Course Profile
English, Grade 9 Applied, Catholic
Unit 4: Drama: Speak the Speech
Activity 1 | Activity 2
| Activity 3 | Activity 4 | Activity 5 | Activity 6
Students actively explore their understanding of how dramatic forms and theatre conventions create meaning. Key to this study is the students’ growing understanding of how the Church’s liturgical codes underpin powerful dramatic archetypes. Through a variety of activities, including written responses, dramatic readings, improvisation, viewing, movement, role playing, and discussions, students increase their awareness and respect for themselves in their local community as well as the global community.
Ontario Catholic Graduate Expectations: 2a, 2c, 4a, 4b, 4f, 5a, 5c, 5e, 7b.
Strand(s): Reading and Literature Studies; Writing; Language; Media Studies
Overall Expectations: LIV.01-.02P, .03B; WRV.01-.03P, .04-.05B; LGV.01P, .02B; MDV.01-.02P.
Specific Expectations: LI1.01-.02P, .03B, .04-.05P, .06B, .07P, LI2.01-.02P, LI3.01P, WR1.02-.04P, WR2.01P; MD1.01B, .02P; MD2.01-.02P.
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Activity 1 |
Pre-reading Activities (role playing, reflection, small group discussion, scripture reading) |
90 minutes |
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Activity 2 |
Trippingly on the Tongue: Reading the Play Dramatically |
240 minutes |
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Activity 3 |
Stage and Scene Design |
150 minutes |
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Activity 4 |
Investigating, Analysing, Improvisation, and Applying Distinct Elements of the Dramatic Form |
90 minutes (+60 integrated) |
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Activity 5 |
How Does It Feel? Writing in Character |
150 minutes (+120 integrated) |
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Activity 6 |
Staging a Scene/Adapting a Scene from the Text/Creating a Scene |
180 minutes (+60 integrated) |
· Students need to understand the relationship between sound, voice, movement, and the text.
· Drama study is a collaborative activity.
· Teachers select plays from a variety of cultures and traditions.
· role playing (teacher in role/student in role)
· writing reflection (tell me what you think) to relate play to student experience
· small group/large group discussions
· relating scripture to themes in drama
· teacher modelling of readings
· viewing of videotaped performance and teacher-directed discussion of its impact
· using computer graphics/CAD/animation to design set/props/costumes/lighting plots/blocking
· collaboration to stage scenes from the play
· peer editing “Writing in Character” activity
· Writing in character (peer editing process and product)
· Teacher assessment of writing (rubrics)
· Teacher/student conferences
· Checklist for peer- and self-assessment
· Teacher assessment of group dramatization
· Grammar rubric
· Writing process rubric
· Content test on application of terms
· Dramatic presentation of scene or scenes
anthology of short plays
The Bible
animation/CAD program
Time: 90 minutes
Students collaboratively plan, direct, rehearse, and present a scene from scripture. They explore key elements of the form, such as movement, sound, and dialogue.
Ontario Catholic School Graduate Expectations:
2(a) - listens actively and critically to understand
and learn in light of gospel values;
4(a) - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;
5(a) - works effectively as an interdependent team
member;
5(e) - respects the
rights, responsibilities and contributions of self and others;
7(b) - accepts accountability for one's own actions.
Strand(s): Literature Studies and Reading, Writing, Language, Media Studies
Overall Expectations:
LGV.02B - use listening techniques and oral communication skills to participate in classroom discussions and more formal activities, such as storytelling, role playing, and reporting/presenting, for specific purposes and audiences;
LIV.02P - demonstrate an understanding of the elements of a variety of literary and informational forms, with a focus on plays, short stories, and newspaper and magazine articles.
Specific Expectations:
LI1.02P - select and read texts for a variety of purposes, with an emphasis on recognizing the elements of literary genres and the organization of informational materials, collecting and using information, extending personal knowledge, and responding imaginatively;
LG2.01P - use listening techniques and oral communication skills to participate in group discussions.
· While other types of literature involve the reader and the text, drama involves many participants, including directors, actors, writers, audience, and technicians. In this sense drama is, by its nature, a collective activity. Hence, the teacher should emphasize that the collaborative demands of drama involve shared views and responses.
· All students participate either as directors or as actors.
· In groups, students render a scene from scripture.
· This activity can be used to introduce the key themes and conflicts in the play to be read in Activity 2. Hence, Activity 1 acts as part of the preparatory set for Activity 2.
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Videotape the student performance, if desired.
