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Drama 30 Unit Plan:
Discovering Your
Inner Actor and the
Power of Theatre
Drama 30 Term 1 September – January 2010-2011
2nd
Period
5 credits
Drama 30 is a continuation and elaboration of previous drama education experiences. During the
course, Speech, Improvisation, Acting, Directing, and Theatre studies will be explored to deepen
student’s skills. Other roles of theatre are explored as well, including dramaturge, director, set
designer, and costume designer and their roles in theatre. The skills and knowledge gained can
be used in student’s futures in the Drama community as well as their everyday lives. Drama also
allows students to become reliable and learn self motivation.
Course Goals and Outcomes
Goal 1 – To provide a different learning environment which presents variety (in opportunities)
and emphasises student’s strengths through presentation and celebration
Goal 2 – To develop a critical and scholarly perspectives and a self reflective practice in students
Goal 3 – To develop a competency, deeper understanding and appreciation for theatre in areas of
speech, improvisation, acting, theatre studies, technical theatre, and directing.
Evaluation
The class shall be broken down:
Orientation 1 week
10% Speech 1 week
15% Improvisation 2 weeks
25% Acting 6 weeks
35% Technical Theatre/Directing 9 weeks
10% Theatre Studies On going
5% Self Evaluation On going
100% 19 weeks
Attendance – Be accountable, if you have to miss a class, please let the teacher and your group
members know ahead of time.
Orientation
Orientation is the introduction of basic concepts, skills and attitudes in drama that should be
addressed before commencing more in-depth work in the eight disciplines covered in the senior
high program. This week allows students to get to know one another and start building trust and
a sense of ensemble necessary to excel in this course.
Speech
Students will explore the effect and affect of voice and speech on a stage. They will discover the
characteristics in ranges of boisterous operatic voices all the way to cultural/societal accents.
Through manipulation of tonality, volume, and pitch, and the study of the mechanisms of control
over vocal delivery, the skill of listening and responding is also a valuable skill developed. Effect
speech is a learned ability that will further benefit students in various extraneous circumstances
that call for their communication skills in life.
Improvisation
Improvisation is the spontaneous reactions for situations. Improvisation is known for its humor
but it’s not necessary and through improvisation students learn to be quick on their feet. Skills in
this discipline will be developed through various improvised games and scenes that include
character, vocal and other physical manipulation techniques. Students will find that skills
developed in improvisation will contribute to many other disciplines such as acting, directing and
even design among others. Skills in improvisation may also help self-confidence in situations
such as job interviews
Acting/Theatre Studies
In this unit, students will be able to put it all on the stage, acting will be a combination of all the
skills and talent acquired and developed up to this point. This discipline asks the student to bring
a character to life as created by a playwright. But then to color in the details on a stage that is
never stagnant. Through this exploration, actors broaden their empathetic understanding of how
other people think and react. Also in this unit, students will delve into a study of selected topics
such as comedy, tragedy and realism as opposed to other genres such as absurdism. They will
also take on a project to “reverse” the intended genre of a familiar play script and present it to
their peers. Theatre studies and acting are combined because each area informs and directly
influences the other; theory influences and changes practice and vice versa.
Directing/Technical theatre
In directing, students will be able to take the metaphorical steering wheel and see their own
creation blossom on stage. They will unify the theoretical knowledge gained and the skills
learned in other aspects of theatre and bring a scene to life. Student directors will be aiming to
unify a dramatic presentation, script or otherwise and through making aesthetic and practical
choices, bring the choices to a realized form. This unit and the directing role will also call on the
student to draw from their understanding of technical theatre (props, lights, sound, costume,
business, management etc.) .
Unit Long term Aims: “Discovering your inner actor and the power of theatre”
Over the scheduled 6 weeks of the Acting/Theatre Studies unit, students are expected to cover a
wide array of topics including stage business, physical comedy, character relationships, play
structure and character development. Using this gained knowledge, students will be enabled to
participate, reflect on and make sense of a wider context of dramatic experiences. Students will
also be exposed to a variety of drama education experiences, preventing conformity to a
relentless state of information absorption and regurgitation.
This unit is broken down into three main long term aims:
1) Students will develop competency in the acting discipline, including furthering of their
communication skills.
2) Students will develop a deeper understanding and appreciation of theatre as an art form
and a process.
3) Students will be able to easily move between differing perspectives in analysis and
practice, leading to development of transferable life skills.
