Course Profile Drama,
Grade 9 open, Catholic
Unit 2: Dramatic Technique & Script
Activity 1½Activity 2½Activity 3½Activity 4½Activity 5½Activity 6½Activity 7
Unit Developer(s)
Mary Polidano
Joyce Schneider
Thomas Gallagher
Development Date:
June 1999
Preliminary exercises in listening, focus, imagination, and concentration are followed by explorations in tableau, movement, pantomime, and voice to give students the basic tools necessary to work dramatically. They then work on improving their self-expression and building belief while in role, developing the ability to effectively critique their own work as well as that of their peers. Basic stage terminology is touched on to facilitate class presentations.
Ontario Catholic School Graduate Expectations: 2a,b,c,d, 3c,d,
4c,d,f, 5a,b,d,e,f,g, 7a,b,c,i,j.
Strand(s): Creation, Analysis, Theory
Overall Expectations: DCV.01X, DCV.02X, DCV.03X, DAV.01X, DTV.02X, DTV.03X.
Specific Expectations: DC1.01X, DC1.04X,
DC1.05X, DC1.06X, DC1.08X, DC1.09X, DC1.10X, DC2.01X, DC2.05X, DA1.04X,
DA1.07X, DA1.08X, DA2.01X, DA2.05X, DA2.06X, DT1.01X, DT1.03X, DT2.01X,
DT2.02X.
|
Activity 1 |
Concentration and Imagination |
225 minutes |
|
Activity 2 |
Tableau |
262 minutes |
|
Activity 3 |
Movement and Mime |
675 minutes |
|
Activity 4 |
Voice |
150 minutes |
|
Activity 5 |
Interpreting the Script |
200 minutes |
|
Activity 6 |
Scripting from Source: Extending the Drama |
270 minutes |
|
Activity 7 |
Sharing the Script |
430 minutes |
· Since this unit draws heavily from a text used in Grades 7 and 8, assesses the students’ familiarity with this material.
· Encourage students to work with as many different people as they can; teacher may facilitate choosing groups, using random numbering systems, to foster a community within the classroom.
· Encourage risk taking in their performance, writing, and working with others.
· Assess for knowledge and understanding at end of unit (see Appendix 2.2 - Unit Test: Dramatic Technique).
· Students are called on several times during this unit to give feedback and suggestions to classmates. This provides an opportunity for the teacher to reinforce the concept of constructive criticism, i.e., that every critical comment should be accompanied by a suggestion for improvement. This also provides an opportunity for the students to participate in building each other's self-esteem by naming strengths in their work-in-progress as well.
· The teacher can make effective use of available technology by videotaping the students’ work-in-progress and performance.
· The safe use of available equipment, such as lights, set pieces, props, etc., should be reviewed with the students.
The ability to work co-operatively, with focus and concentration. Also, students must have a clear understanding of the necessity of a community-based classroom, the readiness to work with a variety of people, to take personal risks, and to take responsibility for the development of their own personal growth in Dramatic Arts.
In this unit students engage in large/small group activities, collaboration, brainstorming, individual and group presentation, critiquing/peer evaluation, and reflective writing.
Students may be assessed using the following tools: journals, self-assessment, group assessment, peer-assessment, formal teacher observation, and unit test.
Booth and Lundy. Improvisations. Toronto: Harcourt Brace, 1985.
David Booth. Games for Everyone. Markham: Pembroke Publishers Ltd., 1986.
Novelly, Maria. Theatre Games for Young Performers: Improvisations & Exercises for Developing Acting Skills. Colorado: Meriweather Publishing Ltd., 1985.
Sykes, J.B., Ed. The Concise Oxford Dictionary of Current English, Seventh Edition. Oxford: Oxford University Press, 1981.
Wansbraugh, Henry, ed. The New Jerusalem Bible. New York: Doubleday, 1990.
http://www.staircare.org
http://home.earthlink.net
Jacobs, J & W. Casey. “Greased Lightning”, from the movie musical soundtrack Grease. Polygram International Music, 1978.
Appendix A.1 - Glossary
Appendix 1.2 - Sample Checklist for Journal Evaluation
Appendix 2.1 - Self Evaluation of Student Role in Group Activity
Appendix 2.2 - Unit Test: Dramatic Technique
Appendix 2.3 - Monologue Evaluation Sheet
Unit 2a Rubric: Script Interpretation
Unit 2b Rubric: An Evaluation of Movement Performance for Tableau, Slo-Mo Movie, and Sit Down You’re Rockin’ the Boat
Appendix 4.3 – Peer/Student Evaluation of Group Dynamics and Productivity
Time: 225 minutes
In the following activities the students demonstrate concentration, expression, and imagination through a variety of large and small group interactions. Listening, collaboration, and game playing that are used to develop concentration, expression, and imagination enhance the opportunity to express a creative frame of mind when they enter future roles in the drama classroom.
Ontario Catholic School Graduate Expectations: 2c,d, 3c, 4f, 5a,b,d,e,g, 7a,b,i,j.
Strand(s): Creation, Analysis, Theory
Overall Expectations: DCV.01X, DCV.02X, DAV.02X, DTV.02X.
Specific Expectations: DC1.01X, DC1.08X, DAC.05Xv, DA2.06Xv, DT1.01X, DT1.03X, DT2.02X.
· Encourage students during the relaxation exercise to refrain from making any unnecessary noise or distractions to ensure the success of the exercise.
· Create an atmosphere for relaxation by using appropriate music and lighting. Have students focus on their breathing and clearing their minds.
· Model the instructions for game-based activities by using a student as a sample partner.
· the ability to “be aware” in the drama classroom as well as identify by name the students in their class
· rules and routines learned in Unit 1
Students are set in a large circle and choose a person to work with who is sitting beside them; they sit facing each other. Students are instructed to decide who is A and who is B. Ask A or B to begin. The object of the game is to point to one part of your body parts, while calling out another part. For example, you might say, “This is my eye,” while pointing to your nose. Your partner might then point to his or her eye and say, “This is my shoulder.” You always call out the body part your partner has pointed to. See how long the students can play the game without getting confused in the hand-eye-mouth co-ordination. When your partner “messes up”, you score a point and begin the game again. Encourage the students to start slowly and work toward a quicker pace. When the students have been working in pairs for approximately five minutes, have either A or B stand up and move around the circle a few spaces to work with a new partner. Repeat.
