drama, intro (ms)

Sweetwater Union High School DistrictDrama, Introduction

The typical time ranges reflect estimated times needed to teach the objective to mastery. Times may need to be modified, depending on student needs.© 2006 Sweetwater Union High School DistrictRevised on: July 15, 2008 1

Course Length: 1 YearClassroom Instruction and Review: 180 Hours

Grade Level: 7th & 8th

UC/CSU/College: District Requirement:

Course Number: 80415

Credential Information: (Any below)

Single Subject in English – K-12Single Subject with a Supplemental Authorization in English - up to Curriculum grade 9Single Subject with a Supplemental Authorization in Drama K-12

Course Prerequisites: None

District Approved Textbook/Materials: Exploring Theatre, Glencoe, c2009, Basic Drama Projects, Perfection Learning, c2004,

Theatre Arts, Glencoe, c2009

Pedagogical Philosophy: Theatre is a study and a reflection of life. It is through the study of drama students will come to learn about others and themselves and togain a deeper understanding of the world we live. The Intro to Drama course allows students to explore and discover their artistic potential through the study andcreation of theatre. The course is based on the philosophy of the California Framework for the Visual and Performing Arts. These standards provide a framework forthe study that develops and strengthens the students’ comprehension, analytical, and communication skills. These standards also provide for the development ofperformance skills and techniques as well as the acquisition of knowledge pertinent to this discipline. As students develop these skills and gain the knowledge, theybegin to apply and utilize both in their own original works of theatre as well as in the work of others.

ESLR’s: Intro to Drama provides all students a variety of opportunities to develop the following ESLR Skills:

1. Self-Directed LearnerDrama provides all students an array of opportunities and experiences to develop and apply essential skills valuable in achieving personal, educational, andcareer goals. In the theatre environment, students will understand the importance of self-discipline, dedication, and focus in attaining goals. They will developorganizational and time management skills in order to adhere to deadlines and accomplish theatrical tasks. In building an ensemble, students will learn mutualrespect. They will learn to work cooperatively and effectively with all types of people in achieving a common goal. As a team member, they will learn to actresponsibly and ethically in the interaction with others. Through the study of drama, students will become exposed and familiar with a variety of theatre careeropportunities. They will be able to identify the necessary skills and qualifications associated with each career studied. Students will also come to discover andappreciate theater not only for its entertainment value but for its educational value as well. They will learn how to utilize theatre as an educational vehicle inenlightening others on how to maintain mental, physical, and social wellness.

Drama, Introduction


2. Culturally Empowered Community MemberDrama lends itself to the exploration and study of man and his universe. Students will be exposed to the world’s cultural diversity through the study of theatrehistory. They will gain a more global perspective on the role of theatre in people’s lives by learning about their traditions, beliefs, and values. Students willcome to understand, respect, and appreciate the influences and contributions of other cultures to theatre. They will also gain an awareness of the contributionsof artists from diverse cultures and backgrounds. Through the study and development of scripts and characters, students will gain a deeper understanding

of themselves, others, and life. They will not only understand and appreciate the theatrical contributions of people from their cultures, but they will gain a sense of pride and accomplishment.

3. Effective CommunicatorDrama provides ample opportunities for creative and artistic expression. Students will brainstorm for ideas and determine how best to communicate theirconcepts and ideas to others. They will employ their imagination and apply their creativity to original works of theatre. Students will learn how to becomeeffective communicators not simply by delivering lines from a script, but more importantly, through the soulful analysis of the character and the carefulinterpretation of lines. They will learn how to incorporate the use of gestures, facial expressions, and body language to enhance meaning in the portrayal oftheir characters. As a team member, students will build and strengthen interpersonal skills. They will improve their communication skills not only in theirperformances but also in their daily interaction and collaboration with others as they discuss, prepare, and complete a variety of assignments, projects, andperformances. The scope of theatrical assignments and tasks will not only improve and strengthen their skills in speaking but their skills in listening andreading as well.

4. Productive IndividualDrama is a collaborative art. It requires students to participate collaboratively with the group as well as independently of the group. Students must not onlylearn lines on their own and develop their own characters, but they must learn to be part of an ensemble in order to complete tasks and attain unity. Studentswill develop and demonstrate strong skills in communication, organization, and time management in the preparation of individual and group projects andperformances. During the planning and rehearsal process, they will rely on their creativity and knowledge to make aesthetic decisions and apply problem-solving skills in managing challenges that might arise during the production process. They will identify, plan, and use resources effectively in completing avariety of tasks from incorporating the principles of the dramatic structure to their original scripts to making artistic choices in the staging of theirperformances. Based on their knowledge and understanding of theatre, they will develop a criteria in assessing not only the work of others but also their ownwork so as to improve and produce quality work in the future.

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District Course Content Standards and Content Objectives

First Semester

1. Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre, film/video, and electronicmedia and respond, using the vocabulary of theatre.1.1 Use the vocabulary of theatre, such as playwright, rehearsal, dress rehearsal, run-through, and cold reading, to describe theatrical experiences.1.2 Identify dramatic elements within a script, such as foreshadowing, crisis, rising action, catharsis, and denouement, using the vocabulary of theatre.

2. Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theatre, film/video, and electronic mediaproductions and to perform in them.

2.1 Use improvisation in rehearsal to discover character and motivation. 2.3 Create characters, environment, and actions that exhibit tension and suspense.

3. Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, noting diversity as itrelates to theatre.3.1 Design and create masks, puppets, props, costumes, or sets in a selected theatrical style drawn from world cultures, such as Japanese shadow puppets or Kabuki masks.3.2 Compare and contrast various theatre styles throughout history, such as those of Ancient Greece, Elizabethan theatre, Kabuki theatre, Kathakali dance theatre, and Commedia dell’arte.

4. Students critique and derive meaning from works of theatre, film / video, electronic media, and theatrical artists on the basis of aesthetic qualities. 4.1 Design and apply appropriate criteria of rubrics for evaluating the effective use of masks, puppetry, makeup, and costumes in a theatrical presentation.

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Second Semester

1. Students observe their environment and respond, using the elements of theatre. They also observe formal and informal theatre, film/video, and electronic media and respond, using the vocabulary of theatre.

1.2 Use the vocabulary of the theatre, such as playwright, rehearsal, dress rehearsal, run-through, and cold reading, to describe theatrical experiences.

2. Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theatre, film/video, and electronic media productions and to perform in them.

2.1 Use improvisation in rehearsal to discover character and motivation. 2.2 Maintain a rehearsal/script notebook to record directions and blocking.

3. Students analyze the role and development of theatre, film/video and electronic media in past and present cultures throughout history, noting diversity as it relates to theatre. 3.2 Compare and contrast various theatre styles through history, such as Ancient Greece, Elizabethan theatre, Kabuki theatre, Kathakali dance theatre, and Commedia dell’arte.

5. Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills in problem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre. 5.2 Demonstrate projection, vocal variety, diction, gesture, and confidence in oral presentations.

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Component Strand: ARTISTIC PERCEPTION

Standard: 1.0 Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre,film/video, and electronic media and respond, using the vocabulary of theatre.

Objective Prerequisites Essential VocabularyTypical Time

RangePerformance

Standard1.1 Use of the vocabulary of theatre, such as

playwright, rehearsal, dress rehearsal, run-through, cold reading, to describe theatricalexperiences.

None Ad-lib Apron AsideBackdrop Backstage BalanceBit part Build Character partCheat Clear stage ClimaxCold reading Costume propsCounter cross Cue Curtain callCut Cyclorama DialogueDirector Double cast DownstageDress rehearsal Dressing the stageExtras Flat Floor planFocus Fourth wall FreezingGive stage Heavy HoldHouse Ingénue JuvenileKill Lead LegsMask Mood NotesOpen Pace Pick up your cuesPlaces Plant PlaywrightPreview Production PrologueProp box Reading RehearsalRepertory Royalty Run throughScene Script SetSet props Soliloquy Stage propsStage whisper Steal StrikeTableaux Tagline Take the stageTeaser Tempo TheaterThrow away Timing TopTormentor Trap TravelerUnderstudy Upstage Wings

Range:

Acquisition:

Proficient:

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Assessment and Practice FormatSpecifications

Sample AssessmentSuggested Instructional

Resources

Possible InstructionalStrategies/Activities for

ObjectiveMultiple Choice

• Given ten sentences with amissing theatre term

• Given a list of theatre terms tochoose from

• The student will select the bestterm that gives correct meaningto the sentence

• Vocabulary Quiz• Vocabulary Test

Read each sentence below and fill in the blank with theterm that gives correct meaning to the sentence.

1. The director reminded us to ______if we forget aline

2. Our task is to create _____ and use props that areappropriate for our character and the situation.

3. My _____ included waltzing across the stage withan imaginary partner.

ad-lib blocking build businesscharacterization costume cue dialoguedirector focus

Match the definition on the right to its term on the left.Write the letter of your choice in the space provided tothe left.

____ 1. Movement or lines inserted a. blocking into the play which were not in the script and often used to b. director cover a mistake c. ad-lib

____2. Planned movement of the actors onstage.

____3. Person in charge of the artistic production of the play

State and districtproduced vocabulary lists

Drama A to Z – Jack A. Vaughn

Teacher constructedquiz/test

Provide visuals (e.g. providediagram of the stage, actor’sbody positions, types ofstages, etc.)

Incorporate modelingdemonstrations by teacherand/or student volunteers witha scene to improvise such as adisagreement between twosiblings on who has to stayhome and baby-sit Fridayevening. Have them illustratewhat the term and thecommand to build the scenemeans based on its definition;improvise a scene betweentwo people waiting tointerview for a job; one isextremely calm while theother is extremely nervous.Have volunteers createbusiness appropriate for eachcharacter to communicatephysical, emotional, andmental state of the character.

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Formative Assessment (Constructed orPerformance)

• Given a list of ten theatre terms• Given instructions to write ten

original sentences relating to theatreusing the terms

• The student will write the sentencesof no less than seven words each

Write a sentence for each of the following theatre terms,using no less than seven words per sentence. Underlineterm.

ad-lib blocking build businesscharacterization costume cue dialoguedirector focus

I had to ad-lib when the lead forgot her cue and did notmake her entrance on time.

Exploring Theatre:Teacher’sResource Binder(reproducible vocabularypuzzle)

Vocabulary Worksheets

Vocabulary Builders

SDAIE Strategy: numberedheads together – Groupmembers number themselvesoff 1 thru 4; provide groupswith the oral definition of theterm; group members arrive ata consensus on the correctterm; call out a number;members whose number iscalled reveals answer on whiteboard; members reveal theiranswers at the same time

Summative Assessment (Authentic/RealWorld Performance)

• Having acquired theatre vocabulary• Having observed a theatre

performance• The student will write a paragraph

reflecting on and/or critiquing theperformance using at least seventheatre terms and/or

• The student will give an oral critiqueof a video-taped or live performance,using at least seven theatre terms intheir review and/or

• The student will write a self-performance assessment of oneparagraph, using no less than seventheatre terms addressingtheir strengths and weaknesses

Write a one-paragraph review of a dramatic performance,using at least seven theatre terms correctly to analyze thestrengths and weaknesses. You must substantiate yourfindings with examples. Also include suggestions andrecommendations for improvement.