Students will develop competency in the acting discipline through:
Analysis of basic relationships between person(s)
Extrapolating information from a given framework situation (of a character or context)
Communicating (Verbal and Non-verbal forms) through images, gestures and sounds.
Enhancing existing story structure with appropriate stage business
Students will develop a deeper understanding and appreciation for theatre as an art form and a
process through:
A study of: physical comedy, tragedy/comedy, realism/abstract theatre forms
A hands-on approach to manipulating play texts to fit certain parameters (such as
“Reverse in Polarity” assignment)
The use of self journaling and critical reflection on the relationship between process and
product.
Students will be enabled to move between differing perspectives by developing:
Supplementary skills such as sustaining and making sense of improvised or planned
relationships
A final project which requires a comprehensive utilization of all skills acquired, both
theoretical and practical (theatre studies and acting), where the work is greater than the
sum of its parts (Wagner’s Gesamtkunstwerk).
Skills in character development, which asks students to empathize and adopt the
emotions, circumstances and issues surrounding a person that is not themselves.
Unit Rationale
Discover your Inner Actor and the Power of Theatre
At the core of drama education, there is the acting and performance discipline. The acting unit
strives to accomplish many goals set out by Alberta Education in areas of developing
competency in communication skills through participation in and exploration of various dramatic
disciplines; as well as developing an appreciation for drama and theatre as a process and art
form. Specifically, acting out gives form and meaning to experiences that develop the whole
person emotionally, physically, intellectually, imaginatively, aesthetically and socially. (Alberta
Education Senior High Drama)
At the drama 30 level, students shall have cumulated the capacity for satisfactory levels of
theatre analytical skills and it is expected now that they embed their theoretical knowledge in
practical application in a holistic manner. Besides the logical procession from theory to practice,
acting is an important component for drama education because of the beneficial outcomes such
as learning transferable skills. By teaching transferable skills such as effective communication,
teamwork, logical processes, motivation and situational analytical skills such as script analysis
and character development, drama educators are giving students opportunities to practice- or one
might even say rehearse- for "real life". Projects and assignments such as the Reverse in Polarity
are designed to challenge students to not only to recall information learned from previous
lessons; but also to draw from sources outside the classroom and evaluate both the source and the
strategies used. Learning does not stop short of the classroom door; it should be present and at
the forefront of student’s minds. Analysis of basic forms of theatre such as tragedy, comedy,
realism, abusurdism and even physical comedy all engage students and gives them a taste of the
seemingly endless field of theatre, creating yet another source for the yearning for learned
knowledge.
Given the diversity found in a majority of student bodies, the value of transferable skills lies in
leveling the playing field through meritocracy; where individuals would not be judged based on
presumptions, rather on their merits, what they have to offer. This acting unit also strives to
address a multitude of student needs and interests. There has been choice integrated into specific
components (such as the Reverse in Polarity Assignment, and short scenes etc) to ensure student
engagement remains high and effective. There also is flexibility for the teacher as to address
differing student needs through repetition and variety.
Much like Richard Wanger's conception of Gesamtkunstwerk, where a combination of all art
results in a "total art", the acting unit has been designed to encourage students to go beyond a
basic comprehensive analysis and production of learned elements, rather to recognize the greater
value in their work than the sum of it's parts.
Because the process of acting out sometimes can become strenuous to the body, precautions are
taken in the form of routine warm-ups prior to activities in lessons. Both physical and vocal
warm ups are built into the lessons to prevent injury and to inform both student and teacher the
limitations at any given time. Besides prevention of injury or furthering an injury, daily warm
ups also provide a routine and structure for the drama class.
Unit Evaluation Rationale:
Discovering your inner actor and the power of theatre
In this acting unit, students will attempt to fulfill the long term aims such as developing
competency in acting and communication; deepen understanding and appreciation of theatre as
an art and process; and also developing transferable life skills such as heighten self perception
and self esteem, charisma, decision making processes, collaborative skills and beyond. Many of
these goals require basic and reinforcing skills to be attained; therefore student achievement of
such skills must be measured in the following methods.
A significant portion of the summative evaluation tools employed in this unit are teacher
centered and is due to the fact that a discipline such as acting is sometimes critically addressed as
a subjective area. The impact of subjectivity on grading practices can be minimized with a
clearly structured (transparent) and logically reasoned method through the use of exemplars,
rubrics, and rating scales. However, since drama, as an art form, is difficult to measure
objectively at all times, there has been room given for the teacher to gather perspectives,
informing the context of the actions and grades given. This has come in the form of self and peer
evaluation and reflection as well as anecdotal evidence gathered from daily observations.