Students find their own space in the room where they are free from distraction. Tell the students that they are participating in a relaxation exercise and that the purpose of the exercise is to not only to relax, but also focus and concentrate. For example, when you act, mime or improvise, you need to focus and concentrate completely on what you are doing. To accomplish this, you need to push worries and concerns back into a corner of your mind and focus on the task at hand. Let students also know that they can take this exercise home with them and perform it if they need to relax before going to sleep. Be sure to accompany the relaxation exercise with appropriate music.
Dialogue
for relaxation exercise:
Close your eyes, uncross your legs, and allow your hands to fall to your side. Think of those things that you are worried or concerned about, and with every breath you take release each one. Inhale 2, 3, 4, and exhale 2, 3, 4; repeat a few times. Focus in on your breathing, concentrate on inhaling and exhaling and nothing else. All of your worries and concerns are gone. Focus in on your feet and concentrate in order to isolate all of the muscles in the feet. Continue your breathing and contract the muscles in the feet, and hold, 2, 3, 4, and relax. Contract the feet muscles again, 2, 3, 4, and relax. Continue in this manner working up through the legs, buttocks, abdomen, chest, shoulders, arms, neck, and face (scrunching, eyes, nose, mouth, cheeks, forehead). Remind students from time to time to focus on their breathing and giving them a count. When contracting/relaxing exercise is complete: slowly, gently roll over onto your stomach and carefully bring yourself to a hands and knees position with head continuing to relax and back flat; (teacher may want to check body positioning for safety). Slowly raise your abdomen upward (cat stretch) for the final stretch (your back); repeat 4 times. Slowly sit back on your feet and gently stand up, moving up from the torso to the head in an eight count. Finish with a “hug stretch”(where they hug themselves) and “reaching for the stars” stretch (where they stand on tiptoes and reach upward with their arms and from side to side).
a. Explain how it felt when you played the game Don’t Mess Me Up.
b. Were you successful? Why or why not?
c. Were you able to relax during the relaxation exercise? If not, explain why and discuss what you could have done differently to be successful. If yes, discuss how this exercise will help you in drama.
Prior to the students entering, the teacher must hide a looney somewhere in the room. Have students stand in a circle. Tell them that they are going to imagine that they have a ruby in their belly button and that they must belly dance to keep the ruby in place. Have them do this all at the same time. As they are pretending, walk around the room and observe their individual dances. When finished, have them sit in a circle. Tell students you have hidden a looney somewhere in the classroom and that someone will go home a dollar richer. Establish safety rules and boundaries and let them find the looney. Give hints as to whether they are hot or cold if they are having trouble finding the looney; play until the looney is found. When the looney is found, have the students sit in a circle.
Discuss with the students how meaningful each activity was for them, for example:
a. How did you feel pretending to be a belly dancer?
b. How did you feel when searching for the looney?
c. What was the difference?
Elaborate on student input and direct the discussion toward belief, commitment, and meaningful and purposeful role play. Basically, the focus is toward the intensity of commitment in finding the looney. As such, the students have an activity to refer to when trying to establish belief in their character(s).
Sit in groups of five or six. Choose one person to be the detective. The detective thinks up a crime, stands in the middle of the group, states what the crime was, and where and when it was committed.
At this time the detective cross-questions one of the suspects. The trick of this game is that those left in the group act as one suspect. Each student must try to remember what the others have said when it is their turn to be questioned by the detective. The detective questions each person several times, switching quickly back and forth, as if they were all one person. The detective’s aim is to catch one student when they disagree with or contradict what someone else has said. Whoever gets caught becomes the detective and the situation starts again. Play the game, until most students have had a chance to be the detective.
Discuss with the students their ability to stay in role by focussing and concentrating on their roles. How did they feel?
In their journals, have students respond to the following:
a. Explain which elements in Alibis will help you in drama. Cite one example from today’s activities.
b. Explain what you became aware of in yourself and in others through Alibis.
Before beginning the warm-up, discuss with the class how imagination and using it to its full potential is important in daily life and work. After discussion tell students that they are to use their imaginations to the best of their abilities in today’s activities. Students stand in a large circle. This warm-up begins with person A. A turns to the person next to them, B, and “passes” a large gesture with a sound to them. B catches and quickly passes A’s gesture and sound as well as a new gesture and sound to the person next to them, C. This “pass/catch” format is repeated around the circle until it is moving smoothly. Students should be told not to think about what they are doing and just do and say the first thing that comes to mind.
a. Students sit in a large circle. One person stands in the centre of the circle and performs an action in a mechanical, repetitive manner (e.g., swinging an arm from side to side) with a sound effect. One by one, in no specific order, everyone enters the circle by creating a new action and sound effect which corresponds in some way with the movement already being performed, i.e., the next student sits beneath the first student and alternately raise their arms up and down in rhythm to the first person’s arm movement. Stress to the students that a variety of movements, rhythms, and sounds should be used. Note to the students to choose their movements carefully as they may be in that position for a period of time. Repeat the exercise.
b. At the end of the second construction of a machine, from a signal from the teacher, try the following:
· the power is shut off and the machine comes to a stop;
· the machine begins to lose power and works in slow motion;
· the machine begins to move quicker and quicker;
· the machine gets louder and louder;
· the machine explodes and falls apart.
c. Students are divided into groups of four or five and have their own workspace in the room. Each group decides on the type of machine they present to the class. Once this has been set, each member decides on the part of the machine that he/she acts out. For example, if a team chooses to be a car wash, the students can mime all the aspects of the machine. Each team practises being the machine it has chosen. The teams then present their machines to the other teams who try to guess the kind of machine being demonstrated.
a. Based on your participation in Pass/Catch, Constructing a Machine and Machine, did you use your imagination to its full potential? Explain.
b. Describe how being creative and using you imagination can be helpful in a work-related situation.
1. Journals checked and assessed for completion, Appendix 1.2 - Sample Checklist for Journal Evaluation (DA2.05X, DA2.06X)
ESL/ELD students may be paired with others where necessary to facilitate participation in the exercises.
David Booth. Games for Everyone. Markham: Pembroke Publishers Ltd., l986.
Booth and Lundy. Improvisations, Toronto: Harcourt Brace, l985.
http//www.staircase.org
Appendix 1.2 - Sample Checklist for Journal Evaluation
Time: 262 minutes
Through the following exercises, students begin to understand and develop the dramatic convention of tableau. As well, students establish a dramatic vocabulary they utilize through practice.
Ontario Catholic School Graduate Expectations: 2a,c,d, 3c,d, 4c,d,f, 5a,b,d e, f, 7a,b,i,j.