Take notes while observing a performance, focusing onboth strengths and weaknesses. Be prepared to give anoral critique using at least seven theatre terms correctly.You must substantiate your findings with examples. Alsoinclude suggestions and recommendations forimprovement for future work.

Write one paragraph assessing your performance. Youmust use a minimum of at least seven theatre termscorrectly in your analysis of both strengths andweaknesses. Make sure to include suggestions andrecommendations for improvement for future work.

The Least You ShouldKnow About Theatre –Clark Stevens(reproducible lessons andactivities) Check list forreviewers

Exploring Theatre -Nancy Prince & JeanieJackson

Sample reviews frommagazines, newspapers,etc.

SDAIE Strategy: Quick write“What was your favoritemovie or play?”

Have an open discussion onmovies students have seen.Use the vocabulary of thetheatre to analyze strengthsand weaknesses in the movie;what factors categorize a goodmovie versus a great movie?A bad movie?

Drama, Introduction


Component Strand: ARTISTIC PERCEPTION

Standard: 1.0 Students observe their environment and respond, using the elements of theatre. They also observe formal and informal works of theatre,film/video, and electronic media and respond, using the vocabulary of theatre.


RangePerformance

Standard1.2 Identify dramatic elements within a

script, such as foreshadowing, crisis,rising action, catharsis, and denouement,using the vocabulary of theatre.

Understanding the meaning ofthe dramatic elements and/orstructure

Antagonist CharacterClimax ConflictCrisis Denouement (resolution)Dramatic structure ExpositionFalling Action ForeshadowingGenre Initial incidentMotivation ObjectivePlaywright PlotPoint of attack ProtagonistRising action SubplotSubtext Theme

Range:

Acquisition:

Proficient:

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Resources


Objective

Multiple Choice• Given a diagram of the basic dramatic

structure• Given a list of dramatic elements relevant

to a generic plot• The student will label the diagram

correctly

• Given the meanings of the dramaticelements in a script

• Given the elements or terms• The student will match the element or

term correctly to its definition

• Quiz

• Final

f)____________ e)_____________

g)__________

d)____________ h)________

c)______ a) _____ b)_______

Using the terms listed below, label the diagram in the correctsequence that they would appear in a generic plot.

conflict climax rising actionexposition denouement initial incidentfalling action crisis

Read each definition carefully and match it to the correct term.Write your answer in the space provided to the left.

a. foreshadowing b. climax c. conflict

____1. the struggle between two opposing forces____2. to create expectation for the audience that something will occur____3. the most exciting moment and turning point in the play

Drama: A Comprehensive Guide to Dramatic Elements and Style – Clark Stevens

The Least You Should KnowAbout Drama (reproduciblelessons and activities) – ClarkStevens

Teacher constructed dramaticstructure diagram

Teacher-constructed quizand/or test on a specific playand its dramatic structure andelements

SDAIE strategies such as KWLchart e.g. “What are theimportant elements/parts of aplot or a story?”

Select two teams each witheight players; Hand each playerfrom each team one word fromthe dramatic structure (usewords listed to the left). Wordsshould be written large enoughto see. Teams compete toarrange the words and positionthemselves in the correct order,as they would appear in ageneric plot.

Class discussions (e.g. of playbeing read out loud in class)

LectureCornell Note taking


• Provided with an outline of a dramaticstructure

• Provided with a copy of the teacherselected script

• With the teacher’s guidance, the studentwill complete each component of theoutline as the play is read out loud,analyzed and discussed in class

For each component of the dramatic structure outline, determineand take notes on the most important bit(s) of information, asthe play is discussed and analyzed. Write the information onthe lines provided.

Exposition: (the background information necessary inunderstanding the characters and their relationships, pastactions, setting, etc.)

• ___________________________________________• ___________________________________________• ___________________________________________

Initial incident: (the first most important event or moment fromwhich the rest of the plot develops)

• ___________________________________________

How to Analyze Drama – Christopher Russell Reaske

Teacher-constructed playanalysis outline

Teacher selected scripts foranalysis (recommendations:Oh, What a Tangled Web: TheWidow’s Plight; or if puttingon a production in the nearfuture, use the productionscript to be produced).

Cooperative learning groups –Providing a dramatic structureoutline and using fairy tales asa source, have students in theirgroups apply the dramaticstructure and elements to theirchoice of a fairy tale. Studentsidentify as many of thedramatic elements in their fairytale. Have groups share theiranalysis with the rest of theclass and re-enact the fairy talebased on their analysis.

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Notes:

Summative Assessment (Authentic/Real WorldPerformance)

• Given a dramatic outline and topic(s)• Having formed writing groups of three to

four by the teacher• Students will write and perform an

original script, incorporating the dramaticelements of a play

Complete the dramatic outline for teacher approval prior towriting your script.

Topic: _____________________________________________

Genre: _____________________________________________

Plot summary: __________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Theme: ____________________________________________

Characters: __________________ ____________________ __________________ ____________________

Exposition:• __________________________________________• __________________________________________• __________________________________________

Initial Incident:• ___________________________________________• ___________________________________________

Conflict• ___________________________________________

___________________________________________Rising Action:

• ___________________________________________• ___________________________________________• ___________________________________________• ___________________________________________

Climax• ___________________________________________

___________________________________________Falling Action

• ___________________________________________• ___________________________________________

Denouement• ___________________________________________

How to Prepare and Give aSpeech (Writing a Play) –Michael Kramme

Using his or her own lifeexperiences, have student writedown an event or situation onan index card that might serveas a great source or foundationfrom which to base a play on. Itshould be an event with aconflict. Using the SDAIEstrategy, Round Robin, haveeach student take a turnsharing. Consider sharing someideas with the class.

