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Course Profile Dramatic Arts, Grade 10, Open, Catholic
Course Overview
Course Profiles are professional development materials designed to help teachers implement the new Grade 10 secondary school curriculum. These materials were created by writing partnerships of school boards and subject associations. The development of these resources was funded by the Ontario Ministry of Education. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.
Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education or by the Partnership of School Boards that supported the production of the document.
© Queen’s Printer for Ontario, 2000
Catholic District School Board Writing Teams – Drama
Lead Board
Windsor Essex Catholic District School Board
Barry Elliott, Manager
Course Profile Writing Team
Barbara Carlton
Mike Gloster
Catherine Jeffrey
James Mulveney
Central Catholic Curriculum Cooperative
Institute for Catholic Education
Course Overview
Dramatic Arts, Grade 10, Open
School District: Windsor Essex District Catholic School
Board
Ministry Course Code: ADA2O
Secondary Policy Document:
Ontario Curriculum: The Ontario Curriculum, Grades 9 and 10,
The Arts
Publication Date: 1999
Credit Value: 1
Course Title: Dramatic Arts
Grade: 10
Course Type: Open
Department: The Arts
Course Developers: Barbara Carlton, Mike Gloster, Catherine
Jeffrey, James Mulveney
Development Date: September 1999
This course requires students to actively explore dramatic forms and techniques, using their own ideas and concerns as well as sources selected from a wide range of authors, genres, and cultures. Student learning will include identifying and using the principles of space, time, voice, and movement in creating, sustaining, and communicating authentic roles within drama. Through the students’ exploration of the development of the theatre, they will come to an understanding of how theatre reflects their personal life experiences. By the end of the course, the students will have the opportunity to experience the many varied aspects of production and presentation. Students will assume responsibility for decisions made in the creation and presentation of the drama, and will analyse and reflect on the experience.
Dramatic Arts and our Catholic faith are both significant journeys in life. They are interconnected by the processes that both our faith development and a dramatic presentation entail. The unit planning involves most aspects of the OCSG expectations. The student will explore our faith traditions and discover the relationship dynamics within the dramatic experience. By the end of the course, the student will have a deeper understanding of the importance of being a Catholic leader, as well as an interdependent team member, in society today.
|
Unit 1 |
Group Dynamics |
10 hours |
|
Unit 2 |
Developing Dramatic Technique |
18.75 hours |
|
Unit 3 |
Developing The Script |
18.75 hours |
|
Unit 4 |
Movement/Dance/Ritual |
18.75 hours |
|
Unit 5 |
Theatre Complete |
43.75 hours |
The following units have these expectations in common.
Overall Expectations
CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama.
Specific Expectations
CR1.04 - demonstrate an understanding of language that is free from bias and stereotyping;
CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness;
CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama;
CR1.07 - identify and use effective styles of collaboration work on a drama;
AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of a drama.
Time: 10 hours
Description
Teachers begin this unit helping students become acquainted with their fellow students and their God-given talents. The teacher fosters an awareness of “Church” as one body in Christ. Just as each Catholic is a contributing member in their faith community, students begin to understand how their contribution in the Drama classroom contributes to their personal growth. In a teacher-centred activity, students are presented with the teacher’s guidelines for classroom management. Students also have the opportunity to examine the knowledge and skills they acquired in the Grade 9 drama course. Students who did not take Grade 9 drama will also actively take part in games and exercises to become familiar with the terminology necessary to communicate in the drama classroom. Through class discussion, reflection, and journal writing, students will be able to express their personal expectations of the course and to gain an understanding of the teacher’s expectations.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
A Discerning Believer
Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good.
Integrates faith with life.
Understands that one’s purpose or call in life comes from God, others, and creation through prayer and worship.
An Effective Communicator
Listens actively and critically to understand and learn in light of gospel values.
Presents information and ideas clearly and honestly and with sensitivity to others.
Writes and speaks fluently one or both of Canada’s official languages.
A Reflective and Creative Thinker
Creates, adapts, and evaluates new ideas in light of the common good.
Thinks reflectively and creatively to evaluate situations and solve problems.
A Self-Directed, Responsible, Life Long Learner
Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others.
Demonstrates flexibility and adaptability.
Takes initiative and demonstrates Christian leadership.
A Collaborative Contributor
Works effectively as an interdependent team member.
Respects the rights, responsibilities, and contributions of self and others.
Exercises Christian leadership in the achievement of individual and groups goals.
A Responsible Citizen
Accepts accountability for one’s own actions.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works;
CRV.01 - use various ways to sustain a role within a drama;
CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama;
ANV.01 - generate and apply criteria to evaluate their own dramatic presentations;
TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime);
CR1.02 - demonstrate an understanding of the element of risk in playing a role (e.g., adapting to challenges to personal and social beliefs);
CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness;
CR1.07 - identify and use effective styles of collaboration in drama;
AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning;
AN2.05 - demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork).
Time:
18.75 hours
Description
Exploration into improvisation, role play and voice will help develop skills necessary to continue in the dramatic process. Students apply the techniques learned in a variety of exercises and activities. An increased awareness of character emotion and intent will be demonstrated through physical and vocal exercises. The students begin to understand the importance of the voice and body as instruments of communication. The students are also given a brief history of the radio play as a dramatic genre, and have an opportunity to practise vocal skills and sound effect production in the presentation of a radio play. The fundamental skills explored in this unit are the prerequisite to the remainder of the course. Use of stories from scripture and having the students explore the foundation of their Catholic faith will be part of the process.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
A Discerning Believer
Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good.
Integrates faith with life.