Strand(s): Creation, Analysis, Theory
Overall Expectations: DCV.01X, DCV.02X, DCV.03X, DAV.01Xv, DTV.01X, DTV.02X, DTV.03X.
Specific Expectations: DC1.01Xv, DC1.08Xv, DC1.09Xv, DC1.10Xv, DC2.01Xv, DC2.05X, DA1.02Xv, DA1.05X, DA2.01Xv, DA2.05Xv, DA2.06Xv, DT1.01X, DT1.03Xv, DT2.01Xv, DT2.02X.
· Prepare a discussion of the notion of “reverence” with students in regard to using the Holy Scriptures in class.
· Review the concepts of concentration, expression, and imagination to gear students toward productive dramatic work.
· In regard to the tableau work, teachers are encouraged to research other sources such as headlines from newspapers, magazines, news reports, tabloids, etc.
· In Fairy Tale Tableau ESL students may not know Western fairy tales, and it is recommended that those within their group share tales.
· In Activity 2, Main Exercise 1, the teacher may want to develop an assessment tool that establishes a language and manner for students to critique each other.
· Use music during tableau presentations.
· Prior to the initial tableau presentation, establish the role of the audience and performers to attain the desired effect from the class.
· A thorough knowledge of oral and written communication skills, such as recording observations, critiquing, assessing, and note taking.
· An understanding of concentration, expression, and imagination as expressed in Unit 2, Activity 1 is essential.
Instruct students to walk around the room freely, going in any direction they wish in a quiet, relaxed manner. As they are walking, continue to give direction: when freeze is called they are to freeze in their positions. Repeat a few times. On the final freeze position ask half of the class to sit down while the other half continues in the Walk & Freeze activity. This time ask students to freeze in the most creative manner that comes to mind. Repeat a few times and have the group that is sitting comment on the frozen positions of those freezing. Reverse the roles and repeat.
a. Divide students into two groups and have them sit in lines facing each other. Ask them to partner up with the person beside them (if odd numbered have the odd person out join one of the pairs). Students decide who is A and B (A, B, and C). Once in pairs, student A is the sculptor and B (C) is a hunk of clay. They are going to mold B (C) into a sculpture. Instruct students to make sure they do not put their clay in a position they cannot hold; the sculpture should be able to maintain their positions with little effort. When finished, they indicate so by all sitting down. When ready ask one side to demonstrate; have sculptors mold clay into position and move back, so sculptures can be properly observed. Ask the group that is sitting to examine (and critique) the sculptures. Ask them to indicate what they find interesting about each one. At this time discuss with students stage positioning (and using different levels), blocking/masking, facial expression and gestures, and focus and concentration (Appendix A.1 - Glossary). Thank students and move to the other side. Once the discussion is finished, B (C) becomes the sculptor and A is the hunk of clay.
b. Extend Statues by telling each pair to join another beside them. Students may be in groups of four, five, or six. Instruct students to create a visual picture with their group members; all members must have a role to play in the picture. Once agreed upon, all members establish a position in their picture in a clearly defined role, keeping in mind the ideas and concepts brought up during the previous activity. Once finished establishing their visual picture, each side presents to one another and tries to guess what each group is doing and discusses some of the aspects from the previous discussion. You may extend this further and have each side, as one group, put together a larger visual picture and present to each other.
Indicate, with the students, that the frozen pictures that they established are known as tableaux. Briefly discuss with students the elements of a good tableau which include:
a. stage positioning (using different levels);
b. blocking/masking;
c. facial expression and gestures;
d. a strong focus;
e. concentration;
f. holding the position.
Students should understand that the combination of these elements creates a dramatic effect. Have students copy the note into their journal for easy reference.
Divide students into large groups of eight or more. Each member of the group takes on a number, for example, one to eight. Tell students that when you call out a number randomly, that student becomes the designated leader. Once the leader is designated the students move randomly and quickly in their workspace. At any time the leader may call out a word and all must freeze, forming a tableau that illustrates the word, e.g., if your leader calls, “school”, quickly take on the position that displays your reaction to the word “school”. Tell students that it is not important if their position directly relates to another. The tableau is held for about five seconds. The leader then releases everyone, and they again move around until another word is called out. Repeat many times, responding to a new word each time. Students experiment with a variety of stage positions, levels, facial expressions, and gestures. Discuss with the students the importance of timing and transition (Appendix A.1 - Glossary) in creating a tableau story; i.e., choose one person as leader to count to five, and to indicate the time to transition by a light snap of the fingers that only the players on stage can hear. Transitions should be smooth; students should use rehearsal time to confirm their movement from one tableau to the next.
Form groups of five or six. Student groups decide on a fairy tale familiar to all to depict using the dramatic technique tableau. Once decided, they need to establish five scenes to tell their tale; students should collectively decide on their five scenes before putting their tableau scenes together. Allow rehearsal time to organize, and practise their timing and transitions. When complete, students present their Fairy Tale Tableau to the class. NOTE: if the tale is not familiar to all students, re-tell the story.
At the end of each presentation, the teacher identifies scenes that worked and didn’t work, reviewing the appropriate criteria. Ask student performers and audience what was effective about each scene that the teacher chose to demonstrate, and what could be improved with the scenes that didn’t get their ideas across to the audience. In their journals, students should add to their Tableau note g) Timing, and h) Transition. Have students reflect on the following:
a. Explain the importance of rehearsal. Cite an example from your experience today that emphasizes your point.
Students are broken up into groups of four or five. On the call of the teacher, students form tableaux that would be typical of a photograph, e.g., formal wedding picture, graduation, class picture, family reunion, etc. Repeat the exercise with another theme.
Keeping the same groups, students form Biblical Tableaux. Brainstorm with the class different biblical stories that they know from the Hebrew and Christian Scriptures; put these on the board. Students are instructed to collaborate with their group and come to a consensus regarding the story and scenes they depict. They must put together seven to ten tableaux that illustrate their biblical story. Reinforce the elements of a good tableau and the importance of rehearsal. Students present to the class and are graded on their performance.
In their journals students reflect upon the following question:
a. Discuss the issue of reverence when dealing with Holy Scripture in the dramatic arts.
1. Anecdotal notes assessing student involvement (diagnostic)
2. Tableau Final Presentation, Unit 2 Rubric: An Evaluation of Movement Performances (DC1.01X, DC2.02X, DT2.01X)
3. Journals checked for completion but not assessed
4. Student self-evaluation, Appendix 2.1 - Self-evaluation of Student Role in Group Activity
5. Unit Test, Appendix 2.2 - Unit Test: Dramatic Technique (DC1.01X, DA1.05X, DA2.05X, DA2.06X, DTV.03X, DT1.03X)
ESL/ELD students may be paired with others where necessary to facilitate participation in the exercises. During games, the physically challenged student should be encouraged to make an effort to participate in any way they can during warm-ups and main exercises. If difficulty arises they may act as callers, i.e., Calling the Tableau. Tableau and movement activities actually provide a unique opportunity for non-verbal students to participate and express themselves.