Drama, Introduction


Component Strand: CREATIVE EXPRESSION

Standard: 2.0 Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theatre, film/video, andelectronic media productions and to perform them.


RangePerformance

Standard2.1 Use improvisation in rehearsal to discover

character and motivation.Understanding the Guidelines forImprovisation

ImprovisationImprovise Role PlayingCharacter DialogueConflict MotivationPoint of viewBreaking characterDead-end phrases

Range:

Acquisition:

Proficient:



Resources


Objective

Multiple Choice• Having discussed the guide lines for

performing improvisations• Using the SDAIE strategy, Anticipatory

Guide• Students demonstrate their understanding

of the do’s and don’ts in performingimprovisations by either agreeing ordisagreeing with the statements

Note: Can also be done in true/false quiz format

AGREE DISAGREEDrawing on your memory of real-lifecharacters and imitating them ishelpful in performing improvisations _______ _______

In performing improvisations, youneed only communicate yourcharacter through dialogue _______ _______

Laughing at yourself or others whileperforming in an improvisation isacceptable. _______ _______

Words such as “no,” “I don’t know,”“Well,” “So,” “I guess,” and “Whatever,”may be considered dead-end wordsthat stifle the dialogue. _______ _______

A well constructed improv includesa beginning, middle and end witha conflict _______ _______

Exploring Theatre – NancyPrince & Jeanine Jackson

Writing Your Own PlaysCreating, Adapting,Improvising – Carol Korty

SDAIE strategy – Quick writeWhat is make-believe and whatis involved?

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• Given an improvisational prompt toexplore characters and motivation(or improvisational prompts that explorecharacter relationships and conflict)

• Given a partner(s)• The student will improvise action and

dialogue focusing on character andmotivation (or character relationships andconflict)

Choose a partner(s) and one of the following situations toimprovise. You will be given ten minutes to discuss setting,characters, and basic plot (beginning, middle, and end) as wellas the conflict. Make sure to keep in mind the guidelines forimprovisation.

a. To the dismay of the parents, son/daughter chooses to join the military instead of applying to collegeb. Teenage daughter tries to defend herself after trying to sneak in past curfew. The worried parents are now furious and threaten consequencesc. Three friends go shopping. One witnesses another shoplifting and decides to confront her/him to convince her/him to return the item

Theatre Games for YoungPerformers: Improvisations& Exercises for DevelopingActing Skills – Maria C.Novelly

Creative Drama in theClassroom: Improvisation:Characters Move and Speak –Nellie McCaslin

Improvisations Starters – PhilipBernardi

Can of Squirms - Meriwether

Cooperative Learning

Improvisational activities,games, and exercisesRole PlayingStory DramatizationsStory building (a person startsthe story; then another personpicks up the story and adds toit; leader calls out next, and thenext person continues wherethe story left off and the cyclecontinues)


• Having divided students into groups• Being assigned a teacher selected

published skit or excerpt from a play• Students will rehearse and perform it for

class (note: performers may stay onbook)

• Then teacher will select the same actorsto portray their characters and improvisescenes that might have taken place beforethe start of the skit, during the course ofthe skit, or after the ending of the skit.

• Teacher and/or students determine thecircumstance(s) to be improvised.

•

or

• Having read and analyzed a play• Having been divided into pairs/groups• Students will select and improvise a

scene (student or teacher constructed)that might have taken place before thebeginning of the play, during the courseof the play, or after the ending of theplay.

or

You will improvise a scene that might have logically takenplace before the start of the play, elsewhere during the play, orafter the end of the play. For example, how would the sceneplay out between (choice of characters) if the play hadcontinued?

Choose one of the following scenes to perform a one to twominute improvisation. Focus on characterization andmotivation keeping in mind what you have already discoveredabout the characters through the play analysis. Dialogue andaction should be consistent with the character and situation.You will have ten minutes to discuss ideas.

A scene in the castle between Robin Hood and Maid Marion when they use to play together as children

A scene between King Richard, Lady Merle, and Prince John before he leaves for the Crusades

Teacher-created worksheetand/or outlines (e.g. characteranalysis outline – students fillout a character analysis charton a selected character; anadjective or characteristic islisted on each line to describethe character; then thesupporting source as evidence(e.g. playwright, or othercharacter; then the line and/oraction supporting the adjectiveor characteristic listed)

Drama that Delivers: Real life Problems, Students’ Solutions – Nancy Duffy Hery

The Colorful Kidnapping – Cheryl Miller Thurston

SDAIE strategy: Webbing Divide class into groups; each group draws a character’s name to analyze: using the webbing strategy; the groups list as many adjectives or descriptive phrases for their character; they also list evidence or source in support (e.g. either action or line) then groups share their character web with the class or Have students complete a character web on themselves before completing one on a character from a play

Graphic organizers

Drama, Introduction


• Having learned the dramatic structure• Being assigned playwriting groups and

a topic upon which to write a play about(e.g. stage fright)

• The students will use the technique ofof improvisation in the writing of theirscripts to discover character andmotivation (or to develop and explorecharacter relationships and conflict)

A scene between Lady Merle and the sheriff upon hearing about King Richard’s departure.