Students will be assessed will be based on both formative and summative methods. Formative
assessment will be used to inform students, teachers, and any other significant parties
(administration, parents, etc.) of a student's continuous progress through the use of feedback
based on anecdotal evidence, and student writing (journals). Summative evaluations will be
utilized based on the attached assignment breakdown. These evaluation tools are used to show
snapshots of student progress according to Alberta Education's Program of Studies. In
combination of these assessment tools, students and teachers will be able to understand the
student's successes and identify their areas for improvement.
Student journals are collected following each major project in every unit. Using journals,
students will be engaged in personal reflective practices. The purpose is to place importance on
critical thinking and self efficacy among students; to ask why, to investigate, to find new
meaning and a deeper understanding. Along with developing self-reflective practices, students
will also utilize peer assessment to gain perspective in a field (theatre) that is never operated in
isolation of external influences. The journaling process is also intended to measure a student’s
self perception of their effort, participation, and progress, which will influence their contribution
towards the course’s extra-curricular grading. The students will be assessed using a rating scale
throughout the course, reflective of their journaling process. When combined at the end of the
course, students will have a compiled self assessment score. In terms of development of critical
practices, students will be informed by the teacher if their journaling does not reflect critical and
reflective practices.
“Discovering your Inner Actor and the Power of Theatre”
Assignment breakdown
In this combined Acting and Theatre Studies unit, students will be assessed based on the
following assessment tools. These tools are a mixture that represents both formative and
summative tools and reflect various areas the teacher has found significant in this discipline as
well as the critical learner expectations provided by Alberta Education. Each assessment is
briefly described in this document and will have further clarification in class when the time is
appropriate.
Any questions or inquires regarding the rationalization of these assessment tools may be directed
to the teacher.
Assessment #1: Written Quiz (Physical Comedy)
When: Week 1 Day 5 (lesson 5)
Type of assessment: Quiz consisting of 10 M/C and 3 Short Answer items.
Weight: 15% (of Acting unit)
Description: A quiz on technical aspects of physical comedy and stage business such as
characterization through movement, the importance of humour, transitions between characters.
The quiz will be composed of 10 multiple choice items and 3 short answer. This assessment will
be graded by the teacher.
Assessment #2: Reverse of Polarity (Tragedy/ Comedy)
When: Week 3 Day 2 (lesson 12)
Type of assessment: Graded Research Project and Presentation
Weight: 20% (of Acting unit)
*Group Project
Description: Students will take and reverse a selected work's genre from comedy to tragedy or
vice versa. Students will satisfy listed ICT outcomes and also "pitch" (perform) their research to
peers. This assessment will be graded by the teacher. (See attached assignment hand out for
specific details)
Assessment #3:Performance assessment (Short Scene)
When: Week 4 Day 5 (Lesson 20)
Type of assessment: Performance assessment
Weight: 25% (of Acting Unit)
*Group Project
Description: In preparation for the final scene study, students are given choice to text and will
perform the scene, incorporating all elements learned from the previous weeks. It will be graded
on a rubric by the teacher.
Assessment #4: Works in Progress (Final 1 Act)
When: Week 5 Day 5 (Lesson 25)
Type of assessment: Formative Peer assessment
Evaluator: Peers
Weight: 5%(of Acting unit)
*Group Project
Description: A “Show us what you have” (works in progress) presentation for peers. Students
will receive written and verbal feedback from peers regarding the criteria laid out for the
assignment. Grading for this assignment is based on the feedback group’s helpfulness,
thoughtfulness and appropriateness of the feedback given. (Refer to Unit Evaluation Rationale
document for justification of the presence of peer assessment in a unit such as Acting/Theatre
Studies.)
Assessment #5: Final Scenes
When: Week 6 Day 2&3 (Lesson 27-28)
Type of assessment: Performance assessment (group)
Weight: 35% (of Acting unit)
*Group Project
Description: Assessment of final performance based on given script and accumulation of all
criterions learned in Acting unit. Grades will be given based on given rubric. This assessment
will be graded by the teacher.
Assessment #6: Self assessment
When: Through out the course, following major assignments.