Booth and Lundy. Improvisation. Toronto: Harcourt Brace, 1985.
Novelly, Maria. Theatre Games for Young Performers: Improvisations & Exercises for Developing Acting Skills. Colorado: Meriweather Publishing Ltd., 1985.
Wansbraugh, Henry, ed. The New Jerusalem Bible, New York: Doubleday, 1990.
http://www.staircase.org
Appendix A.1 - Glossary
Appendix 2.1 - Self-Evaluation of Student Role in Group Activity
Appendix 2.2 - Unit Test: Dramatic Technique
Time: 675 minutes
In the following exercises students develop a stronger awareness of group concentration and role through their work with others in pairs and large groups. Working toward a group focus and concentration, students are absorbed, periodically, in total stage action. Students further their knowledge of being in role through a number of social/dramatic interactions that take place in large group activity.
Ontario Catholic School Graduate Expectations: 2c,d, 3c, 4c,d, f, 5a,b,d,e,f,g, 7 b,j.
Strand(s): Creation, Analysis, Theory
Overall Expectations: DCV.01X, DCV.02X, DCV.03X, DAV.01Xv, DTV.02Xv.
Specific Expectations: DC1.01Xv, DC1.04Xv, DC105Xv, DC1.08Xv, DC1.09Xv, DC1.10X, DC2.01Xv, DC2.04Xv, DA1.02Xv, DA1.07X, DA1.08X, DA2.01Xv, DA2.05Xv, DA2.06Xv, DT1.03X, DT2.02Xv.
· Encourage silence as much as possible during the Group Mirror Pantomime exercise.
· Take the time to reinforce/demonstrate Mirror activity with another student as done in Unit 1 and indicate three guidelines to follow:
a. the person must move very slowly;
b. maintain eye contact and rely on peripheral vision;
c. the left hand of the reflection imitates the right hand of the person.
· During Slo-Mo Movie, it might be helpful to have some background music. Reinforce to the students that they must move slowly.
· Remind students of safety rules when working with other students.
· Use music wherever you see fit.
· In the Karate Festival exercise, the teacher should rove from one group to the other to offer assistance if needed.
During Exercise 4: Sit Down You’re Rockin’ the Boat (Guys and Dolls), stress to the students that a dance background is not necessary to complete their assignment. Indicate that they will be using simple movements to create their movement piece. You also need a copy of the video of Guys and Dolls and the sound track. If students are willing during their formal performance, invite a neighboring class in to participate as audience. Do not be limited by the song, there are others, for example, from Joseph, Grease, Jesus Christ Superstar, etc.,
· Students must bring into these exercises a positive attitude as well as group co-operative skills, communication skills, imagination, creativity, the ability to work with others, and the previous knowledge learned in Activity 2.
Place students in groups of four. Students pantomime a scene in which two characters do something together in front of a mirror and the other two reflect their actions. You may put scenarios on a card and give one to each group. Reverse the process and give the students a new card. Sample scenarios may include: at the hairdresser/barber shop, restaurant counter, shoe store, painting a portrait, exercise class, etc.
In groups of six or seven, students find their own workspace and choose one of the following scenarios: a baseball game or restaurant scene. Tell the students that their movie must have a clear introduction, a middle that includes a conflict and resolution, and an ending. Indicate that it should be between three to five minutes in length. Reiterate with students the ideas of belief and commitment, blocking, stage positioning, focus, concentration, etc. Let them rehearse for the remainder of the period. Students may wish to costume and prop their scenes. Put the criteria for evaluation on the chalkboard. See Rubric 2b: An Evaluation of Movement Performances.
Students are to resume their group activity from the day before. They have 30 minutes to costume, set up props, and rehearse. Once complete, students perform their Slo-Mo Movies for the rest of the class.
Discuss the performances with the students, reinforcing the dramatic concepts of belief and commitment, blocking, stage positioning, focus/concentration, etc.
In their journals students reflect on the following:
a. What ideas were the most difficult to express without words? Explain.
b. Identify and explain the elements of mime that could be useful in further drama work.
c. State two things that you feel you have learned from this type of movement work.
a. Form groups of six or seven and direct students to establish their own workspace. Number the students in each group (1-6/7) to simplify calling out the leader(s) throughout the exercise. Identify a leader. The rest of the group stands behind the leader. The leader begins with a movement, such as moving his or her leg, and the rest follow. It is important that students are told to watch the person in front of them and not the leader. The movement should flow, travelling from one person to another. The leader continues to add movement. Let the students continue for a few minutes and call another leader. The previous leader goes to the back of the line. As the group progresses, encourage them to use different levels.
b. Repeat the above exercise with the leader leading the group around the room.
c. Join two groups together and repeat b).
Place students in groups of five or six. Direct them to establish their own workspace. Once in place, tell students that they are entering a Karate Festival, in which they are asked to demonstrate their most impressive karate moves. Visually demonstrate to the class by having one group stand in a line, and for example, Mary develops a movement along with a vocal sound and teaches it to the rest of the group. Ed, Joyce, Tom, and Rick do the same. The final product is a collective group demonstration of all five movements with sound in a synchronized manner. Ask students to remember any type of martial arts performance they have witnessed, and remind them of the strength and definition in their movements. Movements should not be complicated. The movements created should be simple enough for everyone in the group to do; but they should be delivered with strength in their presentation. Reinforce the concepts of focus and concentration during this exercise. Allow approximately twenty minutes to prepare and have students perform their movement/sound pieces for the class.
In their journals students reflect upon the following:
a. Did your group use their rehearsal time effectively? Explain.
b. Using an example, describe how you were an asset to your group today.