A scene between Maid Marion and King Richard informing her of his departure and his decision to leave her under the care of Lady Merle

A scene between Lady Merle and Prince John discussing the possibility of marriage between Maid Marion and himself.

A scene between the sheriff, the sheriff’s wife, and Salome discussing Lady Merle’s character.

A scene between Robin Hood, Will, and Little John as they try to talk him out of attending Lady Merle’s Fair.

A scene between Kaspar and Lady Merle before the archery contest

A scene between the sheriff and Lady Merle after Robin escapes capture when his true identity is discovered

A scene between Friar Tuck and a soldier in the castle as he tries to sneak by, disguised as a chef

In this improvisational prompt, a student has been assigned thelead in the upcoming school production. Unfortunately, just acouple of days before opening night, the student becomes veryapprehensive about performing in front of an audience andinsists he/she cannot go on. There is no understudy. Chooseone of the following scenes to improvise with a partner.

a. Scene between the performer and the directorb. Scene between the performer and co-actorc. Scene between the performer and his/her parent

Notes: The teacher constructed improvisational selections provided are applicable to the play, Robin Hood by Tim Kelly. You may wish to have two groups do the same improvisational scene for comparison and interpretation.

Drama, Introduction



Standard: 2.0 Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theatre, film/videos,and electronic media productions and to perform in them.


RangePerformance

Standard2.2 Maintain a rehearsal/script notebook to record direction and blocking.

Familiarity with actor’s body positionsFamiliarity with stage areasFamiliarity with blockingNotations/symbols; abbreviations

Acting AreasActor’s body positionsBlocking BusinessCheat CueDialogue Floor planMotivation OpenProps Scene ScriptShareStage abbreviationsStage directions

Range:

Acquisition:

Proficient:



Resources


Objective

Multiple Choice• Given a proscenium stage diagram with

stage abbreviations• Given the blocking terms• The student 1) label the nine stage areas

correctly; 2) provide the correct blockingnotation/abbreviation for the words; 3)convert stage directions into stageabbreviations correctly (vice versa);4)label the eight actor’s body positionscorrectly

• Quiz

• Test

1) Label the stage areas using stage abbreviations

C

Audience LC UR DL UC DR UL DC RC C

2) Provide the script notation for each word

Cross = ____X____ Exit = ___En_____

X D L St 1/4 R__________________________________________ Cross down left and stand one quarter right

District produced notationguide

Exploring Theatre: Teacher’sResource Binder (ResourceScript Marking Guide) –Nancy Prince & Jeanie Jackson

Theatre Art I: Teacher’sCourse Guide – Alan Engelsman & Penny Engelsman

Sample noted scripts

Teacher constructed quiz/test

SDAIE strategy - Quick writeWhat is the purpose ofmovement on stage?


Cooperative learningLearning the actor’s bodypositions, have the studentsstand up and respond todirections. Indicate which wallis the audience then call outbody positions. (e.g. stand fullfront; stand full back; stand onequarter right. For fun, do theexercise incorporating “SimonSays.”)

Drama, Introduction


3) Convert the script notation into complete sentences.

Enter stage right and cross center and stand full front __________________________________________ EN SR X C ST FF


• Having demonstrated on stage thedifferent areas of the stage

• The student will correctly follow a set ofdirections given by the teacher

Note: Give a set of directions using letters of the alphabet, shapes, and numbers. If the student follows the stage directions correctly, he/she will have drawn one of the above clearly for the audience. You may have the other students observe carefully and indicate on their papers what their classmate has etched on the stage floor.

• Having learned the stage abbreviationsand notations

• Have completed the practice worksheetson stage abbreviations

• The student will create five sets of stagedirections in written form and thenprovide the stage-abbreviated form foreach one correctly. Each one shouldcontain no less than five stageabbreviations.

You will each demonstrate your understanding of the stageareas by following my stage directions carefully. If you havedone so, you will have etched on stage a letter of the alphabet, anumber, or a shape clearly for the audience.

1. Let’s begin upstage right2. Now cross upstage center3. Cross upstage left4. Cross center5. Cross downstage right6. Cross downstage center7. Cross downstage left

(if the student completed the set of directions correctly,they would have drawn the letter Z)

1. Let’s begin upstage center2. Now cross upstage right3. Cross right center4. Cross center5. Cross downstage center6. Cross downstage right

(if the student completed the set of directions correctly,they would have etched the or letter S or the number 5)

Create five different sets of stage directions in written form andthen provide the stage-abbreviated form for each one. Each setof directions should contain no less than five abbreviations.

e.g. 1. Enter center right, cross down left, and stand one quarter right.

En CR X DL St 1/4 R

Sample notated scripts

Teacher constructed stage notation/abbreviation worksheets

Share/pair evaluation for scriptnotation

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• Assigned a performing group• Given a published scene/skit to prepare• Having designed their own floor plan• The student will maintain a script

notebook, creating a minimum of threebits of business for their character.Student will record theirblocking/directions for their characterwith a minimum of five sets of directionsusing script notation.

You will rehearse your scene creating and recording alldirections and blocking. You must have a minimum of threebits of business and five sets of blocking, using script notation.Make sure to write down the blocking on your scripts usingpencil.

The Drama Handbook; Teaching Acting Through Scene Work – Davina Rubin

Notes:

Drama, Introduction



Standard: 2.0 Students apply processes and skills in acting, directing, designing, and scriptwriting to create formal and informal theatre, film/video, andelectronic media productions and to perform in them.