· Create the atmosphere of a “film set.” As on a film set, the director (the class) needs to negotiate with the actors, giving them direction on motivation, pacing, and movement. Also, directors/students need to be respectful while on the set, particularly when the actors are rehearsing.
· This activity makes use of tableau. In a tableau the actors freeze in pose. In this way, the director/class can stop and look at the scene, suggest possible lines of dialogue, action, and movement. The guiding principle is to “slow” the scene down so that the director/class can add detail to deepen characterization.
· Instruct students to add new terminology to their glossaries. These terms include: plot, character, protagonist, antagonist, conflict, dialogue, and banter.
·
Extension: Students research stories that are thematically
linked to scripture (e.g., Michelle Shocked The
Prodigal Daughter) and adapt them into a short scene.
· Extension: Students add to the original scene, introducing a new character, changing the setting, or introducing a new issue.
· The chaplain or members of the drama department (including senior drama students) might assist in the interpretation and direction of this activity.
· Teachers need to create an atmosphere of trust and security within the classroom so that students feel at ease with the risks inherent in performance.
· Students review basic literary terms such as: plot, characterization, pacing, setting, mood, and tone.
· Read a story from scripture such as The Prodigal Son or The Wise and Foolish Bridesmaids.
· Teacher leads a class discussion based on the following prompts:
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1. |
Identify and describe the key characters in the story. Describe the character’s physical appearance. Describe the character’s personality and motivation. Who is the protagonist? Who or what is considered to be the antagonist? |
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2. |
Identify minor characters in the story. (Minor characters need not have speaking parts.) (e.g., the swine in The Prodigal Son or the mustard seed in The Parable of the Mustard Seed) |
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3. |
Describe the setting (time, place, circumstances). |
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4. |
Identify the key conflict(s) in the story. |
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5. |
Identify and describe the key scenes in the story. |
· Once the class has acquired a good sense of the story, explain how the class will assume the director’s role.
· Create a stage area in the classroom and choose the actors for the scene.
· Have students who are selected to be the actors assemble on the stage.
· Explain that the class will assume the director’s role. The students/actors need to avoid improvising their own interpretation; rather they should follow their peers’ directions closely.
· Explain that the director/class makes the following decisions and answers the following questions:
1. Where is the story set? (1800s? mountaintop? kitchen? field? apartment?)
a) How will the director/class create the tableau?
b) What motivates the characters’ actions?
c) Which actors should stand? Which should sit?
d) What pose should the actor assume? (What emotion is the actor conveying?)
2. What are the actors’ opening lines to each other?
3. How will each actor react to the words of other actors? Will it be a gesture, a sound, a look? (e.g., The prodigal son turns his head away; his father looks to the ground.)
· On the director’s cue, “action,” the actors rehearse their scripted lines and actions.
· In a guided discussion, assist the class/director in assessing whether the scene achieves its intended dramatic purpose.
· Prompt the class/director for more lines and actions until the dramatization is complete.
Formative:
·
Checklist
to assess student participation
Summative:
·
Performance
Rubric
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To encourage fuller participation, students who are
reticent to offer answers/suggestions in large class discussions may write out
their suggestions on cue cards and submit them to the teacher.
· Students who are reluctant to perform before a large group may be enlisted to help with rehearsal/production of the tableau.
handbook of dramatic terms
Improvisation
Scripture (parables)
Time: 240 minutes
Students actively listen to and participate in the dramatic reading of a play.
Ontario Catholic School Graduate Expectations:
2(a) - listens actively and critically to understand
and learn in light of gospel values;
5(e) - respects the rights, responsibilities, and contributions of self and others.
Strand(s): Literature Studies and Reading, Language
Overall Expectations:
LIV.01P - read and demonstrate an understanding of a variety of literary and informational texts;
LGV.01P - use knowledge of vocabulary and language conventions to speak, write, and read clearly and correctly.
LI1.03B - describe a variety of reading strategies and select and use them effectively before, during, and after reading to understand texts.
· This activity deepens students’ understanding of drama as a participatory experience.
·
This activity leads students through a reading of a
major dramatic work such as a Shakespearean play or a modern play.
·
Vary the reading strategies throughout the activity
(e.g., reading along and listening to cassette tapes, teacher modelling
dramatic reading, student dramatic reading, and silent reading).
·
This activity is to be interwoven with a variety of
writing activities. Out of reading activities emerge several writing activities
such as responding to guided reading questions, writing in role, letter
writing, and personal response journals.
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Take every opportunity to invite questions regarding
the text and relate the content of the play to the personal experiences of the
students.