In groups of nine or ten, ask the students to form a standing pyramid, i.e., one person in front, with two people behind and three people behind them, etc. Choose music that has a strong, fun beat. The first person starts to move, and the two immediately behind him/her mimic the movements. Each row follows the row ahead. The leader alternates as the music changes or as others come forward from the rear of the pyramid
Seat students in front of TV/VCR and introduce the idea of developing their own movement piece. Ease their tension about dancing by explaining that they will be exploring simple movements to the song “Sit Down You’re Rockin’ the Boat” (4 mins) from the musical Guys and Dolls. Students watch the clip from the video three times. The first time just to view, the second time you go through it with them and indicate the very simple movements performed by the actors, and a third time to get ideas they can incorporate into their own movement piece. Once you have completed this process again, reinforce the idea of simple movement. When ready, place students into groups. If you do have students with a dance background have them lead the groups. Students establish their own work areas in the room. Discuss safety and allow them the rest of the period to brainstorm and discuss their ideas while listening to the music. Also, indicate to the students that they may use simple costume to dress up their performance (you may want to include this in your evaluation: Rubric 2b– An Evaluation of Movement Performances). Students need at least two classes to complete this project. Review the criteria for evaluation with the students.
Have students resume their groups in their designated workspace. Tell them that as the music is playing they should continue to discuss but should be up and improvising potential movements to the song. Allow the remainder of the period and one more period to rehearse.
Students should change if they’ve brought costumes, and when they are ready, allow them time to rehearse (approx. 30 min. to change and rehearse). The students then perform their movement pieces to the class (and/or other classes).
Students reflect on the following:
a. How well did your group work together? Explain.
b. Was the activity as difficult as you may have anticipated at the start? Explain.
c. Refer to one person in your group that you got to know better. Briefly discuss what you’ve learned about this person and your experience with them.
1. Journals checked and assessed for completion, Appendix 1.2 - Sample Checklist for Journal Evaluation (DTV.02X, DC1.04X, DC1.10X, DC2.04X, DA1.02X, DA2.01X, DA2.05X, DA2.06X)
2. Final evaluation of group presentation, Rubric 2b: An Evaluation of Movement Performances for Slo-Mo Movie and Sit Down You’re Rockin’ the Boat (DC1.01X, DC1.05X, DC1.09X, DC2.01X, DT2.02X)
3. Student self-evaluation, Appendix 2.1 – Self-Evaluation of Student Role in Group Activity (DAV.01X, DC1.08X)
ESL/ELD students may be paired with others where necessary to facilitate participation in the exercises. It is advisable to pair ESL/ELD and physically challenged students with mature students in the class. Depending on willingness and capability, these students can be included in the warm-ups and exercises. The student may want to offer technical support to the class, i.e., lighting and sound, as well as be caller for many of the earlier warm-up activities.
Booth and Lundy. Improvisation, Toronto: Harcourt Brace, 1985.
Novelly, Maria. Theatre Games for Young Performers: Improvisations & Exercises for Developing Acting Skills. Colorado: Meriweather Publishing Ltd., 1985.
http://www.staircase.org
http://home.earthlink.net
Appendix 1.2 - Sample Checklist for Journal Evaluation
Appendix 2.1 - Self-Evaluation of Student Role in Group Activity
Time: 150 minutes
Students become aware of their vocal potential and of the tools they need to assist them with breathing, projection, and enunciation.
Ontario Catholic School Graduate Expectations: 2a,b,c,d, 3c, 4d,f, 5a,b,e,g, 7b,i,j.
Strand(s): Creation, Analysis, Theory
Overall Expectations: DCV.02X, DAV.01X, DTV.02Xv.
Specific Expectations: DC1.01X, DC1.06Xv, DA1.01X, DA2.05Xv, DA2.06Xv, DT1.01X, DT2.01Xv.
· You may want to provide a chart that illustrates the function of the voice.
· Encourage the students not to strain their voices; by doing so they may cause damage to their developing voices.
· Inquire as to whether there are trained voices in the classroom and use them as a resource.
· Discuss with students the importance of a vocal warm-up.
· Students need to draw on their knowledge of relaxation, listening and communication skills, as well as co-operation.
Ask students to find their own space and lie on their backs on the floor. Students listen to their breathing, avoiding any distractions and concentrating on the breath they inhale and exhale. Once the class has established this ask them to place a hand just below their rib cage and indicate that this is known as their diaphragm. Inform students that the diaphragm is a muscle that separates the abdomen from the thorax (upper part of the body between the neck and abdomen). Tell the students that if they are breathing from the chest (chest inflates and deflates), they should attempt breathing from their diaphragm (abdomen inflates and deflates). Teacher moves around at this point and spot checks the students to see if they are breathing from their diaphragm; if not, assist students by telling them to try to isolate the muscle.
Once this has been established, ask the students, on a three count, to sigh from the diaphragm. Repeat a few times. When finished ask them to “aahh” together on a three count for four counts; teacher counts 1, 2, 3, 4. Repeat a few times. While repeating the activity, ask students to be louder each time and pay particular attention to where their voice is coming from. Do a periodic check with students: “Is the voice being projected by the throat or by the diaphragm?” When finished switch to “oooo’s” and repeat the process.
Have students sit at one end of the room. Place a chair about two metres away from them. Explain that they are to say, “Hi there chair!” At the same time, visualize the words leaving their mouth and landing on the chair. Let students try it as a group first and second as individuals. Next, ask students to say to the wall at the far end of the room, “Hi there wall!” Discuss with students that, since they have to throw their voice farther for it to reach the wall, their speech should be louder. Students again visualize their words leaving their mouth and landing on the wall. Finally, have them visualize that they are speaking to the hall outside of their classroom, and see their words travel out there as they say, “Hi there hall!” To conclude the main exercise, have students individually say hello to the chair, wall, and hallway. Discuss the differences in how far the voice is projected by each student.
Students reflect on the following questions in their journal:
a. Was it easy to visualize your words travelling? Explain.
b. Did you notice a difference in your projection? Explain.
c. What does this exercise tell us about the power of the brain when it comes to performing or achieving a task?
Ask students to find their own space and lie on their backs. Tell students to recall the warm-up from yesterday, and to regulate their breathing from the diaphragm. Once students are quiet, give them a three count and ask them to sigh. Repeat a few times. Next, tell the students that they are going to work on enunciation today, i.e., clarity in their speech using vowels. Begin with A, and give the students a count; tell the students to hold the sound as long as they can. Repeat a few times. Move into E, I, O, and U repeating the same process with A. At the end, have students recite in unison A, E, I, O, and U.
a. Ask the students to set up in groups of four. Give students a text of the following conversation:
DAD: Good morning, dear.
MOM: Oh, good morning.
SAM: Hi, Mom.
ERIN: Hi, Dad.
SAM: Will you be driving us to school today?
DAD: I can’t; I’ve got an early meeting.
ERIN: Then we have to walk?
MOM: You’ll have to if your father can’t drive.