RangePerformance

Standard2.3 Create characters, environments, and actions

that exhibit tensions and suspense.Familiarity with the dramatic structureand elements

Understanding the Guidelines forImprovisation

BeatCharacter analysisCharacterizationClimaxComplicationForeshadowingImproviseImprovisationMotivation MoodObjective SettingTactic TensionSuspense

Range:

Acquisition:

Proficient:



Resources


Objective

Multiple Choice• Quiz

• Test

Match the definition on the right to its term on the left. Writethe letter of your choice in the space provided to the left.

1. ___ A snarl, twist, entanglement, or jam a. conflict in the rising action b. beat2. ___ The highest point of interest or excitement c. suspense

3. ___ The main problem or obstacle d. complication

4. ___ A unit of action (e.g. change in e. climax emotion)

5. ___ The growing excitement, anticipation, or uncertainty felt as the story builds

Exploring Theatre – NancyJackson

The Dynamics of Acting – JoanSnyder & Michael P. Drumsta



Drama, Introduction



• Having paired/grouped students• Having been provided a situation and

characters• Having provided fifteen minutes to

discuss ideas in regards to the charactersand situation

• Student will improvise and develop ascene, focusing on developing tensionand suspense by the arrangement ofcomplications

You will choose a partner(s) to perform an improv prompt listedbelow. You should have a beginning, middle, and an end with aclear conflict. You will have fifteen minutes to determine yourcharacters and discuss ideas. Remember the middle (risingaction) should consist of a variety of complications that grow inintensity. Arrange your complications to exhibit tension andsuspense as your scene develops and progresses.

a. Friends on a road trip experience car trouble end up in a ghost town

Theatre Games for YoungPerformers – Maria C. Novelly

Improvisation Starters – PhilipBernardi

Can of Squirms – Meriwether

Teacher constructed improv ideas

The Camping Script – Internet

Improvisational games,activities, and exercises Role Playing

Cooperative LearningTaking random scenes from afairy tale (or other teacherselected source) have studentsarrange them in chronologicalorder


• Having studied the dramatic structure andelements

• Having been assigned groups• Having been given a circumstance• Having completed the dramatic structure

outline (see 1.2)

• Students will write, rehearse, and performan original skit creating characters,environments, and actions that exhibittension and suspense

In groups of three to four, you will write a five to seven minutescript on (teacher assigned topic) following the dramaticstructure and incorporating the elements of a play. You willcreate characters, situations, and actions that exhibit tension andsuspense. You will self-direct, plan business, and incorporateblocking, using script notation.

How to Prepare and Give aSpeech (Writing a Play) –Michael Kramme

Teaching Young Playwrights –Gerald Chapman

Playmaking – Daniel JudahSklar

Writing Your Own Plays –Carol Korty

Playwriting Step by Step –Marsh Cassady

Teacher constructed dramaticstructure outline

Sample scripts

Show video taped original skitsfrom former students

Writing groups

Notes:

Drama, Introduction


Component Strand: HISTORICAL AND CULTURAL CONTEXT

Standard: 3.0 Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world,noting diversity as it relates to theatre.


RangePerformance

Standard3.1 Design and create masks, puppets, props, costumes, or sets in a selected theatrical style drawn from world cultures, such as Japanese shadow puppets or Kabuki masks.

The study and analysis of theatrical stylesand cultures.

Bunraku CeremonyFestival Greek TheatreRitualCommedia dell’arteKabuki theatreMarionettesNoh theatre

Range:

Acquisition:

Proficient:



Resources



• Quiz

• Test

Read each question below and determine the correct answer.Write the answer in the space provided to the left.

1. ____ Which of the following theatre styles used highly stylized makeup instead of masks in theatrical performances

a. Greek theatre c. Kabuki b. Commedia dell’arte d. Noh

2. ____ Which theatre style incorporated five distinct types of masks (gods, men, women, madmen, and demons)

a. Greek theatre c. Kabuki b. Commedia dell’arte d. Noh

Cut and Make … Masks – A.G.Smith and Josie Hazen

Play Production Today –Jonniepat Mobley

Exploring Theatre - Nancy Prince & Jeanie Jackson

The World of Theatre –

Scholastic Discovery Music

and Performing Arts


SDAIE strategy – AnticipatoryChart – KWL, “What I knowabout Masks?”

LectureCornell Notes

Graphic OrganizersVenn Diagram Comparison/Contrast Chart

Drama, Introduction


Notes:


• Having studied and analyzed a selectedtheatrical style

• Having been provided a mask template• Having been provided with the necessary

art materials and supplies• Student will make a rendering of an

original concept for a mask, reflecting thetheatrical style and/or culture and/or

• Student will make a rendering of a theatre or stage from a selected theatrical style (e.g. Greek, Pageant Wagon, Kabuki etc.)

You will make a rendering of an original mask, reflecting theGreek Style of theatre and/or its culture. On your rendering,indicate how you will embellish your mask by labeling whatand where materials will be used and placed.

You will make a rendering or diagram of a theatre or stage froma selected theatrical style. Label parts and areas whereapplicable.

Mask Template

Puppets: Methods andAlan Fortney

Incredible Art Department –Internet

Masks & Aesops Fables –Internet

Masks Around The World –Internet

Mask making Intro (video)–Masks From Many Cultures –Crystal Productions

In text questions – Studentsanswer teacher constructedquestions about a readingselection as they read it.Students review their answerwith their small group, and thenshare with the whole group.