Type of assessment: Self Assessment
Weight: 2.5% (of overall course)
Description: Self evaluation of contribution towards course extra-curricular grading (Effort,
participation and progress). Will be assessed using a rating scale throughout the course. When
combined at the end of the course, students will have a compiled self assessment score.
Drama 30: Discovering your Inner Actor and the Power of Theatre
Glossary
Absurdism – A dramatic movement based on a philosophy that life is meaningless and to extract
meaning otherwise is pointless.
Character objectives- What a character wants, specifically from someone on stage to
themselves. (What do you want them to do to/for you?)
Characterization- Details that construct the individual character and “brings it to life”.
Comedy- A genre of which is light, humorous and/or satirical, resolution to conflict is most
often delivered comically.
Crescendo- A method of voice variation; where volume is gradually increased
Decrescendo- A method of voice variation; where volume is gradually decreased
Duolouges- A dialogue between two person(s) or characters.
Echo- A method of voice variation; where the initial sound is reflected and heard again but with
a different, more faded quality.
Primary Source- A source of information which is given through the first person perspective.
Realism- A dramatic movement that defies the preceding over-the-top theatre. It is a genre
which emphasises the “realness” of people and avoids exaggerations in character, design or any
other aspect of theatre.
Rhythm- The pattern of movement ( in voice or body)
Secondary Source- A source of information that draws inferences or references from a primary
source
Staccato- A method of voice variation; where words or phrases are detached and crisp
Stage Business- Any actions that are not explicitly written in the script but aids the tone,
atmosphere or the objectives of characters on and off stage.
Tragedy- A genre where the main character fails in his/her spine objective, suffering as a
consequence of a tragic flaw or weakness.
Transitions- the area (in time and space) between acting scenes or significant lines of text or
objectives
Bibliography:
Albee, Edward (1989). The American dream, The Death of Bessie Smith, Fam and Yam :Three
Plays. New York, New York: Dramastists Play Service
Altenbernd, L., & Lewis, L. L. (1966). A handbook for the study of drama, . New York:
Macmillan.
Beckett, Samuel (1976). Happy Days. United Kingdom: The National Theatre
Boal, A. (2002). Games for actors and non-actors (2nd ed.). New York: Routledge.
Ibsen, Henrik (2005). Three Plays: A Doll’s House. London, England: Nick Hern Publishing
Ibsen, Henrik (2005). Three Plays: Hedda Gabler. London, England: Nick Hern Publishing
Prince, N., & Jackson, J. (1997). Exploring theatre . Minneapolis/St. Paul: West Pub..
Pura, T. (2002). Stages: creative ideas for teaching drama. Winnipeg: J. Gordon Shillingford
Pub..
Sartre, Jean-Paul (1989). No Exit and Three Other Plays. New York, New York: Vintage
International
Scaletta, K. (n.d.). Education.com | An Education & Child Development Site for Parents |
Parenting & Educational Resource. Education.com | An Education & Child Development
Site for Parents | Parenting & Educational Resource. Retrieved January 28, 2011, from
http://www.education.com/
Wilde, Oscar (2010). The Importance of Being Earnest: A Trivial Comedy for Serious People.
Canada: Broadview Editions.
Wilson, E. (1980). The theater experience (2. ed.). New York: Mcgraw Hill.
Wilson, E., & Goldfarb, A. (1994). Living theater: a history (2nd ed.). New York: McGraw-
Hill.
Note: Because common play texts can be found from a wide variety of sources, none are listed
here. However, an anthology is recommended to be one of the first places to check.
Lesson Plan
Subject: Drama Grade: 12 Date: October 2010
Unit: Acting and the Analysis of Form Lesson: 10 – A Taste of Theatre
Time: 80 min. Class Profile: 25 students
General and Specific Outcomes:
Main
Theatre Studies #6 – “Recognize realism and selected other significant theatre styles”
(Program of Studies, 11)
Supportive/Review
Theatre Studies #4 – “Through the study of Early or Middle or Late Drama, the student
will be able to recognize dramatic structure of a play” (Program of Studies, 11)
Supporting ICT Div 4.C.6 4.2– “investigate and solve problems of organization and manipulation of
information” (http://www.education.gov.ab.ca/ict/outcomes/div4.asp
Lesson Objectives:
Students will compare and contrast between different genres of plays (including absurdist
and realistic).
Students will identify and articulate the key dramatic structural components of a given
play script.
Materials: instructions for activities, Photocopied excerpts of scripts showing elements
of absurdist and realist theatre. See Resources for exact plays used.