An Effective Communicator
Listens actively and critically to understand and learn in light of gospel values.
Reads, understands, and uses written materials effectively.
Presents information and ideas clearly and honestly and with sensitivity to others.
A Reflective and Creative Thinker
Creates, adapts, evaluates new ideas in light of the common good.
Thinks reflectively and creatively to evaluate situations and solve problems.
Makes decisions in light of gospel values with an informed moral conscience.
A Self-Directed, Responsible, Life Long Learner
Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others.
Demonstrates flexibility and adaptability.
Takes initiative and demonstrates Christian leadership.
Applies effective communication, decision-making, problem-solving, time and resource management skills.
A Collaborative Contributor
Works effectively as an interdependent team member.
Respects the rights, responsibilities, and contributions of self and others.
Exercises Christian leadership in the achievement of individual and group goals.
Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.
A Caring Family Member
Values and honours the important role of the family in society.
A Responsible Citizen
Accepts accountability for one’s own actions.
Respects the environment and uses resources wisely.
Strand(s): Theory, Creation, Analysis
Overall Expectations
THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works;
THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values);
CRV.01 - use of various ways to sustain a role within a drama;
CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama;
CRV.03 - create drama through research or the interpretation of a source;
ANV.01 - generate and apply criteria to evaluate their own dramatic presentations;
ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community.
Specific Expectations
TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience;
TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama;
TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation);
TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in a expressive speech;
TH3.02 - explain how dramatic forms may effectively communicate more than one perspective;
CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation);
CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama;
CR1.07 - identify and use effective styles of collaboration in drama;
CR2.03 - explain reasons for presenting a particular type of drama (e.g., children’s theatre) to a particular audience;
AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion);
AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama;
AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning.
Time:
18.75 hours
Description
In this unit, students are divided into groups and given scripts consisting of a series of fragmented monologues which they eventually memorize, prepare, rehearse, and present to the class. During the development of these scripts, students explore the dramatic devices necessary to interpret and develop their monologue. These devices include tableau, gesture, facial expression, stage business, give and take, and stage picture. The script selections should allow the students to examine the common insecurities faced by teens and the resulting problems that may result when young people become confused by stereotyping and bias.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
A Discerning Believer
Integrates faith with life.
An Effective Communicator
Listens actively and critically to understand and learn in light of gospel values.
Reads, understands, and uses written materials effectively.
Presents information and ideas clearly and honestly and with sensitivity to others.
A Reflective and Creative Thinker
Thinks reflectively and creatively to evaluate situations and solve problems.
A Self-Directed, Responsible, Life Long Learner
Demonstrates flexibility and adaptability.
Takes initiative and demonstrates Christian leadership.
Applies effective communication, decision-making, problem solving, time and resource management skills.
A Collaborative Contributor
Works effectively as an interdependent team member.
Respects the rights, responsibilities, and contributions of self and others.
Exercises Christian leadership in the achievement of individual and group goals.
Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.
A Responsible Citizen
Accepts accountability for one’s own actions.
Strand(s): Creation, Theory, Analysis
Overall Expectations
THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works;
THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values);
CRV.01 - use various ways to sustain a role within a drama;
CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama;
CRV.03 - create drama through research or the interpretation of a source;
CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives;
ANV.01 - generate and apply criteria to evaluate their own dramatic presentations;
ANV.04 - demonstrate an understanding of how role taking and the processes of drama are connected to their lives
Specific Expectations
TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience;
TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama;
TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation;
TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action);
TH2.02 - demonstrate an understanding of the basic process of voice production;
TH2.03 - demonstrate an understanding of the principles and elements of movement;
TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime);
TH3.05 - identify dramatic conflict or tension within a source;
TH3.08 - identify sources of modern theatrical conventions such as the aside, monologue, or soliloquy, and cite examples (e.g., soliloquies in Shakespeare’s plays);
CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation);
CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol;
CR1.04 - demonstrate an understanding of language that is free from bias and stereotyping;
CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama;
CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama;
AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed;
AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama;
AN2.02 - explain connections between their own lives and the metaphor or theme in a drama;
AN2.04 - analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama.
Time:
18.75 hours
Description
This unit allows the students to explore the various forms of movement and their role in expressing ideas in drama. The teacher helps the students utilize movement, gesture, dance, and non-verbal communication to develop presentations in partnership and in small groups. They examine the historical origins of theatre and our Catholic faith tradition by researching ritual and its modern theatrical relevance. Presentations will include mirroring, simplified dance forms, thematic story-telling through creative movement, and group ritual.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
A Discerning Believer
Integrates faith with life.
An Effective Communicator
Listens actively and critically to understand and learn in light of gospel values.
Reads, understands, and uses written materials effectively.
Presents information and ideas clearly and honestly and with sensitivity to others.
A Reflective and Creative Thinker
Thinks reflectively and creatively to evaluate situations and solve problems.
A Self-Directed, Responsible, Life Long Learner
Demonstrates flexibility and adaptability.
Takes initiative and demonstrates Christian leadership.
Applies effective communication, decision-making, problem-solving, time and resource management skills.
A Collaborative Contributor
Works effectively as an interdependent team member.
Respects the rights, responsibilities and contributions of self and others.
Exercises Christian leadership in the achievement of individual and group goals.
Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.
A Responsible Citizen
Accepts accountability for one’s own actions
Strand(s): Creation,
Theory, Analysis
Overall Expectations
THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values);
THV.03 - identify and describe various dramatic forms (e.g., ritual, storytelling, mime) and describe the historical origins of these forms;
CRV.01 - use various ways to sustain a role within a drama;
CRV.03 - create drama through research or the interpretation of a source;
CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives;
ANV.01 - generate and apply criteria to evaluate their own dramatic presentations;
ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community;
ANV.03 - describe similarities in the dramatic arts of their own and other cultures in the global community.
