Course Profile   Dramatic Arts, Grade 10, Open, Public

 

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

 

Acknowledgments

Public District School Board Writing Teams – Dramatic Arts

 

Lead Board

Upper Canada District School Board

 

Management Team

Eleanor Newman

Dorothy Stewart

Dona Cruickshank

 

Course Profile Writing Team

Ron Dodson, Project Leader, Avon Maitland DSB

Cathy Rowland, Peterborough

Steve Russell, Peel DSB

Mima Hoyes, Toronto DSB

Peter Moore, Upper Grand

Course Overview

Dramatic Arts, Grade 10, Open

Identifying Information

Course Title:  Dramatic Arts

Grade:  10

Course Type:  Open

Course Code:  ADA2O

Credit Value:  1

Course Developers

Ron Dodson, Project Leader, Avon Maitland DSB

Mima Hoyes, Toronto District School Board

Peter Moore, Upper Grand DSB

Cathy Rowland, Kawartha Pine Ridge DSB

Steve Russell, Peel DSB

Development Date:  January 2000

Description/Rationale

The Grade 10 Dramatic Arts course requires students to explore dramatic forms and techniques, using their own ideas and concerns as well as ideas in sources selected from a wide range of genres, texts (used in the broadest sense), forms and cultures. Student learning includes the identification and use of the elements of time, place, role/character, dramatic situation/tension, and structure in creating, sustaining and communicating authentic drama. Students assume responsibility for decisions made in the creation and presentation of the drama, and analyse and reflect on the experience.

Drama involves numerous complex collaboration skills, including problem-solving, creating, negotiating, communicating, consensus-building, supporting, presenting, and reflecting. By entering an imagined world, students learn new and unique ways to view themselves and their world. Their learning enhances their ability to listen, question, interpret, create, communicate, and reflect. The universals of human experience are explored in a safe, creative, reflective environment.

Expectations are organized into three strands: Theory, Creation, and Analysis. All units and activities draw upon all three strands in an integrated approach. Suggested assessment practices follow the directions of the Ministry of Education as published in The Ontario Curriculum, Grades 9 and 10, Program Planning and Assessment.

Unit Titles (Time + Sequence)

Unit Descriptions

Unit 1:  Classroom Dynamics

Time:  13 hours

Description

Students engage in activities which establish the drama learning environment. Activities focus on subject-specific vocabulary and concepts, using space, collaboration, listening and responding, reflection and discussion. Students review basic elements of tableau, role play and other drama forms and techniques as appropriate for the group. When revisiting each activity, students extend their knowledge by increasing their depth of learning and paying greater attention to detail, developing their understanding of dramatic structure (character, conflict, theme, and ideas) and communicating through appropriate methods (conventions, symbols, metaphor).

Unit 2:  Finding Truth

Time:  20 hours

Description

In this unit, the students improvise to identify and explore personal roles (masks) taken on within their own lives. They reconstruct their experiences which show distinct attitudes such as cynicism, optimism, or stoicism. They look for the truth in the portrayal of characters in their own role playing. They develop roles that clearly express a range of feelings, attitudes and beliefs. They analyse media constructions, identify stereotypes and learn how to differentiate between “media reality” and everyday life. They learn how and why masks are used as devices and symbols. While some students may make masks, all students use masks to learn about movement and clear communication using the body.

Unit 3:  Choices and Consequences

Time:  22 hours

Description

This unit deals with the complexity of making informed choices and the sometimes unpredictable consequences which may result. Through a variety of dramatic activities such as role playing, tableau, sculpting, monologues, storytelling, visual imaging, and journal writing, students explore situations which require difficult decisions and choices. Through these activities, students also share their perspectives on issues and choices which concern them. A variety of stimuli and resources are used to analyse issues, choices and consequences, including pieces of text, images, and concrete objects to generate questions and concerns.

