 4a, LCV 01X, LAI O1X, LAI 03X)
The teacher evaluates the performance with a rubric. (OCE 4F, LCV 01X, LAI 01X, LAI 03X, LTI 03X, LTI 07X)
The students assess their summative skill development in the unit, as well as the process and product of their performance. See Appendix A (OCE 4F, LCV 01X, LAI 01X, LAI 03X, LTI 07X).
The teacher evaluates the journals. (OCE 4A, OCE 5g, LTI 03X, LTI 07X)
Resources
Booth, David and Charles Lundy. Improvisation: Learning Through Drama. Toronto: Harcourt Brace, 1988.
Neelands, Jonothan. Structuring Drama Work: A Handbook of Available Forms in Theatre and Drama. Toronto: Irwin, 1990.
Accommodations
Learning disabled students could read their lines from cue cards.
In role, the educational assistant or learning buddy could coach a mentally challenged student during the presentation.
A scribe could complete the journal reflection for a non-writer.
DRAMATIC ARTS
FORMAT EVALUATION RUBRIC
NAMES: ________________________
|
|
Level 1 |
Level 2 |
Level 3 |
Level4 |
|
Presentation of THEME -clarity -theme |
-limited clarity of theme in drama presentation -little evidence |
-adequate thematic clarity in drama -some evidence of context in |
-considerable clarity of theme -strong context shown in the scene |
-superior dramatic clarity evident -powerful context demonstrated in the scene |
|
Presentation of CHARACTER -motivation -role |
-limited or ineffective motivation -ineffective presentation |
-moderate level of motivation demonstrated -moderately effective use of role in drama |
-strong motivation evident in drama presentation -strong and effective role play |
-superior motivation demonstrated -sensitive use of role in drama |
|
Presentation of PLOT -clarity -originality -dramatic structure |
-unclear presentation -little evidence of originality in plot -ineffective dramatic structure in evidence |
-moderate clarity in forwarding plot -adequate level of originality in plot -some evidence |
-considerable clarity in -strong use of originality in plot of play -effective dramatic structure evident |
-superior clarity in plot presentation. -very original in plot area -powerful dramatic structures used |
|
Elements of MOVEMENT -tableau -mime |
-tableau work is ineffective -mime work is ineffective |
-adequate use of tableau in drama -moderate use of mime in drama |
-effective use of tableau in drama -considerable use of mime in drama |
-sensitive use of tableau in drama -powerful use of mime in drama |
|
Use of FORMAT -thought tracking -voices in the -step out -walk and talk |
-dramatic structure is absent or effective |
-dramatic structure is adequately used in the drama |
-dramatic structure is used in a |
-dramatic structure is used in a powerful and sensitive manner |
|
Elements of TECHNICAL THEATRE |
-the lighting does not enhance -sound is absent or not effective |
-the lighting adequately illuminates scene -the sound is present but |
-the lighting portrays the mood, theme -the use of |
-the lighting enhances the drama, theme and character work -sound enhances |
Glossary of Terms
Blocking the choreography of a scene.
Focal Point the place or stage area of greatest interest.
Improvisation a spontaneous response to a dramatic situation involving verbal and non-verbal activity.
Mime portrayal of a situation through movement, gesture, and facial expression.
Role a persona other than ones own.
Role drama/whole group
improvisation with teacher in role involves everyone
simultaneously
in a drama with the teacher guiding from within role.
Side-coaching to respond to a student question in a dramatic context to further develop their work.
Tableau frozen image which
portrays situations, emotions and ideas. Like a painting, it has
balance, a focal point
and a sense of action frozen in time.
Transition a movement or
movement sequence that forms a connective bridge between two
sections or parts of
a composition.
Elements of Design the
basic visual units used in art to communicate or express ideas; includes
line,
shape, colour, texture, space, and tone.
Principles of Design guidelines which govern the organization of the visual elements of an artwork; they include balance, variety, harmony, emphasis, proportion, movement, and rhythm.
Abstract a style of art which simplifies or alters a realistic subject so that it appears unrealistic.
Assemblage a sculptural technique which combines different elements, usually found objects, together in one artwork.
Carving a sculptural process which involves cutting or incising the medium into the desired form.
Contrast a comparison of two or more objects that highlights their differences.
Emphasis a principle of
design which describes the attraction of a tension to one part or element
over another.