Visual aids (pictures or photosGreek, Chinese, Japaneseproductions)


• Having completed a rendering of anoriginal mask concept

• Having been provided with the necessaryart supplies and materials

• Student will create and design an originalmask based on Greek theatre (or selectedtheatre style) and/or culture

• Having completed teacher constructedquestionnaire or guide in regards todesign (e.g. what is the function orpurpose of your mask? What emotion ormood does your mask convey; etc.)

• Student will give an oral presentationexplaining their original mask design andhow it reflects the Greek theatrical style(or selected theater style) and/or culturethrough their creation and design.

or• Student will construct a model of a

theatre or stage from a theatrical style(e.g. Greek, Pageant Wagon, Elizabethan,Kabuki, etc.)

You will give an oral presentation on the mask you havecreated, discussing your design as it relates to the Greek theatrestyle, customs, and/or culture.

You will construct a model of a theatre or stage from atheatrical style and give an oral presentation describing thecharacteristics of the theatre or stage of that period.

Make A Mask – SanderJohnson, Tim Murphy,Patricia Ryan Sarka, & Ann dela Sota

Paper Masks and Puppets forStories, Songs, and Plays –Ron and Marsha Feller

The Usborne Book of Masks –Ray Gibson

Teacher constructed questionsrelating to students’ maskpresentation (to be used a guidefor students in preparing themfor their oral presentation).

Art CataloguesNasco Arts & CraftsBlick Art MaterialsSax Arts & Crafts

Drama, Introduction


Component Strand: HISTORICAL AND CULTURAL CONTEXT

Standard: 3.0 Students analyze the role and development of theatre, film/video, and electronic media in past and present cultures throughout the world, notingdiversity as it relates to theatre.


RangePerformance

Standard3.2 Compare and contrast various theatre styles history, such as Ancient Greece, Elizabethan theatre, Kabuki theatre, Kathakal dance theatre, and Commedia dell’arte.

None AeschylusAristophanesAthensAristotleChorusComedyDionysusDithyrambEuripidesMenanderOrchestraSatyrSkeneSophoclesThespsisTragedy

CyclesMiracleMysteryPageant WagonTrope

No Theatre

Bunraku

Kabuki

Sanskrit drama

Ben JohnsonChristopher MarlowGlobe TheatreShakespeare

RenaissanceLope De VegaCalderon

Range:

Acquisition:

Proficient:

Drama, Introduction


Commedia dell’arteImproviseStock characters

MoliereOperaProscenium

Three dimensional scenery

RestorationLegitimateAphra BehnWilliam CongreveDavid GarrickRichard Brinsley SheridanWilliamWycherley

RomanticismMelodrama

RealismLorraine HansberryEugene O’NeilTennessee Williams

MusicalGeorge CohanJerome KernGeorge and Ira GershwinIrving BerlinRodgers and Hammerstein

Drama, Introduction




Resources


Objective

Multiple Choice• Quiz

• Test

Read statement below and determine which one does not applyto the theatre style stated. Choose the best answer and write theletter of your choice in the space provided to the left.

1. ____ In reference to Greek theatre which statement does not apply

a. Plays were performed only a few times a year at religious festivals b. The theatre was built into a hillside c. Greek actors wore highly stylized makeup d. Greek theatre consisted of one to three actors and a chorus

Exploring Theatre – NancyPrince & Jeanie Jackson

Arts Edge: Greek Theatre –Internet

Teacher constructed in-textquestions


SDAIE strategy: AnticipatoryGuide – given a series ofstatements that relate to areading selection, lecture, orvideo. Students indicate agree’or ‘disagree’. After theinformation has been presented,students check to see if they arecorrect

Formative Assessment (Constructed orPerformance)Student will complete a graphic organizer filling inthe requested information as it pertains to thespecific theatre period (e.g.)

Theatre Period: Greek Period

Origin, roots or religious rituals and Influences: celebrations

Purpose: worship of Dionysus, god of wine and harvest; religious occasion

Staging: amphitheatre; open air theatre built on a hillside

Type of Plays: tragedies, comedies,

Source: myths and legends

Plot: stories of gods and heroes

Themes: showed how good and evil are always in conflict

Complete the graphic organizer below on the theater style beingdiscussed and analyzed. Complete the requested info onlywhere applicable to the period being studied.

Theatre Period: Roman Theatre

Origin, roots or influences:

Purpose:

Staging:

Types of Play:

Teacher constructed graphic organizer

Theatre Through the Ages – Michael Kramme

Play Production – Jonniepat Mobley

The World of Theatre - Scholastic (Voyages of Discovery: Music And Performing Arts)

The Theatre – William M. Hutchinson

Starting Drama – Eric Boagey

Visual aids (photos anddiagrams) of Greek,Elizabethan, and AsianTheatres

In-text questions – Studentsanswer teacher-constructedquestions about a readingselection as they read it.Students review their answersin a small group then sharethem with the whole group.


Graphic organizersComparison-ContrastChart or MatrixVenn Diagram

Timelines (noting importantevents in theatre)

Drama, Introduction


Notes:


• Having studied and analyzed several theatre styles• Student will write a one-page paper

comparing and contrasting the theatreelements (plays, stages, staging,costumes, etc.) from two periods intheatre history (e.g. Greek andElizabethan)

•

or

• Having studied and analyzed severaltheatre styles

• Presenting a series of pictures, photos, orslide show (e.g. pageant wagon)

• Student will be able to identify theatreelements (plays, stages, costumes,staging, etc.) pertaining to a particulartheatre style and/or culture

Choose two periods in theatre history to write a one-page paper,comparing and contrasting the theatre elements (plays, stages,staging, costumes, etc.) from two different theatre styles. (e.g.Greek Theatre and Elizabethan Theatre).