Specific Expectations
TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience;
TH1.02 - identify and explain methods of creating developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama;
TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation);
TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action);
TH2.01 - demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech;
TH2.03 - demonstrate an understanding of the principles and elements of movement;
TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime);
TH3.01 - demonstrate an understanding of criteria for selecting forms in the construction and communication of a drama;
TH3.03 - demonstrate an understanding of historical and cultural origins of various dramatic forms (e.g., storytelling, pageantry, dance, mask making);
TH3.07 - trace the use of the convention of the mask (e.g., from Greek drama to modern plays);
CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation);
CR1.02 - demonstrate an understanding of the elements of risk in playing a role (e.g., adapting to challenges to personal and social beliefs);
CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol;
CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness;
CR1.06 - demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama;
CR1.07 - identify and use effective styles of collaboration in drama;
CR1.08 - identify and pursue appropriate questions in beginning to research a topic;
CR1.09 - identify research methods appropriate to developing ideas and text for a drama;
CR2.05-identify and explain the function of a variety of media (e.g., electronic music, lights, costumes, videotapes, slides) in presenting a drama;
AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed;
AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama;
AN1.06 - compare how vocal techniques, space, costume, movement, character, and conventions are used in the dramas of their own and other cultures;
AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning);
AN2.02 - explain connections between their own lives and the metaphor or theme in a drama;
AN2.03 - demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of a drama;
AN2.05 - demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork).
Time: 43.75 hours
Description
This summative unit allows the students to take a scripted piece through the entire process - from play selection to a polished level of performance. The teacher supplies the class with a number of one-act plays, which the students will use in the selection process, eventually picking three or four plays to take to final performance. The unit gives the class an appreciation of the creative process and the technical aspects necessary to bring a play to fruition. The students will gain an appreciation of the creative process and the technical aspects necessary to fully produce a play.
Strand(s) and Expectations
Ontario Catholic School Graduate Expectations
A Discerning Believer
Develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity, and the common good.
Integrates faith with life.
An Effective Communicator
Listens actively and critically to understand and learn in light of gospel values.
Reads, understands, and uses written material effectively.
Presents information and ideas clearly and honestly and with sensitivity to others.
Writes and speaks fluently one or both of Canada’s official languages.
Uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life.
A Reflective and Creative Thinker
Creates, adapts, evaluates new ideas in light of the common good.
Thinks reflectively and creatively to evaluate situation and solve problems.
Adopts a holistic approach to life by integrating learning from various subject areas and experience.
A Self-Directed, Responsible, Life Long Learner
Demonstrates a confident and positive sense of self and respect for the dignity and welfare of others.
Demonstrates flexibility and adaptability.
Takes initiative and demonstrates Christian leadership.
A Collaborative Contributor
Works effectively as an interdependent team member.
Respects the rights, responsibilities and contributions of self and others.
Exercises Christian leadership in the achievement of individual and group goals.
Achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others.
A Responsible Citizen
Acts morally and legally as a person formed in Catholic traditions.
Accepts accountability for one’s own actions.
Strand(s): Creation,
Theory, Analysis
Overall Expectations
THV.01 - demonstrate an understanding of the conventions of role playing and structuring of dramatic works;
THV.02 - demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values);
CRV.01 - use various ways to sustain a role within a drama;
CRV.02 - demonstrate an understanding of group responsibility in the creation of a drama;
CRV.03 - create drama through research or the interpretation of a source;
CRV.04 - create and perform dramatic presentations, using knowledge of conventions, performance spaces and audience perspectives;
ANV.01 - generate and apply criteria to evaluate their own dramatic presentations;
ANV.02 - use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community.
Specific Expectations
TH1.01 - demonstrate an understanding of the theory of “willing suspension of disbelief” both as performer and as audience;
TH1.02 - identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama;
TH1.03 - demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation);
TH1.04 - demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action);
TH2.03 - demonstrate an understanding of the principles and elements of movement;
TH2.04 - demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime);
TH3.05 - identify dramatic conflict or tension within a source;
CR1.01 - demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation);
CR1.03 - demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol;
CR1.05 - identify various solutions to the problem of conflict in group situations and compare their effectiveness;
CR1.07 - identify and use effective styles of collaboration in drama;
CR2.04 - demonstrate an understanding of audience perspective in the communication of a drama;
AN1.01 - describe the skills, theories, and concepts being demonstrated as a drama is developed;
AN1.02 - demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion);
AN1.03 - use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama;
AN1.04 - demonstrate an understanding of the function of the director, designer, stage manager, and technician in the production of a drama;
AN1.07 - demonstrate an understanding of universal meaning in drama;
AN2.01 - identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning);
AN2.02 - explain connections between their own lives and the metaphor or theme in a drama;
AN2.04 - analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama.
Instructional strategies will include the following:
Brainstorming – group generation of initial ideas expressed without criticism or analysis
Collaborating – student work with other students in partnership
Conferencing – student to student and teacher to student discussion in the classroom as well as parent conferencing
Game Playing – all students in the class have an opportunity to interact with each other
Learning Log/Reflection – students will have the opportunity to take time out to reflect on their thoughts and experiences for every class
Performance/Presentation – students will present individually, in pairs, small group/large group, or as a class
Teacher Modelling – the teacher will model activities as necessary to aid the students’ understanding of the activity, e.g., storytelling
Critiquing – through teacher and audience observation, students will develop in their understanding of dramatic technique.