Focal Point the element or object on which a tension is focussed.
Layout the arrangement or composition of an artwork.
Media the materials used to make an artwork.
Mural a large scale two dimensional artwork, typically made by painting or drawing.
Printmaking a technique
for making art which involves the transfer of an image from an inked
surface to
another surface (usually paper).
Proportion the comparison
of elements to one another in terms of size and quantity of degree
and emphasis.
Realism a style of art which
attempts to record figures, objects and scenes as they appear in
nature (also known as
naturalism).
Technique the process used by an artist to create an artwork (e.g., painting, sculpting, drawing).
Three-Dimensional an object that has a length, width, and depth.
Two-Dimensional an object that has length and width.
Multiple Grouping Strategy
refers to a number of particular ways a teacher groups students in
the
class: small group; attributes; affinity; random; gender.
Canadian Identity the
attributes of being a Canadian and how well do the media reflect it;
comparisons
of the portrayal of the Canadian identity in the mass media and
in
literature, theatre, and visual arts.
Scale if an artwork is done to scale all its parts are equally smaller or larger than the original.
Image a picture,
impression, or idea of a person, concept, or thing that can be
representative in art.
Context thematic approach close to the creation of images/ performances.
Technology secondary tool
used in conjunction with skill to create images (i.e., video, computers,
sound recording,
etc.)
Theory body of fundamental
principles; hypothesis; conjecture; supposition; suggested plan
of action.
High Technology new technology that can be used for sophisticated manipulation.
Low Technology base technology that provides limited manipulation.
Digital related to technology, the transformation of non-computerized images to binary form.
Portfolio a collection of
student works that can be assembled in physical form, sound, or digital
form stored on
computer, that reflects the accumulation of their works through their
school experience.
Journal book, computer
space, or recording, used to store student ideas either in written, or
visual (pictorial)
language.
Sketchbook a book for
students to record, examine, and process ideas related to their image
making/performance
activities.
Self Reflection
information provided by the student based on the act of image making; toward
the process
of assessment.
Rubric an assessment tool
used to provide detailed examples of criteria being assessed (usually in
multiple box layout).
Active Agent a term
referring to direction of actions motivated through the Ontario Catholic
Graduate
Expectations, with an emphasis on social justice and ones responsibility
to the communal
good.
Note This glossary contains definitions adapted from:
a) Booth,David. Improvisation (Toronto: Harcourt, Brace, Jovanovich Inc., 1985).
b) Houghton Mifflin Canadian Dictionary (Markham: Houghton Mifflin Canada Limited, 1980).
c) Hubbard, Guy. Art In Action (Chicago: Coronado Publishers, 1986).
d) Lexicon Publications
Inc. The New Websters Spelling
Dictionary (New York: Lexicon
Publications Inc., 1986).
e) Toronto Catholic District School Board. Arts in the classroom A teachers CD Rom Resource Toronto: Catholic Curriculum Co-operative, 1998).
f) Toronto Catholic District School Board, The Arts A Program Planning Guide K-9 (Toronto: Catholic Curriculum Co-operative, 1997).
Acknowledgements
The Comprehensive Arts writing team would like to thank the following people and institutions for their varied contributions to our document. The time, effort, and creative suggestions are appreciated by the writers and will benefit everyone who utilizes this document.
Glenys-McQueen-Fuentes, Brock University
Ann Perron, Toronto District Catholic School Board
Jonas Ambromatis, Canadian Conference of Catholic Bishops
TV Ontario, Toronto
David Booth, Ontario Institute for Studies in Education, University of Toronto
Bill Kilfoyle, Indian Affairs (ret.), Kemptville, Ontario
Professor Michael Wilson, Phd., University of Ottawa
Roger Clark, Althouse College, University of Western Ontario
International Tele-Film Enterprises Limited, Etobicoke
Central Ontario Catholic Curriculum Co-operative
Eastern Ontario Catholic Curriculum Co-operative
Barbara Day-Wills, Superintendent, Algonquin and Lakeshore C.D.S.B.
Denyse Latour, Algonquin and Lakeshore C.D.S.B.
Sandy Bender, Coordinator, Secondary Programs Ottawa-Carleton C.S.B.
Alex Zikakis, (Director), Claire Grazette, Deborah Wallace, and the staff at the
Donald Gordon Centre (Queens University) for their generosity and hospitality
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