Unit 4:  Uncovering Meaning in Text

Time:  25 hours

Description

Students interpret a variety of texts, such as scripts, narrative genres, images, television programs, and letters. They analyse various roles to gain a deeper understanding of personal/social beliefs, and historical perspectives, and apply their understanding of the text to their own lives by making connections. Through a variety of activities which explore voice, gesture and movement, meaning (implicit and explicit), metaphors, symbols, and production values, students understand and articulate deeper understanding of the text. The students demonstrate the use of conventions in presentations. They research to discover character, to understand and articulate conflict and to bring text to life. Through presentation, they express with integrity a range of feelings, attitudes, and beliefs. Through the creative process, students combine the author’s intention and their own interpretation of the text into a creation that clearly communicates multiple possibilities in the text.

Unit 5:  Collective Creation

Time:  30 hours

Description

The activities in this unit build on the work of Units 1-4, form the basis for the final evaluation in this course and are weighted as 30% of the final mark, divided as follows: process 35%, product 45%, reflection 20%. Students take responsibility for collecting, researching, sorting, and organizing drama and text sources to support their ideas for a group presentation. They demonstrate the use of numerous dramatic conventions which are used with and transform source materials. Through collaboration, they organize these forms into an organic structure. Students experiment with dramatic interpretations of a variety of selections from their own and other cultures. Students take on various roles within a company collective and learn to manage conflicts which arise within the creative process.

Course Notes

General Time Frames

·       This course is based on the Ministry of Education’s minimum requirement of 110 hours.

·       The time frames for each unit and activity are flexible and depend upon various factors such as the experience and interests of the students and teacher, resources, and the physical environment.

·       Teachers should be prepared to vary the time frames for each unit and activity, provided that all strands have been taught, the expectations are met and assessed, and assessment and evaluation have occurred in accordance with Ministry of Education policy. Flexibility in time frames is particularly important if a substantial portion of the class has not taken Grade 9 Drama, is unfamiliar with drama forms, or has special needs and accommodations.

Class Time Frames and Structure

·       The teacher must establish a clear structure for each class period. This structure usually (though not always – see below), includes a preliminary activity, the main activity, an application and/or reflection. It is through this structure that students will come to understand the creative rhythms which generate collaborative skills and artistic innovation.

·       The preliminary activity is brief, focusses students and relates to the main activity. Preliminary activities are not emphasized in this Course Profile. Teachers must use suggested resource books to find suitable materials. Depending upon the circumstances, they may not be necessary in every period; the teacher’s sensitivity to what the students need (e.g., an energy boost, focussing, relaxation) in relation to the content of the main activity is the determining factor.

·       The main activity (whether in a single or multiple class periods) is the focus of the students’ learning in drama.

·       The application may include presentations, adaptations, extra challenges, homework, research, or independent study. It is often the preferred way to personalize the students’ learning.

·       Reflection is integral to all classes and could include discussion, portfolio writing, observations, work in a related artistic mode, a questionnaire, or other form.

The following table illustrates these four main drama lesson components. Moving from Preliminary Activity to Main Activity to Application to Reflection is not necessarily linear or the only way to organize a lesson; other combinations are possible, and are often desirable, according to the circumstances of the class and the lesson content. Any of the four components may be appropriate as the lesson's starting point. For example, there may be need to start a class with a reflection on the work accomplished in the previous day's class. Teachers are encouraged to explore the combinations which are appropriate for each lesson and class.

Course Organization and Progression

·       The Grade 10 course is organized as a progression from a brief review of drama topics and skills taught in Grade 9, through a series of units which develop specific elements and principles of drama. It culminates in Unit 5 with a final evaluation which consolidates the learning of the previous units.

·       The order of the units has been planned with a deliberate flow of knowledge and skills; altering the order of the units may significantly alter the learning attained and may not satisfy all the course expectations.

Tracking Expectations

Appendices OV.3 and OV.4 have been developed to assist teachers as they track the Expectations. Appendix OV.3 cross-references the Overall and Specific Expectations with the Achievement Chart. Appendix OV.4 organizes the Expectations according to strand and sub-strand. Though this Course Profile deals with all Overall and Specific Expectations, teachers may find it helpful to track Expectations by checking them off or stroking them through after they have been addressed, with multiple checks or strokes indicating multiple teachings.