Students are asked to practise it briefly and then present it. They are not to act it out, but to just use an appropriate tone of voice for their character. Next, have the students imagine that this is not a normal family, it is the “Angry Family”. They are to deliver the same scene, but as if everyone was angry with everyone else. It is important that they not act the roles, but show their anger through their voice. As well, they must use the text exactly and not add or delete words. The exercise is repeated with any variety of family types: depressed, giggly, loud, speedy, robotic, incredulous, singing, etc. The idea is that they work on their delivery in different manners with an emphasis placed on their enunciation.
b. Breakfast Chat with a Twist: Students try the scene with different accents, e.g., French, southern drawl, Italian, etc. Tell the students that the exercise is not to perfect the accents, but to become aware of the subtle changes that can be made when using voice and the difficulty in enunciation when incorporating an accent.
NOTE: Teacher must set up activity carefully. The activity should focus on the use of voice and away from mannerisms or characterizations that appear stereotypical.
Discuss with the students the importance of enunciation in speech. ocus on the two major elements of being heard (projection), and being clear (enunciation).
Students reflect in their journals the following questions:
a. Based on your experience in the Breakfast Chat exercise, indicate where you need to improve in projection and enunciation. Provide an example for each.
b. How might the verbal and non-verbal skills studied help you in a typical workplace or in other classes?
1. Journals checked for completion and assessed, Appendix 1.2 - Sample Checklist for Journal Evaluation (DA2.05X, DA2.06X)
2. Teacher observation: informal (DC1.06X, DT2.01X)
ESL/ELD students may be paired with others where necessary to facilitate participation in the exercises.
Where students may be unable to lie on the floor due to a physical impairment, have them remain seated.
Spolin, Viola. Theatre Games for Rehearsal: A Director’s Handbook. Illinois: Northwestern University Press, 1985.
Karshner, Roger. You Said a Mouthful. California: Dramaline Publication, 1991.
Appendix A.1 – Glossary
Appendix 1.2 – Sample Checklist for Journal Evaluation
Appendix 2.2 – Unit Test: Dramatic Technique
Time: 200 minutes
Students discover the elements of script. Beginning with partial scripts, students discover various meanings contained within specific text. They then move to create their own works scripted from their acting experience.
Ontario Catholic School Graduate Expectations: 4c, 5a, 5e, 5g, 7c, 7j.
Strand(s): Creation, Analysis, Theory
Overall Expectations: DCV.04X, DCV.O5X, DAV.01, DTV.02X.
Specific Expectations: DC1.03Xv, DC2.04Xv, DC2.05Xv, DA1.09Xv, DT2.01Xv, DT3.02X.
· When selecting scripts for student work in this activity, make sure that they are general enough for open interpretations.
· Review with students the "beginning, middle, and end" scene structure format from the improv unit.
· Be aware and draw attention to the many possible different interpretations of every script, scene work, and characterization.
· Thorough knowledge of dramatic terms and their application: tableaux, stepping out, etc.
· Clear understanding of the characterization process: voice, movement, gestures, facial expressions, intentions, etc.
· Understanding of the concepts of "advancing the scene", blocking, character listening, etc.
Students get into pairs, A and B. Using only the word "what?", students try and have a meaningful conversation. They may use as many pauses and actions as they like to help convey their story. Have students try the exchange again, using different emotions (e.g., anger, jealousy, fear, teasing, joy, suspicion, etc.).
In pairs, students decide who is A and who is B. They are given a minimal two-character dialogue, such as the following, to learn:
Scene 1 Scene
2
A: Hello. A: Good morning.
B: Hello. B: Good morning.
A: How are you today? A: Lovely day, don’t you think?
B: Fine, thank you. How are you? B: Yes, it’s quite nice.
A: Fine, thank you. A: It looks like rain, though.
B: Good-bye. B: I suppose.
A: Good-bye. A: Well I should be going.
B: Fine. So long.
A: Good day.
Once the script is memorized, have students practise it, conveying various interpretations, such as joyful, fearful, at a church, in a doorway, etc.
Remind students that any action can take place before, during, or after the dialogue, but the words themselves must not change. View several, with commentary after each round.
Oral or journal questions for students:
a. How does changing the way we say these lines change the effect of the presentation?
b. How do our actions throughout the script affect the audience’s understanding of it?
c. When performing a script, why must we have a clear understanding of what we are saying?
d. How do you figure out these "intentions"?
Lead a brainstorming session with the class, creating a list on the board of “things that matter to us”. Through discussion, the class determines why these things/issues are important to us.
a. The teacher reviews with the class the structure of a scene:
· introduction of characters and situation;
· middle: development of conflict to a decisive moment;
· ending: resolution of conflict and conclusion.
b. In pairs, students pick one of the topics on the board and create an improvised scene based on the theme or issue.
c. Students act out the “beginning of the scene”; stopping just after the main conflict is introduced. They repeat the segment, then write out each of their parts as they have refined them. This process is repeated to create the “middle” and “ending” of their scene.
d. Students re-write their dialogue for clarity, and include basic stage actions for the actors to follow. Once both students and teacher are happy that the scene’s flow is correct, students are to submit a good copy for other student actors to follow.
e. Students exchange scripts, and each acting pair begins interpreting their new work. Rehearse to performance.
Journal/oral reflection based on the following questions:
a. How did the performance by another pair of actors change the “look” of your script?
b. Which new actions or movements by the actor(s) surprised you? Why?
c. What other differences were there between the way you did your script, and the way it was performed by the new actors?
d. What responsibilities do we have to others’ work that we may be interpreting or acting out?
1. Teacher Observation: informal (all specific expectations)
2. Formal teacher assessment of scene work, Appendix 4.2 – Evaluation of Scene Work (DC1.03X, DC2.04X, DC2.05X, DA1.09X, DT2.01X, DT3.02X)
3. Rubric for Script Interpretation (DC1.03X, DC2.04X, DC2.05X, DA1.09X, DT2.01X, DT3.01X)
4. Formal evaluation of monologue, Appendix 2.3 – Monologue Evaluation Sheet (DC1.03X, DC2.04X, DC2.05X, DA1.09X, DT2.01X, DT3.02X)
5. Formal assessment of Writing in Role, Appendix 3.3 – Checklist for Assessing Writing in Role
ESD/ELD students may be given a much simpler script segment, appropriate to their language level. Physically challenged students can participate while seated, while any movement may take place in front of them. Those in wheelchairs can participate fully. For assessment/evaluation, modification of special needs students can include oral assessment for written reflections or dictation if necessary.
Lundy, Charles and David Booth. Interpretation: Working with Scripts. Canada: Academic Press, 1983.