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During the reading of the play reinforce the use of
literary terms pertaining to the genre.
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A knowledge and understanding of key literary terms
including those studied in Activity 1: plot, character, protagonist,
antagonist, conflict, dialogue, and banter
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As part of the preparatory activity, lead a discussion
on one or more of the following: themes, historical contexts, social contexts,
and key conflicts found within the text.
Suggested
Approaches
Theme:
· Write a journal reflection on a key theme found in the play.
· Locate a news story that relates to the key theme.
Historical Context:
· Create a chart that outlines major characters, and their motivations.
· Create a timeline of key events.
· Create a “cause and effect” chart that demonstrates how one event causes another.
·
Have the class use a variety of reading strategies,
including silent reading, reading with partners, reading key scenes in small
groups, choral reading, and whole class reading.
· Be mindful that when students are developing their voices for reading they will follow this rehearsal process:
1. Read for understanding. What does the text mean?
2. Read for expression and meaning(s). How should the words sound when they are read? What needs emphasis?
3. Read in character. What character am I assuming when I read/narrate this part?
4. Read and react to other characters’ lines.
·
Model dramatic reading of key parts of the play.
Demonstrate how tone and voice are elements that create character. Read the
same line in two different ways to demonstrate this effect.
· Have students create a chart that organizes key phrases and actions in each act. Later, they may write short journal notes based on the phrases or create visual displays with the quotations as captions.
Reading Note-Taking Organizer (Drama)
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Textual Reference (Act, scene, line) |
Key words or phrases from the text |
Comment, Reflections, Questions |
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1. Julius
Caesar |
“You blocks, you stones, you worse than senseless things.” |
These two tribunes seem pretty tough on the crowd. Reminds me of the time I was at an Argo game and a security guard gave my friends a hard time. |
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2. Julius Caesar |
“Upon what meat does this our Caesar feed that has grown so great?” |
What is it about Caesar that makes him great? Is the speaker, Cassius, jealous of everyone? |
· Students rehearse their reading and assess their reading using the following chart.
Oral Reading Checklist
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Seldom |
Usually |
Frequently |
Always |
Oral Reading Criteria |
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Correct Pronunciation |
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Enunciation (clear and distinct) |
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Pause in correct place/Attention paid to punctuation |
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Emphasis on key words |
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Projection |
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Focus and Concentration |
· Teacher observation
· Checklist for self-assessment
· Oral reading rubric
Summative:
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Content
quiz on reading comprehension
· Some students may have difficulty reading orally. These students may receive additional support including extra coaching, extended rehearsal time, reading into a tape recorder.
· If students have difficulty reading the text, a peer tutor can coach/prompt the student through the lines. As well, the coach may choose to help the student interpret the lines under study.
· Students who have cognitive difficulty understanding key dramatic elements such as characterization could use a video or audio version of the play to help them get “into character”.
Canadian Mosaic (A.
Ravel)
Close-up Plays
Front Row, An
Anthology of Plays
Julius Caesar
Little Glass Houses
Marty (Paddy Chafesky)
The Merchant of Venice
A Mid-Summer Night’s Dream
The Miracle Worker
The Pen in My Hand
Pullman Car Hiawatha (Thornton Wilder)
Romeo and Juliet
Sorry Wrong
Number
Twelfth Night
West Side Story
Video and audiocassettes
Time: 150
minutes
Students research various productions of the play that they are studying. In particular they analyse the different set designs used in these productions. Using these productions as a resource, students design their own set. They use a variety of tools: pencil and paper, paper maché, foam core, CAD or computer animation to create their own design.
Ontario Catholic School Graduate Expectations:
5(a) - works effectively as an interdependent team member;
5(c) - develops one's God-given potential and makes a meaningful contribution to society;
5(e) - respects the rights, responsibilities and
contributions of self and others.
Strand(s): Media Studies, Literature Studies and Reading
Overall Expectations:
WRV.01P - use print and electronic sources to gather information and explore ideas for their written work;
MDV.01P - identify and describe the elements, intended audiences, and production practices of a variety of media forms.
LI1.01P - describe information, ideas, opinions, and themes in texts they have read during the year from a variety of print and electronic sources, including biographies, short stories, poems, plays, novels, brochures, and articles from newspapers, magazines, and encyclopedias;
LI1.05P - make inferences based on the information and ideas presented in texts;
WR1.02P - locate and record information and ideas from print and electronic sources, including newspapers and magazines, dictionaries, encyclopedias, vertical files, and electronic databases.