Anticipatory Set: 10 min
- Check in (done every class) – Students will be asked to make a circle, and one at a time,
students will introduce themselves, tell the class how they are feeling today, and answer
the question of the day. Continue until every person has gone.
Check-in Question: You won a million dollars, what are you going to do with it? You’ve
already given some to charity.
- Vocal warm-up: 5 min
- Message face while yawning exaggerating the mouth being open
- Chew a big wad of bubble gum so the muscles in the mouth are warm
- “Unique New York” five times fast. Red Leather Yellow leather Five times
fast
- Warm-up game: 5 min
- Cat and mouse. In groups of two (three if there’s an odd number) lay side by
side on the ground one student is it and chases their partner around trying to tag
them. The person being chased can lay down beside another person and the
person on the other side of the person who just laid down has to get up and now
is being chased.
Activities: 55 min - 15 min Class will sit in a circle. Have students partner off. Each group of
students will be given two excerpts from scripts. Students will read and follow
the reading worksheet attached.
- 10 min Students will share with class about their findings. They will also
identify key dramatic structure as learned from Lesson #9 (from previous
lesson)
- Note: The following 2 sections (Absurd and Realism) will be supplemented
with visuals on a SMART board. A Venn diagram as attached (blank
provided) should be on the board at the end of the guided discussion.
Students will ultimately contribute to the Venn diagram, guided by teacher.
- 20 min - Go through power point (included here as PDF) on SMART board or
projector
- The file can be found on the School’s common drive under “semester 1,
Drama 30, Acting/Theatre Studies, Lesson 10)
-15 Mins In groups of 3, students will improvise a scene first in realism and then
at the teacher’s prompt, will re-do the scene, but integrating elements of
absurdism.
-Check in between groups to make sure students understand how and why
each were realism or absurdist.
Closure 5 min
- Talk about whether the students like Absurdist theatre or realism focusing on
the reasons why they may or may not like them. This will also be written up in
their journals
NOTE: 10Min Divide students into groups of 3 or 4 and hand out Polarity Assignment.
- Briefly go over instructions with students
- Students will do the research over the weekend and in their groups compile
their research and start their presentation on Monday.
Assessment: Students will also be formatively evaluated by the teacher based on their
worksheet which will be collected at the end of the class.
Resources: Albee, Edward (1989). The American dream, The Death of Bessie Smith, Fam and Yam
:Three Plays. New York, New York: Dramastists Play Service
Alberta. Alberta Learning. Program of Studies. (1989) Drama. Retrieved from
http://education.alberta.ca/teachers/program/finearts/programs.aspx
Beckett, S. (1982). Waiting for Godot: tragicomedy in 2 acts. New York: Grove Press.
Beckett, Samuel (1976). Happy Days. United Kingdom: The National Theatre
Boyer, Robert D. Realism in European theatre and dram. Westport, Connecticut.
Greenwood Press
Ibsen, Henrik (2005). Three Plays: A Doll’s House. London, England: Nick Hern
Publishing
Ibsen, Henrik (2005). Three Plays: Hedda Gabler. London, England: Nick Hern
Publishing
Murphy, Brenda American realism and American drama. Cambridge, New York:
Cambridge University Press.
Sartre, Jean-Paul (1989). No Exit and Three Other Plays. New York, New York: Vintage
International
Wilde, Oscar (2010). The Importance of Being Earnest: A Trivial Comedy for Serious
People. Canada: Broadview Editions.
Reading Worksheet (Absurdism vs Realism)
As you read the script, please answer the following questions:
1. Where is the setting? How does this influence the way they interact or not
interact?
2. Who are the characters to each other? What is the importance under the
relationship?
3. What time period might they be in? Do they emphasize or minimize the time
period factor (is it obvious when this is set)?
4. Why are they doing what they are doing? What are their motivations and
objectives in the script?
5. What are they doing?
As you answer these questions with your partner, think about whether these answers seem logical and
reasonable or do they seem a little odd? Would you see this scene in real life, or is it something most
likely imagined or created?
Be prepared to share your findings and verdit on whether you feel this script is realistic or simply
absurd!
Reading Worksheet (Absurdism vs Realism)
As you read the script, please answer the following questions:
1. Where is the setting? How does this influence the way they interact or not
interact?
2. Who are the characters to each other? What is the importance under the
relationship?
3. What time period might they be in? Do they emphasize or minimize the time
period factor (is it obvious when this is set)?
