Course Profile
English, Grade 9 academic, Public
Unit 3: Dramatic Forms and Voices
Activity 1 | Activity 2
| Activity 3 | Activity 4 | Activity 5 | Activity 6 | Activity
7 | Activity 8
Unit Developer(s)
Joanne Bridgeman
Elizabeth Mick
Judy Stormes
Ann Varty
Development Date: June - July 1999
Students apply the skills learned in the preceding units to the analysis and study of drama. Students identify, analyse, and interpret the elements of dramatic structure, character and characterization, theme, setting, and stylistic features of drama, including movement and voice. Students understand the importance of the context (social, cultural, political) in which a literary work was created. Students use their knowledge and understanding of drama to reach a fuller understanding and appreciation of the writer’s ability to integrate all the elements of drama to create a complex, stimulating, and satisfying work of literature. Students demonstrate their understanding by recording their thoughts, ideas, and feelings about the characters, conflicts, and themes of the work in a variety of personal and interactive responses; by writing and publishing a literary exposition; by rehearsing and performing a dramatic scene; and by creating and sharing a media work.
Strand(s): Literature Studies and Reading, Writing, Language, and Media Studies
Overall Expectations: LIV.01D, LIV.02D, LIV.03B; WRV.01D, WRV.02D, WRV.03D, WRV.04D WRV.05D; LGV.01D, LGV.02B; MDV.02D.
Specific Expectations: LI1.01D,
LI1.02D, LI3.01D; WR1.01D, WR2.01D, WR3.03D, WR3.05D, WR4.01D, WR4.03D,
WR5.02B, WR5.06D, WR5.07B, WR5.14B, WR5.15B, WR5.16B; LG1.01B, LG1.02B,
LG1.04B, LG1.06B, LG1.07B, LG2.02D, LG2.04D, LG2.07D; MD2.01D, MD2.02D,
MD2.03D.
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Activity 1 |
Setting the Stage |
75 minutes |
|
Activity 2 |
Reading Between the Lines |
75 minutes |
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Activity 3 |
Voice |
75 minutes |
|
Activity 4 |
Movement and Language |
75 minutes |
|
Activity 5 |
Creating a Script |
150 minutes |
|
Activity 6 |
Design |
150 minutes |
|
Activity 7 |
Performance |
225 minutes |
|
Activity 8 |
Media Adaptations |
75 minutes |
· Strive to select plays from a variety of cultures and traditions.
· Use Canadian materials when appropriate and possible.
· Choose a play or plays for study and select scenes from the play that are appropriate to each of the activities.
· Plan a tour of a stage or local theatre.
· Plan for the class to view a stage production.
· Arrange to have the class move to an open space for student performances.
· Move classroom furniture to create a safe performance area.
· Invite drama students into the class to demonstrate dramatic voice and movement.
· Set classroom rules to ensure the safety of students.
· Take measures to create a sense of trust and safety within the class. It is essential to student enjoyment and success in these activities.
·
The Ontario Curriculum Grades 1-8, Language, 1997
· Knowledge acquired in Units 1 and 2: critical reading and writing, definitions of literary terms.
Students participate in these kinds of activities: improvisation, interpretative readings, data sheets, rôle cards, drama games, writing in rôle , writing scripts, and monologues, collaborative and co-operative learning, Reader’s Theatre, translating story to script, use of computer graphics to design set, costumes, lighting, and blocking, guest speaker (actor, director, and/or writer), field trip to local theatre, and performance.
Formative: writing in rôle with a peer-editing process, teacher assessment of group dramatization
Summative: dramatic presentation of scene or scenes
Beissel, H. Cues and Entrances. Toronto: Gage Educational Publishing Company, 1993.
ISBN 0-77151002-0
Boni, F., ed. Rhubarb-O-Rama! Plays and Playwrights from the Rhubarb! Festival. Winnipeg: Blizzard Publishing, 1998. ISBN 0-921368-78-X
Booth, D. and C. Lundy. Interpretations: Learning Through Drama. Toronto: Harcourt Brace, Canada, 1998. ISBN 0-7747-1210-4
Cavanagh, G. and G. van V. Trip, eds. The Players: Book 2: An Anthology of Plays for Student Production in the Classroom. Toronto: McClelland and Stewart Ltd., 1979. ISBN 0-7710-1941-6
Chekov, A. “The Brute”, SightLines 9. Scarborough: Prentice Hall Ginn Canada, 1999.
ISBN 0-13-012906-02
Dawe, R., et al. “How to Read a Dramatic Script”, ResourceLines 9-10. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-1-012906-02
Dawe, R., et al. “How to Stage Plays”, ResourceLines 9-10. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-1-012906-02
Doolittle, J., ed. Heroines. Red Deer: Red Deer College Press, 1992. ISBN 0-88995-081-4
Gerrold, D. “The Trouble With Tribbles”, SightLines 9. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-012906-02
Gifford, T., ed. The Play’s the Thing For Original Television Dramas. Toronto: MacMillan, 1976.
ISBN 0-7705-1291-7
Gilfond, H. “The Open Window”, SightLines 9. Scarborough: Prentice Hall Ginn Canada, 1999.