Key Framing Questions

The units have been developed from the Overall and Specific Expectations and have been framed by Key Questions. See Unit Planning Notes as well.

Unit 1:  Classroom Dynamics

Key questions which frame this unit are:

·       How does a group function collaboratively?

·       Why are depth and detail necessary for the communication of ideas?

·       How do these activities enhance personal growth?

Unit 2:  Finding Truth

Key questions which frame this unit are:

·       What makes an authentic portrayal of character?

·       What are the characteristics of shallow and complex role playing?

·       How does the artifice of the mask exaggerate or hide the truth?

·       What is a “mask”?

Unit 3:  Choices and Consequences

Key questions which frame this unit are:

·       What opportunities does drama give students to develop their ability to make informed choices?

·       How can drama give students the opportunities to clarify their beliefs and issues?

·       How does meaningful role playing contribute to their understanding of themselves and society?

Unit 4:  Uncovering Meaning in Text

Key questions which frame this unit are:

·       What drama strategies help students experience the deeper meaning in texts?

·       What connections can students make between their own lives and the text?

·       What opportunities does drama give students to collaborate effectively?

Unit 5:  Collective Creation (final evaluation)

Key questions which frame the unit are:

·       How does drama communicate cultural values, beliefs, and roles?

·       What is the value of creating collectively?

·       What skills are honed by engagement in this process and how do those skills transfer to the world beyond the classroom?

·       How does the order or sequence of segments create meaning?

·       How does the collective creation synthesize drama skills?

Student Portfolio

Students are responsible for keeping a portfolio of their work throughout the course. Not only is it a primary vehicle to help students consolidate their learning, but it is also a natural mode for analysis, planning and reflection. The teacher should be prepared to assess and/or evaluate the portfolio at significant times throughout the course. At key times in this Course Profile the symbol . appears, marking a point where the portfolio has particular importance. Teachers should also be aware of their responsibilities with regard to disclosure which may occur in the portfolio and the conditions of confidentiality which should be discussed with the class.

Teacher Responsibilities

While the teacher is the class leader who plans and is responsible for all learning activities, s/he must assess the dynamics of each class and decide the degree to which teacher direction is needed for class success. The decision on how and when to “stand aside” to let students assume increased responsibility requires professional judgement and will vary with every class.

Health and Safety

Safe practices must be taught and practised throughout the course.

Physical safety

Preliminary activities in particular must emphasize safety and respect. Equipment must be appropriate to student use and must be inspected regularly. Hazardous materials must be handled in accordance with approved safety procedures of the Board of Education or other agency.

Emotional and social safety

The teacher is responsible for establishing an atmosphere where students feel emotionally and socially safe. When topics arise which are personal in nature, the teacher should be prepared to deal with them in an appropriate manner and involve specialists when necessary. The way in which students treat each other should also be a priority, especially where differences among students make the possibility of bullying, aggressive behaviours, or isolation a possibility.

Audience Selection and Performance

Selecting an appropriate audience for students must be approached with sensitivity. An audience may be a group within the class, the school, or the larger community. While students may increase their level of confidence by performing for an audience, the teacher should be aware of any unnecessary stresses which this may cause, if done before the class is ready. Consultation and negotiation with the class is suggested.

General Resources

·       Resources may be obtained from a wide variety of sources. Please see the Planning Notes and Resources sections in the various units of the profile.

·       Teachers should become familiar with the resources in their local and regional communities, including those not directly related to drama, such as the art gallery or museum or people such as police officers, social workers, and many others.

·       Canadian resources should be used whenever possible.

·       In addition to universities and colleges which offer Additional Qualifications courses for teachers, the provincial subject association, the Council of Drama and Dance in Education (CODE) offers many valuable resources, including a newsletter, a listserv (CODEnet), a journal, a web site, a yearly conference and regional co-ordinators in every area of Ontario. Often, members of the Management Board and general members are available to conduct workshops for teachers in a variety of formats. Most professional arts organizations have an education officer. The Ontario Arts Council (OAC) Education Office and local arts councils are also valuable resources.