Lecture – teacher-directed learning – teacher presentation of background information.
The assessment plan will include the following:
Personal Communication
· peer conferencing
· self-assessment
· student-teacher conferences
· roving conferences
Paper and Pencil Tests
· quizzes
Observation
· teacher formal/informal observation
· student observation
Performance Assessment
· formal written assignments (writing in role/character development)
· presentation/performance
· role play/simulations
Reflection
· learning log/response journal
· self-/peer assessment
· teacher assessment
· checklists
· marking schemes
· rubrics
· anecdotal comments with suggestions for improvement
Assessment and evaluation in the dramatic arts class is ongoing. Assessment is the process of gathering
information from a variety of sources (including assignments, demonstrations, projects, performances, and tests) that accurately reflect how well a student is achieving the curriculum expectations in a course. As part of assessment, teachers provide students with descriptive feedback to guide their efforts.
Evaluation refers to the process of judging the quality of student work on the basis of established criteria, and assigning a value to represent that quality. In Ontario secondary schools, the value assigned will be in the form of an achievement level and an associated percentage grade.
The weighting system for marks, reflects
the evaluation guidelines in The Ontario Curriculum, Grades 9 and 10,
Program Planning and Assessment, 1999.
|
A. ONGOING ASSESSMENT AND EVALUATION |
70% |
B. FINAL EVALUATION |
30% |
|
Dramatic Technique |
20% |
Presentation/Performance Knowledge/Understanding Thinking/Inquiry/Problem Solving Communication Application/Making Connections |
20% 20% 30% 30% |
|
Knowledge/Understanding |
25% |
||
|
Thinking/Inquiry/Problem Solving |
25% |
||
|
Communication |
20% |
||
|
Application/Making Connections |
30% |
||
|
Formal Written Overview |
10% |
||
|
Knowledge/Understanding |
20% |
|
|
|
Thinking/Inquiry/Problem Solving |
20% |
|
|
|
Communication |
30% |
|
|
|
Application/Making Connections |
30% |
|
|
|
Reflection/Journal Writing |
10% |
|
|
|
Knowledge/Understanding |
15% |
|
|
|
Thinking/Inquiry/Problem Solving |
30% |
|
|
|
Communication |
30% |
|
|
|
Application/Making Connections |
25% |
|
|
|
Group Dynamics |
20% |
|
|
|
Knowledge/Understanding |
25% |
|
|
|
Thinking/Inquiry/Problem Solving |
25% |
|
|
|
Communication |
25% |
|
|
|
Application/Making Connections |
25% |
|
|
|
Quizzes |
10% |
|
|
|
Knowledge/Understanding |
30% |
|
|
|
Thinking/Inquiry/Problem Solving |
30% |
|
|
|
Communication |
20% |
|
|
|
Application/Making Connections |
20% |
|
|
The following resources are required to support teaching and learning:
Acting One. Robert Cohen, Mayfield Publishing Co. California, 1992.
“Adolescent Fugue”, Ruth Jacobsen, Glimpses - A Full Evening of Theatre: Scenes, Dramatic Monologues & Short Playlets. Dramatic Publishing Co. (Woodstock, Illinois) - web site - plays@dramaticpublishing.com.
Annual Catalog of Plays, Musicals, & Theatrical Texts: 1999/2000. Pioneer Drama Service Inc. (Colorado, 1999)
Basic Drama Projects. Fran Averett Tanner, Clark Publishing Co. (Idaho, 1966.)
Catechism of the Catholic Church. Canadian Conference Of Catholic Bishops (Ottawa, 1992.)
Creative Communication. Fran Averett Tanner, Clark Publishing Co. (Idaho, 1985.)
Course Profile – Dramatic Arts Grade 9 Open, web site-www.curriculum.org
CODE web site
http://members.home.net/4drama
Drama Games. Bernie Warren, Captus Press, (North York, 1996)
Dramathemes – A Practical Guide For Teaching Drama. Larry Swartz, Pembroke Publishers Ltd. (Markham, 1988)
Drama Structures. Cecily O’Neill and Alan Lambert, Centruey Hutchinson Ltd., (London, 1982)
Educating the Soul. Larry Trafford, Institute for Catholic Education (Toronto, 1998)
Eureka! Seven One-Act Plays For Secondary Schools. Jacquie Lewis and Diane Warren, Coteau Books, (Regina, 1990)
Games for Actors and Non-Actors. Augusto Boal, Routledge, (London, 1992)
IMPRO Improvisation and the Theatre. Keith Johnston, Routledge, (New York, 1979)
Improvisation. Booth and Lundy, Harcourt Brace (Toronto, 1985)
Improvisation for the Theatre. Voila Spolin, Northwestern University Press, (Illinois, 1963)
Introducing Dance in Christian Worship. Ronald Gagne, Thomas Kane, and Robert VerEecke, The Pastoral Press, (Washington, 1984)
Movement For The Actor. Lucille Rubin.
Mysteries of Harris Burdick. Chris Van Allsburg, Houghton Mifflin Co. (Boston, 1984)
Playwrights Union of Canada web
site
www.puc.ca
Response Journal. Les Parsons, Pembroke Publishers Ltd. (Markham, 1990)
Six Canadian Plays. Tony Hamill, ed. Playwrights Canada Press, (Toronto, 1992)
Structuring Drama Work. Jonothan Neelands, Cambridge University Press, (New York, 1990)
The Articulate Body: The Physical Training of the Actor. Anne Dennis.