ISBN 0-13-012906-02
Hicks, P. and A. Cairns. Introducing Shakespeare. Oxford University Press, 1996.
ISBN 0-19-553654-1
Kemp, D. A Different Drummer. Toronto: Oxford University Press, 1990. ISBN 0-7710-4518-2
Ladousse, G.P. Role Play Resource Book for Teachers. Alan Marley, ed. Oxford: Oxford University Press, 1987. ISBN 0-19-437095-X
Leckie, K. “Words on A Page”, Transitions. Toronto: Harcourt Brace Canada, 1999.
ISBN 0-7747-0575-2
Lill, W. “The Fighting Days”, SightLines 9. Scarborough: Prentice Hall Ginn Canada, 1999.
ISBN 0-13-012906-02
MacNeill, J. A. Front Row, An Anthology of Plays. Toronto: Nelson, 1984. ISBN 0-17-602054-3
Maitlan, M. and I. Waldron, eds. Twelfth Night. Toronto: Harcourt Brace and Company, 1990.
ISBN 0-7747-1365-9
Moher, F. “Investigating the Model”, Language and Writing 9. Toronto: ITP Nelson, 1999.
ISBN 0-17-618681-6
Moher, F. “Odd Jobs”, Language and Writing 9. Toronto: ITP Nelson, 1999. ISBN 0-17-618681-6
Neelands, J. and T. Good, eds. Structuring Drama Work: A Handbook of Available Forms in Theatre and Drama. Cambridge: Cambridge University Press, 1990. ISBN 0-521-37635-1
Parkin, A. and J. Stevens, eds. Stage One: A Canadian Scenebook. Toronto: Van Nostrand Reinhold Ltd., 1973. ISBN 0-442-26452-6
Playwrights Canada Press Staff. Singular Voices. Toronto: Playwrights Canada Press, 1997.
ISBN 0-88754-510-6
Ravel, A., ed. Canadian Mosaic. Toronto: Simon and Pierre Publishing Company, 1995.
ISBN 0-88924-264-X
Richard-Amato, P. Making It Happen. Interaction in the Second Language Classroom, From Theory to Practice. London: Longman, 1988. ISBN 0-8013-0027-4-75692
Saliani, D. Midsummer Night’s Dream: The Global Shakespeare Series. Toronto: International/Thompson Publishing (Nelson), 1998. ISBN 0-17-606617-9
Saliani, D, C. Ferguson and T. Scott. The Tragedy of Romeo and Juliet With Related Readings: The Global Shakespeare Series. Toronto: International/Thompson Publishing (Nelson), 1997.
ISBN 0-17-606613-6
Shakespeare, W. Macbeth. Toronto: Penguin Books Canada, 1999. ISBN 0-14-0711478-2
Stevens, J. Ten Canadian Plays. Toronto: Dell Publishers, 1975. ISBN 0-440-95754-0
Stott, ed. Anthology of Drama & Poetry. Toronto: Harcourt Brace and Company.
ISBN 0-03-998644-6
Swartz, L. Dramathemes: A Practical Guide for Teaching Drama. Markham: Pembroke, 1998.
ISBN 0-921217-21-8
Thompson, Judith. “I Am Yours”, Transitions. Toronto: Harcourt Brace Canada, 1999.
ISBN 0-7747-0575-2
Vine, E. and W. Fairhead. Remove The Blindfold, Book 2. Toronto: Oxford University Press, 1987.
ISBN 19-540523-4
Time: 75 minutes
Students read a dramatic text and become familiar with the elements of drama, such as plot, subplot, character portrayal, conflict, dramatic structure, dramatic purpose, dialogue, and stage directions. Students read and study the scene or excerpt most appropriate for this activity.
Strand(s): Literature Studies and Reading
Overall Expectations:
LIV.01D - read and demonstrate a variety of literary and informational texts, from contemporary and historical periods;
LIV.02D - demonstrate an understanding of the elements of a variety of literary and informational forms, with a focus on plays, short stories, and short essays;
WRV.05D - edit and proofread to produce final drafts, using correct grammar, spelling, and punctuation according to the conventions of standard Canadian English, with the support of print and electronic resources when appropriate;
LGV.01D - use knowledge of vocabulary and language conventions to speak, write, and read competently using a level of language appropriate to the purpose and audience.
Specific Expectations:
LI1.01D - describe information, ideas, opinions, and themes in print and electronic texts they have read during the year from different cultures and historical periods and in a variety of genres, including novels, short stories, plays, poems, biographies, short essays, and articles from newspapers, magazines, and encyclopedias;
LI2.01D - use knowledge of elements of drama, such as plot and subplot, character portrayal, conflict, dramatic structure, dramatic purpose, dramatic irony, dialogue, and stage directions, to understand and interpret examples of the genre; v
WR5.06D - construct complete and correct compound and complex sentences, using the following sentence components as required: subject, predicate, object, subject complement; main and subordinate clauses; prepositional and participial phrases;
WR5.16B - adapt punctuation and capitalization for the special requirements of direct quotations, scripts, dialogue, and poetry;
LG1.07B - recognize, describe, and use correctly, in oral and written language, the conventions of standard Canadian English for spelling, capitalization, and punctuation, including:
- spelling: homophones and possessive pronouns and adjectives;
- capitalization: of proper nouns and in direct quotations, scripts, dialogue, and poetry;
- punctuation: period, question mark, exclamation mark; comma, dash, apostrophe, quotation
marks, parentheses, ellipses.