4. Why are they doing what they are doing? What are their motivations and
objectives in the script?
5. What are they doing?
As you answer these questions with your partner, think about whether these answers seem logical and
reasonable or do they seem a little odd? Would you see this scene in real life, or is it something most
likely imagined or created?
Be prepared to share your findings and verdict on whether you feel this script is realistic or
simply absurd!
Realism
“Real
people/characters”
Normal time and
dialogue progression
Depicted art/theatre as
real as possible
Importance on
common man
Actions are controlled
by heredity and
environment
Things can only be
made sense of if it can
be seen scientifically.
Absurdism
Mythical characters
Unrealistic time elapse
(time in reverse, time
jumps etc)
Repeated and
unjustified dialogue
Martin Esslin
Reaction to WWII
Audiences rejected this
form of theatre
Both are theatre forms that reacted
against the then-contemporary
trend(s).
Both have specific playwrights who
have contributed greatly to either
genre
Lesson Plan Subject: Drama Grade: 12 Date: October 2010
Unit: Acting and the Analysis of Form Lesson: 12 – A taste of theatre
Time: 80 min. Class Profile: 24 students
General and Specific Outcomes:
Main:
Theatre Studies #4 – “Through the study of Early or Middle or Late Drama, the student
will be able to recognize dramatic structure of a play” (Program of Studies, P.79)
Theatre Studies #5 – “Through the study of Early or Middle or Late Drama, the student
will recognize elements of tragedy and comedy” (Program of Studies, P.79)
Supporting:
ICT Div 4.C.1 4.1– “plan and perform complex searches, using more than one electronic
source” (http://www.education.gov.ab.ca/ict/outcomes/div4.asp)
ICT Div 4.C.1 4.2– “select information from appropriate sources, including primary and
secondary sources” (http://www.education.gov.ab.ca/ict/outcomes/div4.asp)
ICT Div 4.C.1 4.3– “evaluate and explain the advantages and disadvantages of various
search strategies” (http://www.education.gov.ab.ca/ict/outcomes/div4.asp)
Lesson Objectives:
Students will evaluate the genre of a given play based on structural elements and modify
it, resulting in a different genre.
Students will research using technology and also evaluate sources from which they draw.
Materials:
-An area for presenters and a panel board area for peers and instructor to watch from.
- Paper and pen for students to make notes with
-Rubric for assessment
Anticipatory Set: 20 minutes
- Check in (done every class) – Students will be asked to make a circle, and one at a time,
students will tell the class how they are feeling today, and answer the question of the day.
Continue until every person has gone.
Check-in Question: You are granted one superhero power, what would it be and why?
Note: These warm-ups are intended to help students release the stress of presenting a
project, and also to allow them to “act out” and be enthusiastic about their presentation,
which is an evaluated criteria.
- Vocal warm-up:
- Following instructor’s hand gestures moving up/down (like a rollercoaster)
students will change their pitch on a sustained breath
- “I am the very model of a modern major general” Tongue twister
- Physical Warm-up:
- Students will isolate and relax each body part, one at a time, focus directed by
instructor.
- Ragdoll rolls; moving slowly from the top of the head down neck and back,
to tail bone, until head is hanging over. Repeat.
- Shake down (countdown from 5)
- Warm-Up Game: Rabbit Rabbit
- Like tag, students strive to pass the “it factor” to others. The tagged person
will have to gesture as if eating a carrot while saying “rabbit rabbit” and tag
someone else by using the same carrot eating gesture directed very
specifically at someone. At the same time, the two people on either side of the
tagged person have to dig into the group with imaginary shovels to look for
carrots to feed the rabbit while saying “carrot carrot”. Along the way, this
game speeds up and is based on a student’s ability to be coordinated and
focused on the task at hand.
Activities: 45 minutes NOTE: In the previous lesson (Lesson 11), students will have compiled their research,
evaluated their sources and began creating their pitch. In this lesson, they will continue
that creation process and also execute their pitch.
NOTE: The structure and elements specifically referred to in this project are drawn from
Lesson #9. Some examples include: the fatal flaw, a combination of hubris, fate and the
will of gods, satire, bizarre characters, humour through violation of social conventions or
taboos , etc.
- Students will break off into their groups previously formed for the Reverse in
Polarity assignment.
- Given 20 minutes: they will get everything in order and assign each group
member some speaking part of the upcoming presentation of their proposal.