The Expressive Body: Physical Characterization for the Actor. David Albert.
The Stanislavski System: The Professional Training Of An Actor. Sonia Moore, Penguin Books, (New York, 1965)
The New Jerusalem Bible. Henry Wansbraugh, ed., Doubleday (New York, 1990)
Theatre Games for Young Performers. Maria C. Novelly, Meriweather Publishing Ltd. (Colorado, 1985)
Voice and the Actor. Cicely Berry, Virgin Books (London,1993)
Youth Ministry: Drama and Comedy. Chuck Bolte and Paul McCusker, Group Books (Colorado, 1992)
The structure of this course is set up as a progression from beginning dramatic techniques to a final polished product. Unit 1: Group Dynamics introduces the students to the importance of the co-operation necessary to progress within a drama. Unit 2: Developing Dramatic Technique explores the application of the dramatic skill essential to the creative growth of each student. Unit 3: Developing The Script introduces students to script and the teacher guides them with the skills for interpretation. Unit 4: Creative Movement and Ritual encompasses the application of specialized forms of dramatic presentation. With the knowledge and skills gained from the previous units of study, students are prepared to embark on developing Unit 5: Theatre Complete which puts to use all the skills developed throughout the course of study.
Classes allow for warm-ups, reflection, presentation, and critique to assist students with their individual creative growth within the dramatic process.
Games, role play, playbuilding, improvisation, and teacher-led exploration of dramatic concepts are some of the many tools for instruction. The Planning Notes in each unit are a helpful guide to the specifics of the unit.
Extra challenges, homework, and research are also an integral part of the drama class. Classes should include a daily prayer or meditation to facilitate community building.
The journal will help to consolidate the learning for the students. It will be used as a vehicle for reflection, analysis and planning. It may be used on a daily basis or periodically throughout the unit to reinforce concepts taught.
Formal performance is a requirement at the end of the Grade 10 course in the final unit ‘Theatre Complete’. It is, however, encouraged throughout the course so that students get a flavour for the audience’s role in drama. Units 2, 3, and 4 lead to products that could be shared with other classes. If the students are ready, a certain level of confidence and comfort can be gained in front of an audience.
The knowledge and skills acquired in the drama classroom will be transferred naturally to real-life situations and the world of work. The development of students, communication skills and the time spent in collaboration and co-operation will foster the development of their role within the faith community.
Because of the nature of the course, safety is always a concern. Proper warm-ups and cool-downs to prevent injuries during dance and movement activities, the safe use of building, lighting, and sound technologies in dramatic productions, and the safe storage, handling and disposal of toxic substances (e.g., paint) are relevant safety issues in this course. Teachers must reinforce with the students an awareness of the need for safety during activities and games.
The course naturally lends itself to community building. This sense of community should be encouraged. The problem solving and group dynamic that are such an integral part of this course should be used as tools to enrich a sense of community and help prevent stereotyping and violence.
Through the study of drama, students of all ages will come to an awareness that learning is a lifelong process.
The resources included in the profile are suitable for students of any age. Accommodations can easily be made to suit the needs of the unique teaching situations.
Students should be encouraged to discuss the many opportunities for careers in fields related to dramatic arts. When possible, include people involved in the arts in your community as a resource to both enrich your program and act as mentors for those students thinking of a career in theatre.
Depending on the availability within the school, students will have the opportunity to incorporate the use of computer-aided technology to assist them in the development and implementation of productions and performances (e.g., lighting design and implementation, sound re-enforcement).
The Internet is a valuable tool for both the teacher and the students. Suggested web sites are included to assist in research.
A Glossary is provided in Appendix A.1
Teachers should be aware of the varying dramatic backgrounds of their students. Unit 1 is largely diagnostic, helping the teacher determine the ability of each student. Accommodations may have to be made for students with no or limited dramatic background, or students from Comprehensive Arts programs.
Students with special needs will discover a variety of ways to demonstrate dramatic skill. Matching challenged students, ESL students and students who have never taken drama with students who can act as mentors, will produce a sense of community within the classroom. Assignments can be tailored to meet the needs of students with an Individual Education Plan.
Teachers using the course profiles are expected to be acquainted with students’ Individual Education Plans (IEPs) and the unique learning characteristics of their individual students and to make the necessary accommodations.
Drama teachers will find that there are a number of drama resources available to them in Ontario. There are qualified instructors in the Universities and Colleges of Education, in Drama in Education and Theatre in Education, as well as in our elementary and secondary schools. There is an active subject council, The Council of Drama in Education (CODE). Drama textbooks, resource books, and Canadian scripts are readily available. Teachers should also keep in mind the rich resource within our communities of amateur community theatre groups that can be used for field trips and guest lecturers. They could discuss the technical operational facets of running a theatre. Other resources used in the drama classroom will come from the students and the community in the form of newspapers, journals, biographies, and local issues. The Internet is a valuable tool for both the students and the teachers.
The foundation, the Grade 10 drama program is based on the expectations found in The Ontario Curriculum, Grades 9 and 10, The Arts, 1999. Specific elements in the OSS Policy documents for the disciplines of Dramatic Arts, Music, Art, and Dance will be used to create an environment in which students learn about artistic principles and elements that are common to all the arts. Classroom activities and teaching strategies will allow students to develop the life-long skills of goal-setting, self-management, and communication that are necessary to their personal education and career plans (Choices into Action: Guidance and Career Education Program Policy for Ontario Elementary and Secondary Schools, 1999).
The assessment and evaluation methods used in this course reflect the guidelines established in The Ontario Curriculum, Grades 9 and 10, Program Planning and Assessment, 1999.