· Review script-writing format.
· Identify the theme from a play that the class will be studying.
· Have a master list of script-writing conventions prepared for reference during class discussion.
· Identify participles in stage directions, as well as the punctuation and capitalization used in writing dialogue and scripts.
· Identify the genre of the selected play and briefly describe this genre’s particular qualities (i.e., comedy, tragedy, melodrama).
· Be aware, when assigning the Response Journal entry, that not all students have prior, personal experience watching or participating in live theatre.
· Students know the elements and conventions of narrative literature.
· Students are familiar with collaborative and co-operative work habits.
1. Students see, read, or hear an excerpt from a play.
Students identify the initial conflict and predict the outcome/resolution.
Lead the class in an understanding of the elements of drama: plot, subplot, conflict, dialogue, character, stage directions, voice, and movement.
Review the conventions of standard Canadian English in conjunction with dialogue and script writing. Teach the participial phrase as it is commonly used in stage directions.
Students begin a glossary of dramatic terms to be completed during the unit.
Students write a Personal Response to their first experience with dramatic text in this course.
Extension: Students may write in their Response Journals about personal experiences with live theatre as a participant or an audience member.
Summative: a glossary of dramatic terms (L12.01D)
Barlowe-Kedves, A. et al. ResourceLines 9/10. Toronto: Prentice Hall, 1999. ISBN 0-13-012922-4
Dawe, R., et al. “How to Read a Dramatic Script”, ResourceLines 9-10. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-1-012906-02
Dawe, R., et al. “How to Stage Plays”, ResourceLines 9-10. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-1-012906-02
Moher, F. “Investigating the Model”, Language and Writing 9. Toronto: ITP Nelson, 1999.
ISBN 0-17-618681-6
video clips of plays from CBC of Stratford Festival performances
· Audiotapes could be provided for students with reading difficulties.
· Provide a student or mentor to scribe for students with physical impairments.
· The teacher and students should know the following information about improving enjoyment of live theatre for hearing-impaired audience members. An infra-red (Sennheizer) unit may be reserved at many theatres, and usually picked up at the manager’s office. Without a working unit, a hearing- impaired student is unable to hear, especially a woman’s voice, even with the powerful sound systems in most theatres.
Time: 75 minutes
Students recognize that what a character says is important, but what a character does not say can sometimes be just as important. Students continue to study the dramatic text, distinguishing between text and subtext, discerning how word choice and tone of a work can affect an interpretation. Students read or study the scene or excerpt most appropriate for this activity.
Strand(s): Literature Studies and Reading, Writing, Language
Overall Expectations:
LIV.02D - demonstrate an understanding of the elements of a variety of literary and informational forms, with a focus on plays, short stories and essays;
LIV.03B - identify and explain the effect of specific elements of style in a variety of literary and informational texts;
WRV.05D - edit and proofread to produce final drafts, using correct grammar, spelling, and punctuation according to the conventions of standard Canadian English, with the support of print and electronic resources when appropriate;
LGV.01D - use knowledge of vocabulary and language conventions to speak, write, and read competently using a level of language appropriate to the purpose and audience.
Specific Expectations:
LI1.02D - select and read texts for different purposes, with an emphasis on recognizing the elements of literary genres and the organization of informational materials, collecting and assessing information, responding imaginatively, and exploring human experiences and values; v
LI3.01D - explain how authors use diction and phrasing to achieve particular effects in their writing;
WR5.12B - use and spell homophones correctly;
LG1.01B - describe strategies used to expand vocabulary;
LG1.02B - identify and explain examples of slang, jargon, dialect, and colloquialism, as well as of standard Canadian English, in literary texts and in their own oral and written work.
· Be prepared to define and illustrate “subtext”, and the use of slang, jargon, dialect and colloquialism.
· Select an excerpt that reflects the major conflict of the play being studied. The students need a photocopied version, where permission exists, on which to make their notes.
· Students have knowledge of the conventions of script writing.
2. Define “subtext.” Subtext deals with the underlying attitude and emotions that provide reasons for the words and actions of a character. Give an example from the play being studied.
Students are given a sheet of carefully selected excerpts from the play that suggest and convey internal motivations.
Students write what the character is thinking when each line of the play is delivered and add this subtext under each line of dialogue in a coloured pen.
Define the word monologue and give an example.
Students use the coloured pen portions of the written material to create a monologue.
Students add the words subtext, monologue, and dialogue to their glossary.
Extension: Provide examples for students to explore the use of slang, jargon, dialect, colloquialism, and homophones. Students might write a scene utilizing homophones and act it out to denote the clear meaning of each sound-alike word to differentiate its meaning. Students are able to see the written word and see that its oral use could cause misunderstandings if not correctly spelled.
Summative: monologue completed in Response Journal (L11.02D)
Aboriginal Voices Magazine. Toronto.
Association for Native Development in the Performing and Visual Arts. Toronto.