- Instructor will remind the students of the context: They are delivering a pitch
in front of a board of members of “Global theatre” (their peers and the
instructor), and therefore enthusiasm and believability is highly important.
- Students will also be reminded of the structure of a pitch (as given in the
previous lesson):
o Brief description of the chosen material
o Outlining the factors that made it a comedy or tragedy
o An exciting way of reversing the polarity (both ideologically and in
delivery)
o An opportunity given to the board to ask questions and appropriately
responding to objections in an effort to get approval on the proposal.
- Following the presentations, each group will hand in their research
compilation to the instructor to be graded according to criterion listed in
assignment handout.
Modifications:
- Consider having written formats of materials presented for learners who prefer
reading over auditory processing.
- Consider sight lines for all students watching the presentation, knowing that
auditory processes also can be greatly affected by visual interpretation.
- Consider visual or auditory modification for presenters who require assistance
with verbal and non-verbal communications, for example individuals who are
Hard of Hearing or visually impaired.
Assessment: Students will be assessed based on the rubric accompanying the assignment
hand out.
Criterion:
Correct identification of structure/elements in original play text
Correct identification of structure/elements in product
Presentational quality (enthusiasm and believability)
Research and thoughtfulness, as indicated by ability to successfully overcome
objections from board in questioning period
Cool-down:
No physical component, no physical cool down required. However, a short energy
exercise might be used as a continuation of building group unity among the class.
For example: the circular breath exercise. In a circle facing a single direction, students
will put their hands on the upper back of the student in front of them. Attempt to sync
your breathe with the person in front, until the entire group is breathing together.
Wrap up: 15 minutes
Circle reflection:
Review some research methods and sources used.
Which ones might be used further and in what situation would it be used?
What presentation skills were employed effectively
Were there any surprising but correct structural elements found in either comedies or
tragedies not discussed previously?
Did any of this research or presentation break any myths or confirm any facts for you
around dramatic structure or specifically with tragedy/comedy.
HOMEWORK: Students will use their journals to reflect critically on their process in
this project. Expectations include reflection on their contribution (effort, participation and
growth) as well as a self assessment of how much they learned and how it may become
more “in-depth” learning if done a second time.
*It will be collected the following day by the teacher.
LINK TO FOLLOWING PROJECT:
Discuss with students how the process has helped them develop the skills and perhaps the
recognition of resources from which they may draw when putting on a production. Their
next project, commencing on Lesson 13 (the next lesson) calls for their theatre studies
knowledge and practices they have built in these few lessons.
Resources Alberta. Alberta Learning. Program of Studies. (1989) Drama. Retrieved from
http://education.alberta.ca/teachers/program/finearts/programs.aspx
Reverse in polarity
Assignment Hand-out
Due date: October 25, 2010
This assignment is worth 20% of the acting/theatre studies unit (Discover your inner actor and
the power of theatre).
Take an excerpt (no longer than 3 pages) from any play text you are familiar with that is
explicitly a comedy or tragedy based on structure and elements.
Your job as a commissioned playwright at the newly opened "Global Theatre" (a parody theatre
company) is to re-write the selected excerpt, but in reverse polarity. That is, if the selected work
was originally a comedy, your rewrite will be a tragedy and vice-versa. In order to back the
credibility of your presentation, part of your process requires you to analyze your sources and
search strategies. You will be working as a group, as assigned in class beforehand
Process
In order to complete this assignment, you will have to:
1. Review your knowledge of structure and elements of comedy and tragedy
2. Research to find a piece of work and determine whether it is a comedy or tragedy
3. Reverse the polarity! Start with an outline, consider elements of the targeted genre, and fill
important details.
IMPORTANT! You will not be re-writing an entire play, identify and reformat only the
excerpt. You may refer to other elements you have targeted outside of the chosen excerpt,
but you will not rewrite that part. 4. Be prepared to present and defend your product proposal (the re-write) in front of the board
for Global Theatre (consisted of peers)
Presentation Day
On the presentation day, you will propose (or “pitch”) your re-write to the class with the
intention of gaining their agreement, enthusiasm and support. Please follow the presentation
structure below:
Brief description of the chosen material
Outlining the factors that made it a comedy or tragedy
An exciting way of reversing the polarity (both ideologically and in delivery)
a. Perhaps you may read your re-write or you may act it out, or you may have an
alternative creative method of representing your ideas.
An opportunity given to the board to ask questions and appropriately responding to
objections in an effort to get approval on the proposal.