Majeski, Bill. Doubletalk: 50 Comedy Duets for Actors. Colorado Springs: Meriwether Publishing, 1990.
Mauro, Robert. Two Character Plays for Student Actors. Colorado Springs: Meriwether Publishing, 1988
www.puc.ca
Playwrights Union of Canada
Appendix 2.3 – Monologue Evaluation Sheet
Appendix 3.3 – Checklist for Assessing Writing in Role
Appendix 4.2 – Evaluation of Scene Work
Time: 270 minutes
Through the extension of fairy tales, students explore the creation process of a script by using activities such as, pairing, small and large group, and tableaux.
Ontario Catholic School Graduate Expectations: 2b, c, 3b, 4a, b, 5a, b, e, g.
Strand(s): Creation, Theory, Analysis
Overall Expectations: DCV.04X, DAV.01X.
Specific Expectations: DC1.08X, DA2.02Xv, DA2.05Xv, DT3.01X.
· Prepare chart paper, markers, and tape for Main Exercise 2.
· Given that this activity is adapted from a text often used in Grades 7 and 8, it would be wise to conduct an informal diagnostic assessment to see if students are already familiar with this material. If so, extend the activities to include material and issues not previously explored.
· Students should have developed co-operative, collaborative, and communication skills.
Students, in pairs, are told to imagine that they are magazine reporters who want to investigate how the lives of fairy-tale characters have turned out. Did they live happily ever after? Improvising, the students work in pairs to conduct an interview between the reporter and any fairy-tale characters. Each pair then switches roles. Once each person has played both roles, the pair must decide which interview they demonstrate to the class that does not take more than a couple of minutes.
a. The teacher begins the session by asking the students to compile a list of titles of 20 different fairy tales that they know, and list some of the common elements to these fairy tales (good vs. evil, wishes, witches, magic, happy endings, etc.).
b. The teacher, taking on the role of a famous book publisher, explains that she/he wants to create a long awaited sequel to the fairy tale Cinderella. The teacher, as publisher, asks the students for advice through a brainstorming session. Synthesize the various ideas that come from the brainstorming session on the board or on chart paper.
c. The students are then instructed to work in small groups and create a sequel consisting of five new short scenes. They are given chart paper and markers to record their ideas. Students may choose one of the ideas already on the board or create a new one. Group charts are hung on the wall. One person from each group reiterates the story line for the Cinderella sequel to the rest of the class.
d. Once this portion of the activity is complete, the teacher (publisher) expresses the need to illustrate the sequel and asks the students to present their five scenes to the class in tableau format.
Discussion: students discuss the merit of their work; what worked and what didn’t work in their story lines, hearing criticism from both the group members and members of the class. The class should collectively decide which Cinderella sequel is published. The teacher, in role as publisher, thanks the group for their creativity, input, and advice.
a. A teacher-directed brainstorming session takes place with the students regarding the different methods they used in the last two classes and puts their suggestions on the board/chart paper. Discuss the validity of using different methods to develop a guide to establishing a decision in individual and group decision-making.
b. Brainstorm a second time with students to identify the personal skills and qualities they have used, developed, or enhanced over the last two days, and put student suggestions on the board/chart paper. Discuss with the students the importance of developing the skills they have mentioned in their daily life and in the workplace.
c. Journal Reflection:
i. Explain the validity of using different methods, as discussed in class, to arrive at an individual or group decision.
ii. Identify and explain three personal skills or qualities that you have used, developed, or enhanced in class over the last two days. Provide an example for each.
1. Journal checked for reflection and completeness (DA2.02X, DA2.05X)
ESL/ELD students may be paired with others where necessary to facilitate participation in the exercises. Physically challenged students should be encouraged to participate in all activities, where possible, during the creation and performance of the tableaux.
Brandes. Gamesters’ Handbook Two, Great Britain. Stanley Thornes Ltd., 1978.
Booth and Lundy. Improvisation, Toronto: Harcourt Brace, 1985.
Larry Swartz. Dramathemes: A Practical Guide for Teaching Drama, Markham: Pembroke Publishers Ltd., 1988.
Appendix A.1 – Glossary
Appendix 1.2 – Sample Checklist for Journal Evaluation
Appendix 4.3 – Peer/Student Evaluation of Group Dynamics and Productivity
Time: 430 minutes
During this activity, students consolidate the experience and knowledge they have gained through the previous activities by working toward a performance of a script. They familiarize themselves with the format for script writing, and script and prepare a monologue for performance.
Ontario Catholic School Graduate Expectations: 1h, 2a,b,c, 3b,c,e, 4a,b,e,f, 5a,e,g.
Strands: Creation, Analysis, Theory
Overall Expectations: DCV.01X, DCV.02X, DCV.05X, DAV.01X, DTV.01X, DTV.02X, DTV.03X.
Specific Expectations: DC1.01Xv, DC1.04Xv, DC1.06Xv, DC2.05Xv, DA1.04Xv, DA1.05Xv, DT1.02Xv, DT1.03Xv, DT2.01Xv, DT2.02Xv, DT3.03Xv.
· The role of the coach/partner in the rehearsal process is very important in that it gives each student an opportunity to exercise analytical and communicative skills.
· Reinforce the meaning of good rehearsal: the goal is to improve the performance with every repetition. Students should be encouraged to set specific goals for improvement with every rehearsal.
· In providing feedback on performances, students should be instructed to a) be specific in naming strengths (go beyond “it was good”), and b) accompany every critical comment with a suggestion for improvement. This ensures that the performer feels affirmed while continuing to be challenged.
· The performance of a script provides the students with an opportunity to practise proper audience skills. Encourage students to be an attentive and appreciative audience.
· Experience with scripts generated in the previous activities
a. The teacher explains to the students that their unit on working from scripts culminates with the performance of a monologue. A short discussion takes place in which the students recall from previous work in this unit the components of an effective delivery of a script.
b. Students discuss the theoretical notion that the province might raise the driving age from 16 to 18. Together, they list on the board the pros and cons of this scheme.
c. Students then discuss the issue from the points of view of both a Grade 10 student anxious to get his/her license and that student’s reluctant parents. Motivations for both points of view are thoroughly discussed.
a. Students write a one-minute monologue from the point of view of the student asking permission to get his/her G-1.
b. Students write a second monologue in role, this time as the parent, giving their thoughts and feelings about their son/daughter’s request.
c. In pairs, students share each of their monologues with their partner. Together they decide which is their best work, and commit to preparing this monologue for performance.
d. Inform the students at this time that they should come to next class with the first five sentences of their monologue memorized.