Ballah, Judy. Drama in Perspective. Toronto: Harcourt Brace, Canada, 1993. ISBN 0-7747-1416-6.
Barlow-Kedves, A. “Oral Pieces”, SightLines 9. Toronto: Prentice Hall Canada, 1999.
ISBN 0-13-012906-2.
Highway, T. Dry Lips Oughta Move to Kapuskasing. Calgary: Fifth House Publishers.
ISBN 0-920079-55-5
Highway, T. The Rez Sisters. Calgary: Fifth House Publishers. ISBN 0-920079-44-X
Native Earth Theatre Company. Toronto.
Smoke Signals.
· The Response Journal entry could be recorded on tape.
· The narration may be read aloud to the student.
· Augmentative communication devices can be used for students with severe communication disabilities.
Time: 75 minutes
Students use voice techniques to create and achieve a particular effect on a specified audience. Student achievement is evaluated using a rubric. Students read the scene or excerpt most appropriate for this activity.
Strand(s): Writing, Language
Overall Expectations:
WRV.02D - identify the literary and informational forms suitable to various purposes and audiences and use the forms appropriately in their own writing;
LGV.01D - use knowledge of vocabulary and language conventions to speak, write, and read clearly and correctly;
LGV.02B - use listening techniques and oral communication skills to participate in classroom discussions and more formal activities, such as storytelling, role playing, reporting/presenting, for specific purposes and audiences.
Specific Expectations:
WR2.01D - identify the purpose for each piece of writing;
LG1.04B - select words and phrases appropriate to informal and formal styles, to suit the purpose and intended audience of oral and written work; v
LG2.03D - plan and make oral presentations to a small group or the class, selecting and using vocabulary and methods of delivery to suit audience and purpose.
· Prepare a presentation rubric.
· Have three sets of cue cards prepared: one with tongue twisters, a second with emotions, and a third with a specific type of audience.
· Select excerpts from the dramatic text in which sound, rhetorical devices, and rhythm are important devices.
· The teacher and/or students could invite members of the school or community theatre group to model voice exercises that show rhythm, repetition, and other vocal devices.
· Students understand the concept of preparing a presentation for a specific audience.
· Students have experience in working collaboratively in co-operative groups.
· Students have experience providing constructive criticism to other students.
· Students understand the concept of choral reading.
3. Put students into groups. Each group draws a card with a tongue twister (e.g. “Round and round the rugged rock the ragged rascal ran” or “Unique New York”) a card with an emotion (fear, compassion, sorrow), and a specific audience (children, seniors, teenagers).
In their small groups, students practise clear and correct presentation of the tongue twister while conveying the specified emotion. Group members provide constructive criticism for each member’s presentation by stating one positive point about the appropriateness of the delivery for the specified audience and one suggestion for improvement.
Students present a group reading of a scene or excerpt of a play from the dramatic text using devices of sound and voice: echo effects, rounds, loud and soft projection, extended initial sounds or vowel sounds, sounds coming from different locations, and solo sounds.
The presentations are evaluated using a rubric.
Volunteers might share their reading with other classes in the school as an extension.
Students write an entry in the Response Journals about their feelings when performing.
Formative: peer feed back in small group practice
Summative: rubric (LG1.04B)
radio plays, taped readings of plays, radio announcers
· Give students who suffer from extreme anxiety an opportunity to present to a smaller audience.
· Seat students with hearing impairments close to the presenters.
· Give students performance opportunities in school assemblies and local community events.
· Take dialect and speech exceptionalities into consideration when evaluating voice presentations.
Time: 75 minutes
Students explore the connection between language and human movement. They learn the importance of body language, gesture, and movement in forming the interpretation of a drama text. Students examine the significance of gesture and historical period. Students read and study the scene or excerpt most appropriate for this activity.
Strand(s): Language
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.
Specific Expectations:
LG2.04D - use specific examples, facial expressions, gestures, intonation, humour, and visual aids and technology, as appropriate, to engage the audience’s interest during oral presentations. v
· Plan strict time limits and organize groups carefully ahead of time.
· The teacher and/or the students bring to class a collection of props and/or costumes suitable to the play being studied.
· Arrange or create a performance area.
· Define the term blocking. Blocking is the placement or movement of actors on stage.
Students have the knowledge from Activities 1-3
4. The students say “mmm” in as many ways as they can. They accompany each sound with a gesture that assists their interpretation (“mmm” meaning tastes good and rubbing the stomach area or “mmm” meaning I have a headache and holding the head). From this activity, body language cues are recorded on the board, and students categorize the cues to create a note.
Each student selects an object that might be used or worn in the play being studied (e.g., a hat, horn-rimmed glasses, a dream catcher, a shawl). Students make a connection between the object and character. How did the character acquire the object? Why is the object important to the character? What will become of the object? What historical importance does the object have? How is the object used in the play?
In groups of three or four, students select a character from a dramatic text they are studying. Alternatively, the teacher assigns roles. Students fill in the chart provided (Chart 1) to prepare themselves to create movement for the character from point A to point B in the classroom.