Course Prerequisite

Because this course has no prerequisite, teachers must be prepared to spend the appropriate amount of time to review fundamental concepts and skills. The variety of skill levels of students will determine the amount of time needing to be spent on review. However, the teacher should be equally aware that "catching up" for some students may be accomplished throughout the course, as skills are refreshed and expanded. In all cases, the Overall and Specific Expectations of this course must be honoured, with appropriate planning so that all are taught.

Co-operative Education

Students should be encouraged to discuss the range of opportunities available to them in careers related to Dramatic Arts.

Community Involvement

Students with an interest in drama should be encouraged to seek out involvement in the community through drama, as well as the arts in general. The community involvement requirement for graduation could be fulfilled this way. Teachers should encourage students to consult their principal for further information and approval.

Technology

There is not a strong need for the use of technology in this Course Profile. However, teachers should seek out ways of incorporating technology, including computers and theatre production values, wherever possible and appropriate.

Stereotyping/Bias

Teachers must constantly address the need for inclusive language. They must model non-biased, non-stereotyped language and actions, to include all students of both genders and all socio-economic backgrounds and cultures. They should also be prepared to alter strategies when they are aware of classroom circumstances in which exclusion could be a concern and find creative ways of reversing the situation.

Adult Students

Teachers should be aware of the experience which adult students bring to the classroom and be prepared to challenge these students to an appropriate level of quality within the Overall and Specific Expectations.

Teaching/Learning Environment

·       Dramatic Arts classes are often taught in a studio or auditorium setting, but in many schools they are taught in traditional classrooms, cafeterias, portable classrooms, or other spaces. Ventilation, noise separation, furniture, clean and safe floors, and temperature are often issues in any drama space.

·       Teachers must instruct students about the need for respect for the classroom space.

·       Administrators must be made aware of the need for the most appropriate space for the program.

Teaching/Learning Strategies

Dramatic Arts teachers have a wide variety of strategies from which to choose. It is important that the Strands (Theory, Creation, Analysis) and overriding philosophy of the course are reflected in the strategies which are used. The following is a list of drama strategies. Those which are emphasized in this profile are noted with this symbol: X. See Appendix OV.1 for definitions.

·       A day in the life	·       Analogy X
·       Caption making X	·       Ceremony/Special events
·       Collective drawing X	·       Conversations X
·       Defining space X	·       Diaries, letters, journals X
·       Forum theatre X	·       Giving witness X
·       Hot seating X	·       Interviews X
·       Mantle of the expert X	·       Map making
·       Marking the moment	·       Mask X
·       Messages	·       The messenger X
·       Meetings (whole group or small group) X	·       Mime X
·       Montage	·       Narration X
·       Overheard conversations	·       Point of view X
·       Prepared roles X	·       Re-enactment X
·       Ritual X	·       Role-on-the-wall X
·       Role reversal X	·       Simulation X
·       Soundscape	·       Still image (tableau) X
·       Teacher-in-role X	·       Thought tracking X
·       Unfinished materials	·       Voices in the head X

Assessment/Evaluation Techniques

This Open course flows from the Dramatic Arts Grade 9 Open course and prepares students for further work in any Grade 11 Dramatic Arts course. Assessment is done in a fair and transparent manner with students taking ownership of their work. Diagnostic, formative, and summative assessments provide students with multiple opportunities for success. Summative evaluation reflects student learning of the Overall and Specific Expectations and all four categories of the Achievement Chart.

“Teachers must ensure that assessment and evaluation strategies are used which:

·       address both what students learn and how well they learn;

·       are based both on the categories of knowledge and skills and on the achievement level descriptions given in the achievement chart;

·       are varied in nature, administered over a period of time, and designed to provide opportunities for students to demonstrate the full range of their learning;

·       are appropriate for the learning activities used, the purposes of instruction and the needs and experiences of the students;

·       are fair to all students;

·       accommodate the needs of exceptional students, consistent with the strategies outlined in their Individual Education Plan;

·       accommodate the needs of students who are learning the language of instruction;

·       ensure that each student is given clear directions for improvement;

·       promote students' ability to assess their own learning and to set specific goals;

·       include the use of samples of students’ work that provide evidence of their achievements;

·       are communicated clearly to students and parents at the beginning of the course and at other appropriate points throughout the course.”