A final important component in the development of the Grade 10 Dramatic Arts Course Profile is the document created by the Institute of Catholic Education, Ontario Catholic School Graduate Expectations (1999). The expectations of this document are incorporated in this course profile to enhance the students’ awareness of their relationship with God, family, and community.
As for an overall evaluation of the course, teachers should allow for a review by the students of content and teaching/learning strategies during, and at the end of the course.
Teachers need to maintain a reflective approach to the work during the school year in order to assess what units/activities worked/did not work, what content needs to be added/deleted, and what teaching/learning strategies need to be further developed or eliminated. Teachers should also assess and evaluate their course in consultation with their departmental colleagues.
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Audience Perspective |
The audience’s point of view and how they may respond. |
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Believability |
The willing suspension of disbelief. |
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Blocking |
The positioning of the actor in relation to the set and the audience. Movement of the actor(s) on stage from one place to another, e.g., movement from centre stage to downstage centre |
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Brainstorming |
A creative thinking exercise in which quantity, not quality, is stressed. Participants generate ideas by free-associating in a non-judgmental group exercise. |
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Chanting/Choral Speaking |
The reading or reciting of a text by a group. This involves interpretation; experimentation with language, rhythm, volume, and pace; and rehearsal. |
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Characterization/Character Development |
The use of voice, movement, gesture, facial expression, and non-verbal communication along with other factors in order to portray a given character. |
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Character Log |
Information written “in role” concerning any given character (e.g., interests, family background, feelings toward certain events, etc.). |
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Choreographer |
A person designated to create and co-ordinate movement and dance on stage. |
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Concentration |
The ability for an actor to focus. |
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Critique |
The analysis and opinions given to a dramatic piece which will become a tool of enhancement for the performer in future performances. |
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Drama from Source |
Creating a dramatic piece from literature, poetry, scripture, etc. |
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Ensemble |
Working together as one on a dramatic piece or a dance that reinforces the importance of the group. |
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Floor Plan |
A drawing or a plan of the structure for an acting problem. |
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Focus |
Exclusive attention to one detail of a task. |
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Geography of movement |
The floor area of the stage utilized by the performers on stage. |
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Gesture |
Expressive bodily actions such as lifting an eyebrow, shrugging the shoulders, pointing, etc. Gestures should be definite and clear. |
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Give and Take |
Shifting of focus within a given scene. |
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Given Circumstances |
Who, What, Where, When and Why. Information utilized for development in a given situation. |
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Hot Seating |
The student or teacher in role is interviewed by peers/teachers in order to clarify information about the role or about the drama at hand. The interviewing students may also be in role. |
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Imagination |
Having an open mind and excellent observation skills necessary to facilitate in the development of any drama or given scene. Creating one’s own ideas of how things should be. |
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Improvisation |
A spontaneous or planned response to a dramatic situation. |
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In Role |
Participation in a role within the drama. |
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Interpretation |
Looking for a deeper meaning and understanding of a text or character. |
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Intuition |
The “sixth sense”: anticipating what is to come. |
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Levels |
The use of positioning various performers on stage to depict certain relationships, mood, etc. (e.g., standing, sitting, kneeling, leaning, raised on a platform, etc.). |
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Masking |
Interference with the sightlines. An actor purposely covering so as to hide his/her actions. |
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Meditation |
A type of relaxation exercise used to focus on a specific theme. |
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Mime |
Expression without dialogue. |
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Minimal Script |
Small fragments of script. |
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Mirroring |
An exact duplication or response to the action(s) of another student. |
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Monologue |
A character who is verbalizing feelings and thoughts on stage by themselves. |
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Neutrality |
Assuming a position void of movement or emotion. |
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Non-directional Blocking |
Self- blocking without outside direction. |
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Out of Role |
The teacher or students come out of the role they are portraying in a drama in order to discuss the progress of the drama, as well as what should be explored next (e.g., another interview, illustration of events through tableau, etc.). |
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Points of Concentration |
The teacher decides what specific areas students should work on in order to facilitate the growth and process of their drama or scene (e.g., character development, tempo-rhythm of the play). |
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Rapid Impression Writing |
Focus is given to the creativity and flow of writing to explore as many ideas as possible. |
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Role Playing |
Adopting the point of view of a character in any imaginary situation to try to understand that character’s feelings and thought processes. |
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Rondo |
A dance composed of seven sections or movements based on a recurring theme and three variations of the theme identified as ABACADA. A identifies the theme. B, C, and D identify the variations. |
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Roving Conferences |
As students are in the process of creating and rehearsing in groups, the teacher moves between them, monitoring the progress of the work, clarifying instructions, and offering instruction for improvement. |
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Sidecoach |
An assist given by the teacher to students during the solving of a problem and to help them keep focus. |
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Sightlines |
The clarity of vision of an individual in the audience to every individual working on stage. |
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Sonata |
A musical composition composed of three sections or movements. The structure is theme, variation of the theme and a return to the theme. It is identified as ABA. e.g., W.A. Mozart, Rondo Alla Turca From Sonata No. 11 in A Minor KV311, W.A. Mozart, Violin Concerto No. 4 in D Minor KV 218 Rondo Andante |
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Soundscape |
Voices or instruments used to create a mood or describe an environment. |
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Space
Object |
An imaginary object within an environment. |
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Stage Business |
Actions or behavior, usually created by the actor, used to clarify characterization or create atmosphere. |
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Stage Picture |
The overall look on stage from the audience point of view. |
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Strike |
The removal of props, furniture, and sets on stage. |
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Sub-text |
Reading between the lines for deeper understanding. |
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Tableau |
An individual or group picture representing a moment in time or a scene, abstract idea, or theme. |
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Tempo/Rhythm |
The pacing or flow of a scene. |
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Transitional Movement |
The movement from one illustration of a particular theme, scene, or idea to another. |
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Vocal Quality/Expression |
The student’s proper use of articulation, projection, intonation, and tone of his/her voice in order to portray a given character. |
Coded Expectations, Dramatic Arts, ADA2O
Overall Expectations
THV.01
– demonstrate an understanding of the conventions of role playing and structuring of dramatic works;
THV.02
– demonstrate an understanding of the elements and principles of dramatic expression (e.g., voice, movement, production values);
THV.03
– identify and describe various dramatic forms (e.g., ritual, storytelling, mime) and describe the historical origins of these forms.