Chart 1
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Who are you? (city, place, continent, country, age, sex, culture, time period) |
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What is happening in your country? |
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Where are you or where are you going? Why are you going there? |
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Where have you been recently? in the last month? in the last year? |
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How are you feeling? Why are you feeling this way? |
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Who is with you? How do you feel about the person you are with? If you are alone, how do you feel about that? |
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Do you like the place you are in? Why/Why not? What are you wearing (include footwear)? |
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What will you do next? Why? |
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When the chart is finished, each group practises a movement/walk/run for the chosen characters to perform in front of the class. The following questions/prompts might be written out on a flipchart or overhead for the students to consider as they create movements for their character: How might your character walk when in a hurry? angry? relaxed? How might your character greet someone? How might your character laugh? cry? sneeze? What might your character carry with him/her most of the time? How would this item be carried? What food item or beverage would your character eat or drink? How might your character consume these items? What item of clothing might your character wear a great deal?
Student groups perform their walks in front of the class. With the teacher leading, students fill out a copy of Chart 1 on the overhead, guessing at the age, setting, and mood of the walkers. The students may wish to reveal their intentions and compare these with the class chart. Each performing group receives three suggestions from the class volunteers to improve the impact of their walk on the audience. This information could be used to contribute to a character sketch or emphasize the importance of blocking.
In an “instant replay,” each student group is given a chance to repeat its walk, which is now evaluated by the teacher according to the performance rubric.
Students use their Response Journals to record and reflect the messages sent through human movement that an audience recognizes on stage.
Extension: Some students might enjoy adding music or sound effects to accompany the unique walks of their characters. The students could co-operate in a dance drama in which a group tells a story which is choreographed to music. Some techniques of the dance drama include: use of patterns and mirror images, use of strong versus weak forces, variety of pace, and variety of levels.
Formative: completion of the character charts
Summative: performance rubric (LG2.04D)
Maley, A., ed. Role Play Resource Books for Teachers. Toronto: Oxford Press, 1987.
ISBN 01437095
Smith, B. My Drama Journal. Kitchener: Kitchener Printing, 1999.
Viola, A. “I Want to Be Moved”, Theatre Machine II: A Resource Manual for Teaching Acting. Denver: Pioneer Drama Service Inc., 1996.
Vine, E. and W. Fairhead. Remove the Blindfold. Toronto: Oxford University Press, 1987.
ISBN 0-19-540521-8
· Use a storyboard format to provide more structure for learning-disabled students. The student sketches “the action” in a series of frames showing each stage of the walk.
· Adapt roles to include ESL students or students with learning disabilities so their experiences in front of the class will be positive.
Time: 150 minutes
Students create a script for a scene that adds to and extends the play currently being studied. This script is peer edited and evaluated according to a rubric. Students read or study the scene or excerpt most appropriate for this activity.
Strand(s): Writing, Language
Overall Expectations:
WRV.03D - use a variety of organizational techniques to present ideas and supporting details logically and coherently in written work;
WRV.05B - edit and proofread to produce final drafts, using correct grammar, spelling and punctuation, according to the conventions of standard Canadian English specified for this course, with the support of print and electronic resources when appropriate;
LGV.01D - use knowledge of vocabulary and language conventions to speak, write, and read competently using a level of language appropriate to the purpose and audience.
Specific Expectations:
WR3.03D - use a single controlling idea and connecting words to structure a series of paragraphs;
WR5.14B - use a variety of resources to correct errors in spelling;
WR5.15B - use punctuation correctly, including period, question mark, exclamation mark, comma, dash, apostrophe, colon, quotation marks, parentheses, and ellipses;
WR5.16B - adapt punctuation and capitalization for the special requirements of direct quotations, scripts, dialogue, and poetry; v
LG1.02B - identify words borrowed from other languages and words and terms recently introduced to describe new ideas, inventions, and products, and explain their origins;
LG1.04B - select words and phrases appropriate to informal and formal styles, to suit the purpose and intended audience of oral and written work;
LG1.06B - recognize, describe, and correct sentence errors in oral and written language;
LG1.07B - recognize, describe, and use correctly, in oral and written language, the conventions of standard Canadian English for spelling, capitalization, and punctuation, including:
- spelling: homophones and possessive pronouns and adjectives;
- capitalization: of proper nouns and in direct quotations, scripts, dialogue, and poetry;
- punctuation: period, question mark, exclamation mark; comma, dash, apostrophe, quotation
marks, parentheses, ellipses.
· Ensure that all students have a copy of the master list of script-writing conventions.
· Prepare a peer-editing checklist that emphasizes script-writing conventions.
· Either prepare, or develop with the class, a rubric to evaluate script writing.
· Inform students that scripts may be the basis of future set design and performance activities.
· Students have an understanding of collaborative and co-operative group work.
· Students have an understanding of script-writing conventions.
· Students have an understanding of the play presently being studied by the class.
· Students know how to write a character profile (character background, personality and answer such questions as: Who am I? Where am I? What am I doing? What do I want? Why do I want it?).
5. The students and teacher co-design a rubric for script writing using a drama text that they have studied as a model.
Students are arranged into groups of four.
Students create one script for a scene that could appear in the play currently being studied.