The Ontario Curriculum, Grades 9 and 10, Program Planning and Assessment, 1999

 

To develop a program of authentic assessment of student achievement of the Overall and Specific Expectations, teachers:

·       observe the students’ level of knowledge as they begin the course, unit, or activity (diagnostic assessment);

·       identify gaps in their learning using the expectations as a guide;

·       develop a plan to help every student achieve the expectations;

·       monitor and assess student progress, giving students multiple opportunities to show evidence of their understanding (formative assessment);

·       observe student behaviours and take appropriate action;

·       involve students in the assessment and evaluation process whenever possible;

·       side-coach, encouraging growth;

·       observe and record progress;

·       assess the degree of each student's achievement;

·       assign a grade/level/mark to that achievement (summative evaluation);

·       report the achievement at designated times to the appropriate person(s) (e.g., student, parent, principal).

The following chart organizes some assessment strategies.

An Assessment Matrix

Accommodations

Ongoing consultation with the Special Education specialist(s) and the Student Services Department is strongly recommended. An exhaustive list of accommodations for students with special needs is not practical in this profile. However, the following lists may be used as a guide for teachers as they plan their program.

Notes and Principles

·       A student with an IEP should receive assignments which have been thoughtfully tailored to encourage success.

·       Accommodations must be unique to the individual student.

·       Matching students (special needs students with mentors) can have a number of beneficial effects, not only for the individual students, but also for the class as a whole.

·       Extension/enrichment activities are suggested throughout this Course Profile to challenge gifted students and others.

General

·       clear expectations of quality

·       physical location of student in classroom to maximize focus

·       close monitoring by the teacher

·       oral and written instructions

·       review and repetition

·       concepts presented in a variety of formats, e.g., visually and concretely

·       regular positive feedback

·       “chunking” of tasks into smaller sub-tasks

·       checklists

·       graphic organizers

·       homework/notebook/journal monitoring

·       clear time frames

·       examples of what is expected

Listening and Speaking

·       additional time

·       encouragement to participate orally

·       listening cues or prompts

·       teacher modelling of appropriate responses

Reading

·       oral reading to student

·       vocabulary pre-teaching and checking for comprehension

·       peer tutor/helper to help identify and highlight essential information

·       underlined or highlighted key points

·       reading guide

·       materials provided before the class; pre-reading as homework

·       taped textbooks

·       large type face

Writing

·       computer (when appropriate)

·       tape-recorded classes

·       peer tutor/helper

·       handouts

·       additional time

·       note-taker

·       alternatives to written assignments (e.g., video, graphs, mind maps, artwork, oral presentations)

·       essay writing outlines

Behavioural

·       highly structured environment

·       monitoring to stay on task

·       appropriate behaviour modelled

·       clear, reasonable expectations

·       appropriate consequences

·       time-outs

·       conflict resolution strategies

·       appropriate alternate behaviours

Resources

The following print resources will help teachers new to drama find solid pedagogical foundations, as well as creative ways of enhancing the teaching methodologies of experienced teachers.

Booth, David and Charles Lundy. Improvisation. Toronto: Harcourt Brace, 1985. ISBN 0774712112

Lundy, Charles and David Booth. Interpretation. Toronto: Harcourt Brace, 1985. ISBN 0774712104

McGaw, Charles J. Acting Is Believing. Toronto: Harcourt Brace, 1995. ISBN 0155015842

Neelands, Jonathon. Beginning Drama 11 - 14. David Fulton, 1998. ISBN 1853465283

Neelands, Jonathon. Structuring Drama Work. Cambridge: Cambridge University Press, 1990.
ISBN 0521376351

O’Toole, John and Brad Haseman. Dramawise. Oxford: Heinemann Educational Books, 1988.
ISBN 0858594110