Analyze photo number one depicting a stage. Identify whichtheatre style and /or culture it pertains to. Write the answer andone trait or characteristic of the theatre style in support of youranswer.

Theatre Style and/or Trait/characteristic

Photo #1: Pageant wagon actors performed miracle Medieval theatre plays on moveable stage wagons

Photo #2: theatre built on hillside

_________________________ ____________________ ____________________ ____________________

How Theatre Began (video) –Nancy Forderer

SDAIE strategy: Send-A-Problem – Using the text, eachstudent on a team makes up areview question and writes it ona 3X5 card. The writer asks thequestion of the other membersof the team. When everyoneagrees on an answer, it iswritten on the back of the card.The teams then send theirreview question to anotherteam. Teams respond byhaving one student read thefirst question. Each teammember writes down answer.Team members then compareand discuss their answer. Ifthey agree, they turn the cardover to see if they concur withthe sending team. If not, theywrite their answer on the backof the card as an alternateanswer. A second student readsthe next question, and so on.The cycle continues. At theend, teacher should provide anopportunity to discuss andclarify questions and answers.

Drama, Introduction


Component Strand: AESTHETIC VALUING

Standard: 4.0 Students critique and derive meaning from works of theatre, film/video, electronic media, and theatrical artists on the basis of aesthetic qualities.


RangePerformance

Standard4.1 Design and apply, appropriate criteria or rubrics

for evaluating the effective use of masks,puppetry, makeup, and costumes in a theatricalpresentation.

None AestheticAesthetic appreciationAesthetic perceptionAuthentic evaluationCriteriaCritiqueConstructive CriticismRubric

Range:

Acquisition:

Proficient:



Resources



• Quiz

• Test

Match the definition on the left to the correct term on the right.Write the letter of your choice in the space provided to the left.

1. ____ evaluation guidelines applied a. evaluation in judging a performance

2. ____ an evaluation involving real-life b. critique situations and role-playing to test skills and abilities for the real world c. criteria

3. ____ an assessment of strengths and d. authentic weaknesses evaluation

4. ____ opinions and comments based on predetermined criteria

Exploring theatre – NancyPrince & Jeanie Jackson

Paper Masks and Puppets forStories, Songs, and Plays –Ron and Marsha Feller

Make A Mask InstructionGuide – Sander Johnson, TimMurphy, Patricia Ryan, Sarka,Anne de la Sota

Cut and Make Masks –A .G. Smith and Josie Hazen

The Usborne Book of Masks –Ray Gibson


Pictures or photos of masks

Cooperative Learning

Class discussion

In text questions

SDAIE strategy: Pair/share

Drama, Introduction



• Having learned the essential vocabulary• Having been assigned a character from a

fairy tale (or other source) to design amask for

• Having designed a mask• The student will develop a rubric for

evaluating the effectiveness of a mask(puppetry, makeup, or costume) in atheatrical presentation.

You and your partner will brainstorm and develop a rubric forevaluating the effectiveness of a mask in a theatricalpresentation.

Sample Rubrics


• Students will apply their rubric toevaluate the effectiveness of theirpartner’s mask in a theatrical presentationof a fairy tale or other teacher selectedpresentation (e.g. pantomime)

You will apply the rubric you created in evaluating theeffectiveness of your partner’s mask in their theatricalpresentation.

Notes:

Drama, Introduction


Component Strand: CONNECTIONS, RELATIONSHIPS, APPLICATIONS

Standard: 5.0 Students apply what they learn in theatre, film/video, and electronic media across subject areas. They develop competencies and creative skills inproblem solving, communication, and time management that contribute to lifelong learning and career skills. They also learn about careers in and related to theatre.


RangePerformance

Standard5.2 Demonstrate projection, vocal variety, diction, gesture,

and confidence in an oral presentation.None Diction Diaphragm

Flexibility GestureInflection PitchPoise ProjectionPronunciation QualityRateVocal expression

Range:

Acquisition:

Proficient:

Drama, Introduction




Resources



• Quiz

• Test

Read each definition carefully and match it to the correct term.

1. ____ The shaping and molding of a. poise sounds into syllables

b. articulation2. ____ The speed at which you speak

c. rate3. ____ The effective control of all voice elements and body movements

Exploring TheatrePrince & Jeanine Jackson



In Text Questions

Vocal drills, exercises, andactivities

Cooperative LearningStudents identify careers thatrequire effective oral andcommunication skills


• Given a selection of monologues fromwhich to choose from for a presentation

• Having analyzed their script, focusing online interpretation

• The student will provide notations ontheir script addressing mood, emotion,and attitude of character. Student willalso underline operative words that are tobe given emphasis

You will provide notations on your monologue addressingmood, emotion, and attitude of character. You will indicate theoperative words by underlining words to be given emphasis.

Script work: line analysisPair/share peer


• Given a selection of monologues fromwhich to choose for a presentation

• Having analyzed their monologue,focusing on line interpretation

• Instructed to provide notations on thestudent selected monologue

• The student will perform their memorizedmonologue, demonstrating appropriateprojection levels, vocal expression,diction, gesture, and poise as a result oftheir line and character analysis

You will perform a monologue of your choosing, demonstratingappropriate projection levels, vocal variety, diction, gesture, andconfidence.

Teacher provided monologuesfor student selection

Exploring Theatre Teacher’sSource Binder (reproduciblemonologue exercises) – NancyPrince & Jeanie Jackson

Teenage Mouth (monologues)–Roger Karshner

Teens Have Feelings, Too!(monologues) - DeborahKarczewski

drama, intro (ms)

Education