Students write two well-constructed paragraphs, using appropriate formal style, at the start of their script, one that outlines the plot of their “new” scene, and one that places it in the context of the play or historical period. The paragraphs are connected with effective connecting words as transitions.
Once groups have finished writing scripts, review print and digital spell check resources. Student groups then exchange scripts in order to peer edit using an editing checklist provided by the teacher. Special attention must be paid to script-writing conventions.
Students are given an opportunity to edit scripts after peer feedback.
Students hand in group scripts to be evaluated according to the rubric.
Formative: peer editing checklist, including unity of impression, originality, punctuation and correctness of subject-verb agreement.
Summative: Script-Writing Rubric (WR5.16B)
George, J. and D. Stone. On Common Ground. Teacher’s Guide, Toronto: Oxford University Press, 1994. ISBN 0-19-541133-1
Hilker, D. and B. Duncan. Transitions. Toronto: Harcourt Brace and Co. Canada, 1995.
ISBN 0-7747-0151-X
· Physically challenged students should be grouped with physically able students.
· Students with writing disabilities should have access to computers to prepare their scripts.
· Figurines could be used to model movement on stage for the kinesthetic learner.
Time: 150 minutes
Students create a diorama/model or sketch of a potential set design for a script while considering an intended audience. A diorama is a small three-dimensional picture or model presentation of a particular scene or event. Students also write a paragraph of rationale for the components of their set design considering the audience and the historical period. Students read and study the scene or excerpt most appropriate for this activity.
Strand(s): Writing, Language, Media Studies
Overall Expectations:
WRV.05D - edit and proofread to produce final drafts, using correct grammar, spelling, and punctuation according to the conventions of standard Canadian English, with the support of print and electronic resources when appropriate;
MDV.02D – use knowledge of a variety of media forms, purposes, and audiences to create media works and describe their intended effect.
Specific Expectations:
WR5.07B - identify and correct sentence fragments, run-on sentences, and comma splices;
LG1.04B - select words and phrases appropriate to informal and formal styles, to suit the purpose and intended audience of oral and written work;
LG1.07B - recognize, describe, and use correctly, in oral and written language, the conventions of standard Canadian English for spelling, capitalization, and punctuation, including:
- spelling: homophones and possessive pronouns and adjectives;
- capitalization: of proper nouns and in direct quotations, scripts, dialogue, and poetry;
- punctuation: period, question mark, exclamation mark; comma, dash, apostrophe, quotation
marks, parentheses, ellipses;
MD2.03D – create media works appropriate to different audiences and explain why a particular design should appeal to a particular audience. v
· Ensure adequate creative materials and supplies are available for students to create set design.
· Invite representatives from the school or community drama groups as guest speakers on set design.
· Co-plan with the teacher-librarian to teach students the research process for selection of historical and cultural books or web sites.
· Emphasize the need to vary word choice and style when providing feedback to peers.
· Consult a design and technology specialist, from the school or the community, to guide students on elements of design and construction if desired.
· Use community resources such as representatives from local theatre workshops if desired.
· Students have an understanding of the elements of set design such as colour, contrast, focus, placement of furniture, locations of exits, entrances, and levels of movement.
· Students are able to write a well-structured paragraph.
· Students have studied a portion of the play and know the intended audience.
6. Each student creates a set design that will be appropriate for a scene from the play he/she is studying.
Students have an opportunity to research the historical period and its events with assistance from the teacher-librarian.
Students provide critical feedback to a selected number of students. Feedback is delivered in a cohesive paragraph including two written positive comments and two written suggestions for improvement, referring to the criteria in the set design rubric. Evaluate set designs according to the rubric.
Extension: Students are provided with an opportunity to improve their set designs after the peer-feedback.
Formative: peer editing checklist completed for the feedback paragraph, constructive criticism provided by group members
Summative: rubric for set design (MD2.03D)
Dawe, R. “Here’s How Stageplays”, ResourceLines 9/10. Scarborough: Prentice Hall, 1999.
ISBN 0-13-0129224.
· Pair visually challenged students with visually able students.
· Students with physical handicaps may describe the setting and rationale for their script into a tape recorder.
Time: 225 minutes
Students perform a scene or excerpt from the play being studied, using the drama convention of Reader’s Theatre. Students use this opportunity to present the script created in Activity 5. Students analyse their own and others’ oral presentations to identify strengths and weaknesses, and plan ways to improve their performance.
Strand(s): Writing, Language
Overall Expectations:
WRV.03D - use a variety of organizational techniques to present ideas and supporting details logically and coherently in written work;
LGV.01D - use a knowledge of vocabulary and language conventions to speak, write, and read competently using a level of language appropriate to the purpose and audience;
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.