O’Neill, Cecily and Alan Lambert. Drama Structures: A Practical Handbook for Teachers. CCL Corporation, 1982. ISBN 0748701915

Spolin, Viola and Paul Sills. Improvisation for the Theatre. Illinois: Northwestern University Press, 1999. ISBN 081014008X

OSS Policy Applications

This course profile has been developed to assist in the implementation of The Ontario Curriculum, Grades 9 and 10, 1999: The Arts. When using this material, teachers and administrators must take careful note of the applicable sections of:

Ontario Secondary Schools, Grades 9 to 12: Program and Diploma Requirements, 1999

The Ontario Curriculum, Grades 9 and 10, The Arts, 1999

The Ontario Curriculum, Grades 9 and 10, Program Planning and Assessment, 1999

Choices into Action: Guidance and Career Education Program Policy for Elementary and Secondary Schools, 1999

Course Assessment

At the end of the course, teachers should give strong consideration to assessing the success of the course in relation to clear criteria. Student responses should be solicited and structured in a reflective context, where appropriate. Review criteria might include:

·       fairness, balance, and thoroughness of assessment and evaluation strategies;

·       ongoing assessment of student learning, cross-referenced with the Overall and Specific Expectations;

·       congruence with student expectations;

·       difficulty of teaching/learning strategies;

·       nature of the class;

·       time given to each unit or activity;

·       informal student feedback;

·       student enthusiasm.

Coded Expectations, Dramatic Arts, ADA2O

Theory

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.

Specific Expectations

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.

Creation

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.

Specific Expectations

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..

Analysis

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.

Specific Expectations

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).

Appendix OV.1

Dramatic Conventions

A Day in the life: Students recreate a day in the life of a character in the morning, afternoon, and evening. This convention may be structured backwards from a specific dramatic moment of the character to investigate what led up to the event.

Analogy: A parallel situation which mirrors a real situation is created to create emotional distance.

Caption making: Groups devise titles and slogans to accompany the visual, e.g., tableau.

Ceremony: Special events are created by the group to remember something important in their cultural history. See also Ritual.

Collective drawing: Students collectively create an image on the blackboard or chart paper to represent a setting, character, theme, or idea.

Conversations: The dialogue between or among two or more characters is heard. Conversations may be two-way or one-way. They may create outside pressures or bring new information to the drama.

Defining space: Risers, boxes, and/or chairs are used to represent a setting such as a bus or a classroom.

Diaries, letters, journals: These are written in the voice of the character in order to reflect on experience. They can also be used as props to bring new tensions to the drama.

Forum Theatre: A scene is presented to the audience which functions as a collective, directional body (the forum). The forum may stop the scene or introduce new directions for the performers to try at any time. Members of the forum may also volunteer individually to replace one of the performers

Giving witness: Teacher-in-role or student gives a monologue which is supposed to be an objective account of events, but which is really highly subjective from the witness’ point of view.

Hot seating: The role-player remains in the character s/he played in the drama and sits on a chair. The rest of the class, one by one, asks challenging, high-quality questions to uncover information, attitudes and motives.

Interviews: The role-player is questioned by other role-players in an informal setting, in small groups or pairs.

Mantle of the expert: Characters are endowed with the mantle of specialized knowledge, e.g., historian, scientist, world-class athlete, psychiatrist.

Map making: Students collectively create a map on the blackboard or chart paper. Maps can include secrets or stories from the past, buried treasures, etc.

Marking the moment: Students mark a particular moment which reminds them where they were and has some specific significance in triggering feelings.

Masks: With their origins in ancient ritual, masks can add visual impact to a scene. Different styles of masks will affect the drama in different ways, e.g., neutral white masks, specific character masks, or larger than life masks.

Messages: Messages can be written individually, collectively, or by the teacher to add tension or to change the direction of the drama.

Messenger: The one who delivers the message is not in charge, but has important news to convey. Questions from the group must be deflected, to allow problems to be framed and discussed.

Meetings: A group gathers to discuss in role and take action on a problem which affects the group collectively.