·
Students gather research from a variety of print and
electronic sources to compile information and generate ideas on set design.
Students incorporate findings in the creation of their own set/scene
design.
·
Time allocation for this activity may not be enough for
students to complete their designs in class. Therefore, students may need to
complete their set design independently.
·
Extension activities may include:
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students displaying their work, (e.g., in the
classroom, in the school’s display case, or in the community library);
·
a trip to the community theatre where students examine
the stage and its configuration
·
an interview with a local set designer or director;
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an interview with the visual arts, drama, or technology
teacher.
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Enlist the help of the teacher/librarian in researching
the history of stage/set design.
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The purpose of this activity is twofold: first, to
emphasize the importance of setting in the creation of dramatic tension, and
second, to provide an opportunity for hands-on application of concepts of set
design.
· Internet research skills
· Arrange the class into groups of three.
· Using video clips, show two versions of the same scene of the play in question, for example Zefferelli’s Romeo and Juliet and Luhrmann’s Romeo and Juliet.
· Students compare and contrast the setting of the two scenes.
· Students may use prompts from the chart below to assist in the comparison. (The teacher or students may modify the charts according to the scenes in question.)
First Version of the Play
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Description |
Effects on the scene |
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Type of stage/film set |
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Lighting (time of day) |
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Background |
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Objects (props) |
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Size and type of stage |
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Levels (dimensions) |
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Sound effect (music) |
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Overall mood and effect of the setting |
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Second Version of the Play
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Description |
Effects on the scene |
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Type of stage/film set |
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Lighting (time of day) |
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Background |
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Objects (props) |
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Size and type of stage |
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Levels (dimensions) |
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Sound effect (music) |
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Mood and atmosphere of the setting |
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· Students decide which scene of the two scenes they find more/most appealing or dramatically effective.
· Following the comparison, in their groups, students choose the scene they will design from the play.
· By answering the following questions as they apply, students determine the overall effect they want to create through their scene design:
1. What will be the historical context of our scene?
2. What mood should the scene create?
3. Should the scene convey a change in mood? How?
4. What props will be included in the scene and how will they be used?
5. How will “levels” be used to show the relationship between one character and another?
6. What will the background scenery look like?
7. How should lighting be used in the scene?
8. What sound effects or music should be used in the scene?
· Using the design tool(s) of their choice (pencil and paper, paper maché, foam core, CAD, or computer animation), students create a two- or three-dimensional set of their scene. They may add a soundscape to their model.
Formative:
· Teacher/group conferences
· Group activity checklist
Summative:
·
Rubric
for evaluation of scene design
· Students who are adept at design and set construction should be enlisted to assist students who have limited experience in this area.
· Additional time may be allotted for students who require it.
VCR
Computers
CAD software,
3-D studio software
Art Supplies
Tape/CD recorder
Time: 90 minutes (an additional 60 minutes in integrated language
study)
This activity examines distinct elements of the dramatic form that create meaning. Such elements include the manipulation of time, space, sound, movement, and character.
Ontario Catholic School Graduate Expectations:
Strand(s): Writing, Language, Literature Studies and Reading, Media Studies
Overall Expectations:
LIV.02P - demonstrate an understanding of the elements of a variety of literary and informational forms, with a focus on plays, short stories, and newspaper and magazine articles;
LIV.03B - identify and explain the effect of specific elements of style in a variety of literary and informational texts;
WRV.03P - use a variety of forms of writing to express themselves, clarify their ideas, and engage the audience's attention, imagination, and interest.
Specific Expectations:
LI1.02P - select and read texts for a variety of purposes, with an emphasis on recognizing the elements of literary genres and the organization of informational materials, collecting and using information, extending personal knowledge, and responding imaginatively;
LI1.04P - locate and use explicit information and ideas from texts in forming opinions and developing generalizations;
LI2.01P - use knowledge of elements of drama, such as plot and sub-plot, character development and revelation, conflict, dialogue and stage directions to understand and interpret text in the genre;
L12.02P - use knowledge of elements of the short story, such as plot, character, setting, conflict, theme, and atmosphere, to understand and interpret texts in the genre;
WR2.01P - identify the purpose for each piece of writing.
·
See Appendix H for suggested opportunities for language
skills integration.
· This is a two-part activity. In the first part, students will examine the Mass as drama.
· Explain that the Mass is the central transforming event of our faith.
· In the second part, students apply dramatic conventions in the scripting of an incident drawn from their experiences.
· Should time permit, have students volunteer to perform their re-enactments for their own class, other classes, parents, and other members of the school community.