In their journals, students write a response to the material chosen by considering the following questions:
a. What is my concept of the character in this script?
b. What seems to be the overall mood of this script?
c. What are the particular challenges offered to me by this script?
The teacher assembles the class as an audience, and calls on one student at a time (or one pair at a time if doing dialogues) to take the stage. As students deliver the first five lines of their script, the teacher models effective coaching techniques by making directing suggestions to the actor(s) with the other students as audience.
Instruct the students to coach their partners in just the same way during rehearsal to conclude this activity.
Students engage in rehearsal of their script with their coach/partners. The teacher monitors the progress of each student via roving conferences and anecdotal note taking. It is suggested that two 75-minute periods be devoted to rehearsal.
Students log their partner’s progress through the rehearsal stage in their journals.
Standing in a circle, students each take a turn delivering the very simple line: “Hello. It’s nice to finally meet you” to the person on their right. The objective for the students is to deliver the line in a different way from anyone else in the circle (e.g., one might say it as if annoyed, another delighted, etc.).
On the chalkboard, students should recall specific deliveries of the line. They write the line in proper script format, i.e., with the name of the speaker either above the line in capitals, or on the left. Appropriate stage directions or descriptors (modelled by particular students) should appear in brackets before the line. Students then copy these examples into their journals.
With their coach/partners, students decide on an effective piece of blocking that might accompany a certain interpretation of the line, and write the line with the blocking in proper script format in their journals:
e.g., Tony: (rises from chair with difficulty, walks forward to Anne with cane) Hello. It’s nice to finally meet you.
Through comparing and discussing these examples, students are reminded of the various ways in which a line may be delivered, and that it is important to look for clues provided by the writer in the stage directions.
Students then spend time rehearsing their monologues with their coach/partner, paying renewed attention to stage directions in the script.
With their coach/partners, students review and rehearse their monologue.
Students sit in audience format. During this activity, students take turns delivering their monologue for the audience in dress rehearsal. At this time, a “workshop” format is used, whereby other students comment on the strengths of each performance and identify areas that still need improvement.
Further rehearsal time should follow the workshop, to enable students to implement the suggestions made by their classmates.
Students log their progress through rehearsal in their journals.
Students prepare props, set pieces, and costumes for their performances.
Before performances begin, students sit in a private spot in the room, eyes closed. Either in silence or while soft, meditative music is played, students visualize the entire performance of the monologue in their minds.
Students take turns performing their monologue for the class. The performances are videotaped by a volunteer classmate. The teacher evaluates this performance (see Appendix 2.3 – Monologue Evaluation).
Students view the videotape of their performances and, in their journals, write a post-performance evaluation of their work.
1. Informal observation by the teacher of the rehearsal process (DC1.01X, DT3.03X)
2. Formal evaluation of the final performance (DC1.04X, DC1.06X, DT1.02X, DT1.03X, DT2.01X, DT2.02X), see Appendix 2.3 – Monologue Evaluation Sheet.
3. Student self-evaluation written in journal (DC2.05X, DA1.04X, DA1.05X)
4. Student peer-evaluation, completed by coach/partner (DC2.05X, DA1.04X, DA1.05X)
An educational assistant may coach ESL or ELD students. If appropriate ESL/ELD students may be provided with a monologue of modified length.
Colbourne, R. Garnet and J.R. Ramsden. Character Building, Scarborough: ITP Nelson, 1997.
Appendix 2.3 – Monologue Evaluation Sheet
|
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Rehearsal Time |
- uses time to improve performance skills and scene structure with limited effectiveness |
- uses time to improve performance skills and scene structure with moderate effectiveness |
- uses time to improve performance skills and scene structure with considerable effectiveness |
- uses time to improve performance skills and scene structure with thorough effectiveness |
|
Group Dynamics |
- reliable, supportive and co-operative with limited effectiveness |
- reliable, supportive and co-operative with moderate effectiveness |
- reliable, supportive and co-operative with considerable effectiveness |
- reliable, supportive and co-operative with thorough effectiveness |
|
Focus and Concentration |
- listens, stays focussed on task with limited effectiveness |
- listens, stays focussed on task with moderate effectiveness |
- listens, stays focussed on task with considerable effectiveness |
- listens, stays focussed on task with thorough effectiveness |
|
Knowledge of character's lines |
- has learned lines with limited effectiveness |
- has learned lines with moderate effectiveness |
- has learned lines with considerable effectiveness |
- has learned lines with thorough effectiveness |
|
Performance Quality |
- vocally and physically connected to other characters with limited effectiveness |
- vocally and physically connected to other characters with moderate effectiveness |
- vocally and physically connected to other characters with considerable effectiveness |
- vocally and physically connected to other characters with thorough effectiveness |
|
Knowledge of character's intentions |
- knows intentions with limited effectiveness |
- knows intentions with moderate effectiveness |
- knows intentions with considerable effectiveness |
- knows intentions with thorough effectiveness |
|
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Rehearsal Time |
- uses time to improve performance skills with limited effectiveness |
- uses time to improve performance skills with moderate effectiveness |
- uses time to improve performance skills with considerable effectiveness |
- uses time to improve performance skills with thorough effectiveness |
|
Group Dynamics |
- reliable, supportive, and co-operative with limited effectiveness |
- reliable, supportive, and co-operative with moderate effectiveness |
- reliable, supportive, and co-operative with considerable effectiveness |
- reliable, supportive, and co-operative with thorough effectiveness |
|
Focus and Concentration |
- listens, stays focussed on task with limited effectiveness |
- listens, stays focussed on task with moderate effectiveness |
- listens, stays focussed on task with considerable effectiveness |
- listens, stays focussed on task with thorough effectiveness |
|
Understanding/ Application of Movement Principles |
- makes connections between principles and the movement piece with limited effectiveness |
- makes connections between principles and the movement piece with moderate effectiveness |
- makes connections between principles and the movement piece with considerable effectiveness |
- makes connections between principles and the movement piece with thorough effectiveness |
|
Performance Quality |
- physically connected to other characters with limited effectiveness |
- physically connected to other characters with moderate effectiveness |
- physically connected to other characters with considerable effectiveness |
- physically connected to other characters with thorough effectiveness |
|
Reflection |
- responds to feedback from others with limited effectiveness |
- responds to feedback from others with moderate effectiveness |
- responds to feedback from others with considerable effectiveness |
- responds to feedback from others with thorough effectiveness |
Continue to Unit 3 |
Back to Unit 1 | Back to Course Profiles main menu