Appendix OV.1  (Continued)

Dramatic Conventions

Mime: Focussing on physicality and movement without words creates a full physical response in action.

Montage: Montage juxtaposes form with content to break stereotypes.

Narration: Verbal commentary by a teacher or other source accompanies the action and complements the drama by providing details.

Overheard conversations: Gossip and rumour are introduced by the teacher in role or a group the teacher has set up, adding tension to the situation.

Point of view: Different characters have completely different points of view regarding what really happened. They present their interpretations of the same crucial event.

Prepared roles: Another individual from outside the class, e.g., another teacher or a senior student is brought in to play a particular role in the drama for a specific purpose, then leaves.

Re-enactment: A known event from history or real news events is re-enacted to show what might have happened. The emphasis is on authenticity.

Role reversal: Roles may be reversed within the action of the drama as a play-within-a-play, as one group demonstrates to another how they think another group or role might react.

Ritual: A stylized enactment bound by traditional rules and codes, e.g., weddings, elections, funerals, courtrooms, tribes. See also Ceremony.

Role on the wall: A role or character is represented by a picture of a diagram taped on the wall or projected on a shadow screen by an overhead. Students collectively add words or statements to the picture. They add more complex ideas to understand fully the character from the inside out.

Simulation: Real life events are simulated in a way which emphasizes decision making and management. The time limit is set to create tension.

Soundscape: A soundtrack is created collectively by voices and/or musical instruments to underscore the mood of the dramatic action.

Still image (tableau): Students create collectively with their bodies a representation of a particular moment, theme, or idea.

Teacher-in-role: The teacher takes on different roles in order to develop the plot, provoke tension, challenge thinking, and create belief.

Thought tracking: One performer stands behind another performer and reveals the inner, private, thoughts of the character.

Unfinished materials: A piece of clothing, a suitcase, a letter, newspaper clipping, or other evocative material is used as a prop to begin the drama. Students build ideas based on these clues.

Voices in the head: The group articulates the collective conscience which explores the moral or political choice of one character.

Appendix OV.2

Dramatic Modes

This material has been adapted from the Dramatic Arts Grade 9 Open (Public) Course Profile.

 

A: Games and Exercises

Any game or exercise can be used to focus the central challenge of a drama. For example, a game could be used to introduce and develop group collaboration. An exercise which includes an interview could be used to introduce a drama that develops characters from history.

Games and exercises can: ·       stimulate the imagination; ·       promote collaboration; ·       develop trust; ·       focus the theme or topic; ·       lead directly into the drama.   Different games stress different activities: ·       movement; ·       the imagination; ·       language, play or thought.

Games should: ·       be non-threatening; ·       be non-competitive; ·       encourage participation; ·       encourage social interaction.   Games can: ·       teach social skills; ·       release tension; ·       give opportunities for response to directions; ·       develop listening skills; ·       increase concentration.

B: Tableau

Tableaux are frozen pictures, similar to photographs. They represent a theme, idea, action, or story.

Tableaux can: ·       focus a particular moment; ·       contribute to group cohesion; ·       represent different points of view; ·       highlight body and spatial awareness; ·       develop important moments in a narrative through a series of tableaux; ·       represent a feeling or concept.

Successful tableaux have: ·       a focal point(s): primary, secondary, etc.; ·       tension or storyline development; ·       a variety of levels: standing, crouching, sitting, etc.   Tableau conventions include: ·       count down and freeze; ·       time freeze frame; ·       relaxing out of position.

 

Questioning the tableau:

The participants can be questioned while they are in role in the tableau by tapping the role-player on the shoulder and asking for a brief in-role response. These can be used to help shape the planning of further learning activities.

 

Information Gathering

·       What are your concerns?

·       How do you explain ... ?

·       Compare ... to ...

·       What might happen if ... ?

Appendix OV.2  (Continued)

Dramatic Modes

 

Shaping and Deepening Understanding ·       Who are you? ·       What is your relationship to ...? ·       Do you want to ... ? ·       Explain what you are doing. ·       Describe the ...