· Ensure that students enter any new terms in their glossaries.
· Knowledge of the conventions of the Catholic Mass
· Knowledge of key dramatic and literary terms learned in preceding units and activities
·
Group students into pairs and hand out a copy of the
Mass as outlined in the daily missalette.
·
Ask students to define the dramatic conventions of the
Mass using the following chart:
Conventions of the Drama in the Mass
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Dramatic Convention |
Description |
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(Setting) Describe the “stage” in the mass? |
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(Character) Who is the narrator? |
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(Narrative) What is the “story” retold in the Mass? |
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(Audience) Who is the audience? What role do they play? |
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(Protagonist) Who is the central figure in the story? |
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(Props) Liturgical Symbols |
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(Costumes) Significance of the vestments |
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(Movement) What gestures are significant? |
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(Music) What music is used? When is it used? What is its effect? |
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(Chorus) How does the congregation play this role? What role does it play in the drama? |
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· Following the completion of the charts each pair shares its observations with the class.
· Explain that while the Mass is a re-enactment of the Last Supper, first staged 2000 years ago, it is also the story of our destiny told through words and actions.
·
Ask students to continue working with partners.
·
Instruct the students in each group to choose an
incident from their own experiences (e.g., their first date, a memorable
birthday, First Communion, Christmas, a wedding, Baptism, meeting a best
friend, babysitter stories).
·
Using the dramatic conventions listed in the chart
above, students will script the re-enacted incident.
·
Students submit their scripts for assessment.
· Teacher observation
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Peer editing checklist
·
Checklist for performance in groups
Summative:
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Rubric for assessment of script
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Checklist for completion of Conventions of Drama in the
Mass chart.
·
Some students may find the writing process challenging.
In this case, students may need additional time, peer support, access to word
processing, or a scribe.
· Since this is an interactive activity, it is important that the teacher identity students who work well collaboratively and pair those students with others who need support.
The Catholic
Book of Worship
A handbook of literary terms
Time: 150 minutes (an additional 120 minutes in integrated
language study)
In this activity
students make use of reader response techniques to write in character.
Ontario Catholic School Graduate Expectations:
2(c) - presents information and ideas clearly and honestly and with sensitivity to others.
Strand(s): Literature Studies and Reading, Writing, Language
Overall Expectations:
LIV.01P - read and demonstrate an understanding of a variety of literary and informational texts;
WRV.02P - identify the literary and informational forms suited to specific purposes and audiences and use the forms appropriately in their own writing, with an emphasis on communicating information accurately;
WRV.03P - use a variety of forms of writing to express themselves, clarify their ideas, and engage the audience's attention, imagination, and interest;
WRV.04B - revise their written work, collaboratively and independently, with a focus on support for ideas, accuracy, clarity, and unity;
LGV.01P - use knowledge of vocabulary and language conventions to speak, write, and read clearly and correctly.
Specific Expectations:
LI1.06B - use specific references from a text to support opinions and judgments;
LI1.07P - identify how readers' different backgrounds might influence the way they understand and interpret a text;
WR2.01P - identify the purpose for each piece of writing;
WR4.01B - revise drafts to ensure that ideas are adequately developed with supporting details, and to achieve clarity and unity;
LG1.04B - select words and phrases appropriate to informal and formal styles, to suit the purpose and intended audience of oral and written work.
·
See Appendix H for suggested opportunities for language
skills integration.
·
Over fifty percent of the time allotted for this
activity is spent on the writing process.
· Students’ understanding of the text, particularly characterization, is important to the success of the activity
·
Knowledge of characters from the play studied in the
unit
· Ask students to assume the role of a major character from the drama studied in this unit.
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As a preparatory activity for writing in character,
students write a short character sketch based on the following prompts:
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What the character says.
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What the character does.
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What other characters say about the character.
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What other characters do to the character.
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What are the physical characteristics of the character?
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Students write in character in the context of one of
the following scenarios:
1. Write a letter to another character in the play explaining your actions and motivations.
2. It is twenty years later. How has time worked to give you a new view on the key events in the play? Are you ready to forgive? forget? What have you learned?
3. If you could change one thing you said or did, what would it be? Explain.
4. Write a journal entry in which you reflect upon the most significant experience you have had. Why was it significant?
5. In character lead an interview with another major character. (This exercise can be done in pairs.) Discuss the major themes in the play.
6. Write a description of an event in your childhood that accounts for or shapes your personality.
7. Write an advice column.
· Students brainstorm, write, draft, revise, peer-edit, and submit publishable work.