Role
TH1.01
– demonstrate an understanding of the theory of “willing suspension of disbelief ” both as performer and as audience;
TH1.02
– identify and explain methods of creating and developing roles within a drama that accurately reflect the intentions of the performers and the circumstances of the drama;
TH1.03
– demonstrate an understanding of techniques used to re-create roles (e.g., observation, research, improvisation);
TH1.04
– demonstrate an understanding of the process of structuring drama (e.g., selection of source, choice of roles, negotiation of action).
Elements and Principles
TH2.01
– demonstrate an understanding of the control of volume, tone, pace, and intention in an expressive speech;
TH2.02
– demonstrate an understanding of the basic process of voice production;
TH2.03
– demonstrate an understanding of the principles and elements of movement;
TH2.04
– demonstrate the use of movement, gesture, and non-verbal communication to express ideas in a drama (e.g., mime).
Dramatic Forms and Sources
TH3.01
– demonstrate an understanding of criteria for selecting forms in the construction and communication of a drama;
TH3.02
– explain how dramatic forms may effectively communicate more than one perspective;
TH3.03
– demonstrate an understanding of historical and cultural origins of various dramatic forms (e.g., storytelling, pageantry, dance, mask making);
TH3.04
– demonstrate an understanding of the conventions of a specific form or genre (e.g., conventions of mask, mime, puppetry);
TH3.05
– identify dramatic conflict or tension within a source;
TH3.06
– explain how the contributions of various production workers (e.g., director, designer, stage manager, technical operator) can affect formal expression in a dramatic presentation;
TH3.07
– trace the use of the convention of the mask (e.g., from Greek drama to modern plays);
TH3.08
– identify sources of modern theatrical conventions such as the aside, monologue, or soliloquy, and cite examples (e.g., soliloquies in Shakespeare’s plays);
TH3.09
– demonstrate knowledge of dramatists’ use of form through reading and analysing excerpts from nineteenth- and twentieth-century plays.
Overall Expectations
CRV.01
– use various ways to sustain a role within a drama;
CRV.02
– demonstrate an understanding of group responsibility in the creation of a drama;
CRV.03
– create drama through research or the interpretation of a source;
CRV.04
– create and perform dramatic presentations, using knowledge of conventions, performance spaces, and audience perspectives.
Constructing
CR1.01
– demonstrate an understanding of methods for developing roles that clearly express a range of feelings, attitudes, and beliefs (e.g., interaction with other roles, research into the past, motivation);
CR1.02
– demonstrate an understanding of the element of risk in playing a role (e.g., adapting to challenges to personal and social beliefs);
CR1.03
– demonstrate an understanding of how role is communicated through language, gesture, costume, props, and symbol;
CR1.04
– demonstrate an understanding of language that is free from bias and stereotyping;
CR1.05
– identify various solutions to the problem of conflict in group situations and compare their effectiveness;
CR1.06
– demonstrate an understanding of their own and others’ respective functions in collaborative work on a drama;
CR1.07
– identify and use effective styles of collaboration in drama;
CR1.08
– identify and pursue appropriate questions in beginning to research a topic;
CR1.09
– identify research methods appropriate to developing ideas and text for a drama.
Communicating and Presenting
CR2.01
– demonstrate an understanding of the effect of various forms in the interpretation and communication of a source or idea (e.g., puppetry, clowning);
CR2.02
– demonstrate an understanding of the function of design, lighting, and sound in the communication of a drama;
CR2.03
– explain reasons for presenting a particular type of drama (e.g., children’s theatre) to a particular audience;
CR2.04
– demonstrate an understanding of audience perspective in the communication of a drama;
CR2.05
– identify and explain the function of a variety of media (e.g., electronic music, lights, costumes, videotape, slides) in presenting a drama.
Overall Expectations
ANV.01
– generate and apply criteria to evaluate their own dramatic presentations;
ANV.02
– use the vocabulary of dramatic arts to discuss, critique, and review drama presentations in the school and the community;
ANV.03
– describe similarities in the dramatic arts of their own and other cultures in the global community;
ANV.04
– demonstrate an understanding of how role taking and the processes of drama are connected to their lives.
Evaluation
AN1.01
– describe the skills, theories, and concepts being demonstrated as a drama is developed;
AN1.02
– demonstrate an understanding of methods for the evaluation and analysis of a drama (e.g., reviews, discussion);
AN1.03
– use specific criteria (e.g., understanding of basic concepts) to evaluate their work in the creation and communication of a drama;
AN1.04
– demonstrate an understanding of the function of the director, designer, stage manager, and technician in the production of a drama;
AN1.05
– identify and make connections with individual artists or groups involved in drama (e.g., professional theatre companies such as the Shaw Festival, Stratford Festival; local amateur theatre groups);
AN1.06
– compare how vocal techniques, space, costume, movement, character, and conventions are used in the dramas of their own and other cultures;
AN1.07
– demonstrate an understanding of universal meaning in drama.