Reflecting ·       What are your concerns? ·       Suppose ... happens? Then what? ·       How could this have been different? ·       What are you thinking, feeling? ·       Were you/they right to ... ?

C: Interviews

An interview: ·       has a questioner(s) and a respondent(s); ·       can be done in role; ·       gathers further details and information; ·       persuades someone to do something; ·       makes a decision about something or someone. Interviews can help students: ·       practise questioning skills; ·       deepen individual participation; ·       represent different points of view; ·       elicit personal thoughts and feelings of the character’s role; ·       take the roles beyond the obvious; ·       delve more deeply into the story; ·       explore a time before, during or after a narrative.

To be successful, interviews need: ·       use of the present tense in teacher description of roles; ·       careful, active listening; ·       teacher intervention if necessary to keep students on task, deepen commitment, or increase tension; ·       reporting/de-briefing: What did you discover? How much did you tell? How did you feel? What kinds of questions did you ask? Reporting can be focussed on the either the questioner or the respondent or both.

D: Meetings

Meetings are often done with the whole group in role. Students assume similar roles, e.g., the townspeople, gang members. The teacher assumes a role appropriate to the situation, e.g., town mayor, gang leader, newcomer to the group, reporter.

When done in role, meetings can:

·       gather information;

·       discuss problems and proposed solutions;

·       decide on courses of action;

·       deepen belief and commitment to the drama and individual roles;

·        impart important details;

·       set the tone of the moment.

E: Improvisation

Improvisations can be planned/rehearsed or spontaneous, without planning or rehearsal. They are expressions of reactions formed by character, place, situation, time and tension. Improvisation can be used as part of the creative process in order to allow participants to:

·       stimulate the imagination;

·       explore feelings (in role);

·       assess and develop group identity;

·       prepare for a performance.

Appendix OV.2  (Continued)

Dramatic Modes

F: Teacher in Role

The teacher may take an appropriate role within the drama:

·       to affect the tone, pace, or tension of the drama;

·       to support and encourage participants;

·       to allow students to take responsibility, leadership, and decision making;

·       to allow students to speak honestly to the teacher’s role without inhibition;

·       to share important discoveries and moments.

Examples of teacher in role:

G: In Role Problem-Solving Drama

Problem-solving drama allows students:

·       to work at their most engaging and empowering level;

·       to role play characters engaging in a problem;

·       to be empowered to explore creative possible solutions to the problem from the perspective of their role.

A general way into a problem-solving drama is:

1.  The dramatic context (who, when, and where) is created.

2.  The problem is introduced.

3.  The students in role plan to solve the problem by determining:

a.   Why the problem occurred;

b.   What are the possible consequences;

c.   How they will create a solution.

Appendix OV.3

Overall and Specific Expectations organized by Achievement Chart Categories

 

This chart represents one of many ways of organizing the Overall and Specific Expectations using the Achievement Chart categories. It may be used when planning units, organizing evaluation or as a reference when using the Electronic Curriculum Planner. Discussion with knowledgeable colleagues may result in different interpretations of these relationships; teachers are encouraged to partake in such a review.

 

 

Appendix OV.3  (Continued)

Overall and Specific Expectations organized by Achievement Chart Categories

 

 

Appendix OV.4

Overall and Specific Expectations by Strand referenced with Achievement Chart Categories

 

This chart represents one way of relating the Strands of Curriculum Expectations (Overall and Specific) for Grade 10 Dramatic Arts to the Achievement Chart categories. It is intended to be used as a quick reference to the relative Achievement Chart categories when planning units, organizing evaluation, or when using the Electronic Curriculum Planner. Discussion with knowledgeable colleagues may result in different interpretations of these relationships; teachers are encouraged to partake in such a review.

 

Appendix OV.4  (Continued)

Overall and Specific Expectations by Strand referenced with Achievement Chart Categories

 

 

 

Appendix OV.4  (Continued)

Overall and Specific Expectations by Strand referenced with Achievement Chart Categories

 

Appendix OV.4  (Continued)

Overall and Specific Expectations by Strand referenced with Achievement Chart Categories

 

 

 

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