Specific Expectations:
WR3.01D - use a unifying image, mood, or voice to structure descriptive paragraphs or poems;
LG1.04B - select words and phrases appropriate to informal and formal styles, to suit the purpose and intended audience of oral and written work;
LG1.06B - recognize, describe, and correct sentence errors in oral and written language;
LG1.07B - recognize, describe, and use correctly, in oral and written language, the conventions of standard Canadian English for spelling, capitalization, and punctuation, including:
- spelling: homophones and possessive pronouns and adjectives;
- capitalization: of proper nouns and in direct quotations, scripts, dialogue, and poetry;
- punctuation: period, question mark, exclamation mark; comma, dash, apostrophe, quotation
marks, parentheses, ellipses;
LG2.02D - communicate in group discussions by sharing the duties of the group, speaking in turn, listening actively, taking notes, paraphrasing key points made by others, exchanging and challenging ideas and information, asking appropriate questions, reconsidering their own ideas and opinions, managing conflict, and respecting the opinions of others;
LG2.07D - analyse their own and others’ oral presentations to identify strengths and weaknesses, and plan ways to improve their performance. v
· Prepare a description of Reader’s Theatre. Reader’s Theatre allows the students to present the dialogue and narration of a play with minimal props and costumes and allows students to focus on facial expression, body language, tone, and meaning of what is being said. Students do not have to memorize lines. Reader’s Theatre can also involve the adaptation of a work from prose to script.
· Review the elements of tableau: still image, focal point, facial expression, variety of levels, framing devices.
· Prepare a rehearsal schedule.
· The teacher and interested students will gather models of critiques and reviews from print and electronic sources.
·
The Ontario Curriculum Grades 1-8, Language, 1997
· Students understand the qualities of a good vocal presentation.
7. Students are organized, or organize themselves, into groups to take the roles of the characters in a scene.
Students read and study the scene concentrating on the following requirements: confident reading, clear speaking, appropriate facial expressions, and expressive body movements. Minimal costumes and props are optional.
Students decide how they will most effectively stage the reading of the script studied or written. Students create a tableau to conclude the performance. The tableau illustrates the main message of the script or the central issue of the scene. Tableau is a frozen group picture representing a dramatic action in a silent and motionless moment. Students assess their group’s tableau using Tableau: Guideline for Self-Evaluation.
Students print the message in block letters to be displayed by the actors as a closure to the tableau. The teacher might want to stop the play and have the student audience speculate on the message before the written message is revealed.
Students select their choice of the most successful performance. Referring to the criteria on the performance rubric and using a model critique, students write a paragraph or a series assessing the performance.
Extension: Students may write a review of a community or school drama production or dress rehearsal.
Formative: tableau: guideline for self-evaluation, group process checklist
Summative: critique/review rubric (LG2.07D), performance rubric
Toutant, A. “Interpreting Plays” and “Reader’s Theatre”, Endless Possibilities. Toronto: Oxford University Press Canada, 1998. ISBN 19-5413644
Saliani, A. and N. Morine. “Present a Play”, Crossroads. Toronto: Gage Educational Publishing Co., 1999. ISBN 07713-1324-0
Archer, L., C. Costello, and D. Harvey. “Making Presentations”, Reading and Writing for Success. Toronto: Harcourt Brace, Canada, 1998. ISBN 0-7747-0197-8
Playwrights’ Union of Canada
www.puc.ca
· Students with extreme anxiety could videotape their performances so their performance is a positive experience.
· Peer mentors, community volunteers or parents could provide assistance to students who need more supervision or adult support with anxiety.
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Performance Checklist |
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Names of Group
Members |
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EXPLORATION: |
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Brainstorming |
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Group Harmony (Students negotiated, mediated, were assertive, and coped with change or frustration) |
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INTERPRETATION: |
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Participation in rehearsal |
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Meaning Realized (clear to audience) |
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COMMUNICATION: (The Performance) |
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Cues Memorized |
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Stayed in Character |
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Motivation Evident |
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Use of Movement |
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Use of Props or Set |
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Use of Sound or Music |
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Use of Lighting |
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Voice Projection (audible and clear) |
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Emotional Concentration |
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Overall Impression |
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ADDITIONAL COMMENTS: |
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Time: 75 minutes
Students create a media project. They select information from the play being studied and adapt and extend it to create a poster, playbill, program, advertisement, or flyer suitable for a selected audience.
Strand(s): Writing, Language, Media Studies
Overall Expectations:
WRV.05D - edit and proofread to produce final drafts, using correct grammar, spelling, and punctuation according to the conventions of standard Canadian English, with the support of print and electronic resources when appropriate;
LGV.01D - use knowledge of vocabulary and language conventions to speak, write, and read competently using a level of language appropriate to the purpose and audience;
MDV.02D - use knowledge of a variety of media forms, purposes, and audiences to create media works.
Specific Expectations:
WR5.02B - select the publication method or vehicle most accessible or appealing to the intended audience;
LG1.04B - select words and phrases appropriate to informal and formal styles, to suit the purpose and intended audience of oral and written work;
LG1.06B - recognize, describe, and correct sentence errors in oral and written language;
LG1.07B - recognize, describe, and use correctly, in oral and written language, the conventions of standard Canadian English for spelling, capitalization, and punctuation, including:
- spelling: homophones and possessive pronouns and adjectives;
- capitalization: of proper nouns and in direct quotations, scripts, dialogue, and poetry;
- punctuation: period, question mark, exclamation mark; comma, dash, apostrophe, quotation
marks, parentheses, ellipses;
MD2.01D - adapt a work of literature for presentation in another media form;
MD2.02D - create media works for different purposes; v
MD2.03D - analyse the characteristics of different audiences and create media works designed specifically for them.