· Writing process checklist
· Teacher observation
· Peer editing checklist
·
Writing
assessment rubric for final product
· Some students who find the writing process challenging may need additional time, peer support, access to word processing, or a scribe.
Dictionary
Word processing software
Thesauri
Time: 180
minutes (60 additional minutes in integrated language study)
This is the culminating activity for the unit. Using the skills and knowledge acquired in the unit, students interpret a scene from the text for the stage.
Ontario Catholic School Graduate Expectations:
4(a) - demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;
5(a) - works effectively as an interdependent team member;
5(c) - develops one's God-given potential and makes a meaningful contribution to society;
5(e) - respects the rights, responsibilities and contributions of self and others;
7(b) - accepts accountability for one's own actions;
Strand(s): Literature Studies and Reading; Writing; Language; Media Studies
Overall Expectations:
LIV.01P - read and demonstrate an understanding of a variety of literary and informational texts;
WRV.03P - use a variety of forms of writing to express themselves, clarify their ideas, and engage the audience's attention, imagination, and interest
LGV.02B - use listening techniques and oral communication skills to participate in classroom discussions and more formal activities, such as storytelling, role playing, and reporting/presenting, for specific purposes and audiences;
MDV.02P - use knowledge of a variety of media forms, purposes, and audiences to create media works.
Specific Expectations:
LI1.02P - select and read texts for a variety of purposes, with an emphasis on recognizing the elements of literary genres and the organization of informational materials, collecting and using information, extending personal knowledge, and responding imaginatively
WR1.03P - sort and group information and ideas, assess their relevance and accuracy, and discard irrelevant material;
WR1.04P - use the information and ideas generated by research to explore topics for written work;
WR2.01P - identify the purpose for each piece of writing;
LG2.01P - use listening techniques and oral communication skills to participate in group discussions;
MD1.01B - demonstrate critical thinking skills by identifying the differences between explicit and implicit messages in media works;
MD1.01P - identify and describe the elements, intended audiences, and production practices of a variety of media forms;
MD1.02P - identify and describe the elements used to structure media works in a variety of forms;
MD2.01P - adapt a work of literature for presentation in another media form;
MD2.02P - create media works for different purposes.
·
See Appendix H for suggested opportunities for language
skills integration.
· Students may choose to use a scene for which they designed a set in Activity 3.
· Students may choose to modernize the setting.
· Have students present their adaptation in the school theatre/auditorium or drama classroom, if desired.
· Enlist the help of colleagues in the drama and visual arts department as resources in staging the scene.
· Consider enlisting the help of local theatre directors or stage designers.
· Some scenes may require more actors than are in a group. Prepare for this contingency while students are working on their director’s handbook. The teacher can combine groups or double cast group members.
· A key to the success of this activity is identifying students in the class who work well with others and pairing them with those needing support.
· Being mindful of time constraints, it is suggested that the creation of the director’s handbook be limited to one class (approximately 75 minutes), the rehearsal to one class, and the performance/presentation to one class.
· Instead of performing a scene, students may opt to deliver a seminar on how they would stage the scene.
· The emphasis of this activity is not on literary analysis, but rather, on the application of the skills and knowledge needed for the staging of a production.
· A thorough knowledge and understanding of the play studied in this unit
· Arrange students into groups of three or four.
· Have each group select a scene from the play they studied in Activity 2.
· Photocopy a short scene (two or three pages) from the text and have students create a “director’s handbook” from the photocopied scenes.
· Step 1: Students paste the photocopied scene onto 8 X 10 sheets. (Note: wide margins are required so that there is room for production notes and stage directions.)
· Step 2: In the director’s handbook, students write a brief rationale as to:
a) why they chose this scene,
b) the scene’s overall mood,
c) how the actors should play the scene.
· Step 3: Students write directions in the margins, including: movement, lighting, scenery, music/sound effects and brief descriptions of the intended dramatic effect and dramatic mood.
·
Students rehearse and perform in groups (director,
actors, chorus, narrator, technician).
·
As an alternative to the performance, students may
present a seminar on how they would stage the scene.
·
Each group submits one copy of the director’s handbook
for assessment.
Formative:
· Teacher observation
·
Peer editing checklist (director’s handbook)
·
Checklist for performance in groups
Summative:
· Rubric for director’s handbook
· Group performance rubric
· The teacher may enlist the help of a resource teacher to suggest strategies for accommodating students who have difficulty working collaboratively.
The Catholic
Book of Worship
A handbook of literary terms
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