Reflection
AN2.01
– identify and explain various methods of reflection (e.g., discussion, writing in and out of role, questioning);
AN2.02
– explain connections between their own lives and the metaphor or theme in a drama;
AN2.03
– demonstrate an understanding of the interactive processes that promote respect for the ideas, feelings, and perspectives of others in developing the roles and circumstances of a drama;
AN2.04
– analyse various roles to gain a deeper understanding of the personal and social beliefs inherent in a drama;
AN2.05
– demonstrate an understanding of the diverse skills that may be acquired through a study of dramatic arts (e.g., creative thinking, critical thinking, problem solving, risk taking, teamwork);
AN2.06
– identify career and life skills learned in drama (e.g., public speaking, presentation skills, taking initiative and responsibility in a group).
Ontario Catholic School Graduate Expectations
The graduate is expected to be:
A Discerning Believer Formed in the Catholic Faith Community who
CGE1a -illustrates a basic understanding of the saving story of our Christian faith;
CGE1b -participates in the sacramental life of the church and demonstrates an understanding of the centrality of the Eucharist to our Catholic story;
CGE1c -actively reflects on God’s Word as communicated through the Hebrew and Christian scriptures;
CGE1d -develops attitudes and values founded on Catholic social teaching and acts to promote social responsibility, human solidarity and the common good;
CGE1e -speaks the language of life... “recognizing that life is an unearned gift and that a person entrusted with life does not own it but that one is called to protect and cherish it.” (Witnesses to Faith)
CGE1f -seeks intimacy with God and celebrates communion with God, others and creation through prayer and worship;
CGE1g -understands that one’s purpose or call in life comes from God and strives to discern and live out this call throughout life’s journey;
CGE1h -respects the faith traditions, world religions and the life-journeys of all people of good will;
CGE1i -integrates faith with life;
CGE1j -recognizes that “sin, human weakness, conflict and forgiveness are part of the human journey” and that the cross, the ultimate sign of forgiveness is at the heart of redemption. (Witnesses to Faith)
An Effective Communicator who
CGE2a -listens actively and critically to understand and learn in light of gospel values;
CGE2b -reads, understands and uses written materials effectively;
CGE2c -presents information and ideas clearly and honestly and with sensitivity to others;
CGE2d -writes and speaks fluently one or both of Canada’s official languages;
CGE2e -uses and integrates the Catholic faith tradition, in the critical analysis of the arts, media, technology and information systems to enhance the quality of life.
A Reflective and Creative Thinker who
CGE3a -recognizes there is more grace in our world than sin and that hope is essential in facing all challenges;
CGE3b -creates, adapts, evaluates new ideas in light of the common good;
CGE3c -thinks reflectively and creatively to evaluate situations and solve problems;
CGE3d -makes decisions in light of gospel values with an informed moral conscience;
CGE3e -adopts a holistic approach to life by integrating learning from various subject areas and experience;
CGE3f -examines, evaluates and applies knowledge of interdependent systems (physical, political, ethical, socio-economic and ecological) for the development of a just and compassionate society.
A Self-Directed, Responsible, Life Long Learner who
CGE4a -demonstrates a confident and positive sense of self and respect for the dignity and welfare of others;
CGE4b -demonstrates flexibility and adaptability;
CGE4c -takes initiative and demonstrates Christian leadership;
CGE4d -responds to, manages and constructively influences change in a discerning manner;
CGE4e -sets appropriate goals and priorities in school, work and personal life;
CGE4f -applies effective communication, decision-making, problem-solving, time and resource management skills;
CGE4g -examines and reflects on one’s personal values, abilities and aspirations influencing life’s choices and opportunities;
CGE4h -participates in leisure and fitness activities for a balanced and healthy lifestyle.
A Collaborative Contributor who
CGE5a -works effectively as an interdependent team member;
CGE5b -thinks critically about the meaning and purpose of work;
CGE5c -develops one’s God-given potential and makes a meaningful contribution to society;
CGE5d -finds meaning, dignity, fulfillment and vocation in work which contributes to the common good;
CGE5e -respects the rights, responsibilities and contributions of self and others;
CGE5f -exercises Christian leadership in the achievement of individual and group goals;
CGE5g -achieves excellence, originality, and integrity in one’s own work and supports these qualities in the work of others;
CGE5h -applies skills for employability, self-employment and entrepreneurship relative to Christian vocation.
A Caring Family Member who
CGE6a -relates to family members in a loving, compassionate and respectful manner;
CGE6b -recognizes human intimacy and sexuality as God given gifts, to be used as the creator intended;
CGE6c -values and honours the important role of the family in society;
CGE6d -values and nurtures opportunities for family prayer;
CGE6e -ministers to the family, school, parish, and wider community through service.
A Responsible Citizen who
CGE7a -acts morally and legally as a person formed in Catholic traditions;
CGE7b -accepts accountability for one’s own actions;
CGE7c -seeks and grants forgiveness;
CGE7d -promotes the sacredness of life;
CGE7e -witnesses Catholic social teaching by promoting equality, democracy, and solidarity for a just, peaceful and compassionate society;
CGE7f -respects and affirms the diversity and interdependence of the world’s peoples and cultures;
CGE7g -respects and understands the history, cultural heritage and pluralism of today’s contemporary society;
CGE7h -exercises the rights and responsibilities of Canadian citizenship;
CGE7i -respects the environment and uses resources wisely;
CGE7j -contributes to the common good