· Collaborate and co-plan with the teacher-librarian, computer studies teacher, and art department to deliver this activity.
· Collect examples of posters and flyers from local theatres and student productions.
·
The Ontario Curriculum, Grade 1-8, Language, 1997
· Students are familiar with collaborative learning strategies.
· Students understand the concept of intended audience
8. In groups of three or four, students decide on a media product to advertise or support a play they have studied.
Students select an audience from a list brainstormed by the class (i.e., children’s library group, high school class, adult theatregoers).
Students choose words and style according to the purpose and audience they have identified.
Students prepare their media product using the technology available in their schools (i.e., WordPerfect Presentations/HyperStudio/CorelDRAW/MS Publisher/Adobe Pagemaker.)
Students exchange projects and use the Media Project Peer Evaluation.
Students are given an opportunity to revise their work. Alternatively, students could write a paragraph suggesting several changes that they would make in response to the evaluation sheets that their peers have given to them.
Extension: Students consider the following question in their groups: What changes would you make to this particular script/play to adapt it to a television script, movie, or radio play?
Formative: peer evaluation checklist
Summative: media project rubric (MD2.02D)
Hilker, D. and S. Harper. “Creating a Visual Presentation”, Elements of English 9. Toronto: Harcourt Brace Canada Ltd., 1999. ISBN 07747-0755-2
· Pair learning disabled students with assistants.
· Students with computer training could accompany students with no experience or training.
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Level 1 |
Level 2 |
Level 3 |
Level 4 |
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Preparation |
limited |
some |
considerable |
thorough |
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Audibility of Voice |
limited |
some |
considerable |
consistent |
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Articulation and Clarity of Voice |
limited |
some |
considerable |
consistent |
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Originality and Variety of Presentation Techniques |
limited |
some |
considerable |
extensive |
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Energy and Enthusiasm to Engage Audience |
limited |
some |
considerable |
consistent |
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Suitable Approach for Specified Audience |
limited |
some |
considerable |
complete |
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Criteria |
1 |
2 |
3 |
4 |
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Punctuation |
many errors |
some errors |
few errors |
minimal errors |
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Stage Directions |
limited use |
some use |
considerable use |
extensive use |
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Characterization |
limited development |
some development |
considerable development |
extensive development |
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Plot |
limited development |
some development |
considerable development |
thorough development |
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Narration |
limited use |
some use |
appropriate use |
extensive use |
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Criteria |
1 |
2 |
3 |
4 |
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Placement of Furniture and Props |
limited |
minimal |
appropriate |
appropriate placement with attention to detail |
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Placement of Entrances and Exits |
limited |
some |
appropriate |
appropriate placement with attention to detail |
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Attempt at Creating a Focal Point |
limited |
some |
effective |
successful |
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Use of Colour, Contrast and Lighting |
limited |
some |
effective |
thorough use with attention to detail |
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Criteria |
1 |
2 |
3 |
4 |
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Facial Expression |
limited |
some |
appropriate |
dynamic |
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Gestures |
limited |
some |
appropriate |
dynamic |
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Articulation and Clarity of Voice |
limited |
some |
considerable |
consistent |
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Display of Emotions |
limited |
some |
appropriate |
dynamic |
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Use of Props |
limited |
some |
appropriate |
consistent |
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Criteria |
1 |
2 |
3 |
4 |
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Communication of Information and Ideas |
limited clarity and purpose |
some clarity and purpose |
considerable clarity and purpose |
high degree of clarity and purpose |
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Creativity and Layout |
few original ideas |
some original ideas |
several original ideas |
many original ideas |
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Use of Relevant Material |
limited |
some |
considerable |
thorough |
9. Is there a focal point/centre of interest?
Is there a variety of levels (low, mid, high)?
10. Do facial expressions convey thoughts and feelings?
Are the relationships of characters clear and are their motivations implied?
Is the scene easily identified from the play?
11. Does the audience desire to know what happens next: a surprise, a conflict, a challenge, a time restraint?
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Was the student punctual and committed to daily attendance? |
1 |
2 |
3 |
4 |
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Did the student understand the task that was assigned? |
1 |
2 |
3 |
4 |
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Was the student always aware of the purpose of the assignment and did he/she constantly encourage the others in the group to work towards the same purpose? |
1 |
2 |
3 |
4 |
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Was the student prepared to show initiative engaging in a number of approaches to the task? Was the student able to work co-operatively with others? |
1 |
2 |
3 |
4 |
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Was the student’s attitude towards the task positive? |
1 |
2 |
3 |
4 |
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Was the student willing to concentrate and work hard? |
1 |
2 |
3 |
4 |
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Did the student show leadership and appropriate task-and-maintenance-oriented roles in the group? |
1 |
2 |
3 |
4 |
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Was the student sensitive and attentive to the needs and contributions of the others in the group? |
1 |
2 |
3 |
4 |
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Was the student openly exploring ideas and receiving suggestions from his/her peers and from the teacher? |
1 |
2 |
3 |
4 |
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Did the student evaluate fairly and constructively? |
1 |
2 |
3 |
4 |
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