Research requirements
In this assignment, you will do research on the specific play texts you have chosen to work on.
You may also find yourself doing research to supplement the knowledge you already have
regarding structure and elements of tragedies and comedies.
The research package to be handed in will include:
Clear indication of chosen play text and original genre based on fulfillment of key structural
elements
The rewritten text and indication of targeted genre based on fulfillment of key structural
elements
Minimum of 3 sources (Primary and Secondary) accessed any method you would like
Keep in mind, these do not necessarily need to be written documents, they may include
recorded interviews, public criticism or analysis or any any other published resource.
Evaluation of the value of the sources. What are the advantages or disadvantages of using these
sources? This evaluation should address all sources and may be written in your preferred
format.
Grading
You will be graded on the following criterion (refer to attached rubric for a complete breakdown
of the grading process):
Correct identification of structure/ elements in original.
Correct identification of structure/ elements in product.
Presentational quality (Enthusiasm and energy in delivery).
Research and thoughtfulness during presentation and as evidenced in research package.
Note: Your presentation (or “pitch”) will also be videotaped for grading purposes.
However, these videos will become accessible to you afterwards. Pending on class
agreement and discussion, these videos may be posted for various viewerships such as the
school community and parents.
Rubric: Reverse in Polarity Date: Group Members:
/12
Comments:
Lesson Plan Subject: Drama Grade: 12 Date: October 2010
Unit: Acting and the Analysis of Form Lesson: 13 – Play for Play
3-Mastery 2-Acceptable 1-Needs improvement
Correct identification of structure/ elements in original.
Correctly identifies structure and elements of original play text.
Mostly correct identification of structure and elements in original play text.
Major incorrect identification of structure and elements in original play text.
Correct identification of structure/ elements in product.
Correctly identifies structure and elements of product.
Mostly correct identification of structure and elements in product.
Major incorrect identification of structure and elements in product.
Presentational quality (Enthusiasm and energy in delivery).
Clearly knowledgeable and enthusiastic about proposed project.
Mostly knowledgeable and delivery was appropriate.
Faults in knowledge regarding product; and delivery was unconvincing.
Research and thoughtfulness during presentation and as evidenced in research package.
Fulfilled sources requirements and evaluation of sources was critical.
Fulfilled sources requirements and evaluation of sources was completed.
Did not fulfill sources requirements and/or evaluation of sources completed.
Time: 80 min. Class Profile: 24 students
General and Specific Outcomes:
Main:
Theatre Studies #4 – “Through the study of Early or Middle or Late Drama, the student
will be able to recognize dramatic structure of a play” (Program of Studies, P.11)
Acting #19 – “The students will be able to create a character’s life that extends beyond,
but is consistent with the script” (Program of Studies, P.11)
Supporting:
Acting #18 – “The student will be able to use various vocal skills to enhance
characterization” (Program of Studies, P.11)
Speech #23 – “The student will be able use vocal variety in character development”
(Program of Studies, P.9)
Lesson Objectives:
At the end of the lesson students will:
1. carefully analyze the structures found within their scenes.
2. reflect on character development.
Materials: instructions for activities, library books containing short scripts for scenes and
one acts (minimum 5, enough for one book per group), access to photocopier and printer
paper, pens and highlighters for notes and marking scripts, 24 Character Development
Worksheets, 24 copies of rubric and assignment instructions, student journals (students
will have in their binders)
Anticipatory Set: 20 minutes
- Check in (done every class) – Students will be asked to make a circle, and one at a time,
students will tell the class how they are feeling today, and answer the question of the day.
Continue until every person has gone.
Check-in Question: You’ve been given access to a time machine. Where and when
would you travel to?
- vocal warm-up:
- Exaggerated yawning; students will make loud yawning sounds and, use their
faces to express their moods
- “mommy made me mash my M&M’s”; starting at a low key, students will
repeat the line until they hit the maximum note
- Physical Warm-up:
- students will massage every facial feature, including ears and chin, etc.
- ragdoll rolls; moving slowly from the top of the head down neck and back, to
tail bone, until head is hanging over. Repeat.
- Warm-Up Game: Atom
- Ask students to walk around the room in different directions. The instructor
will then call out a number and an emotion, thing, place, etc. and students will
have to form groups and create that image working as a team and using their
bodies. If students do not fit into the numbered groups, those students are out.
When the game is over, call up all students and begin to play again, however
the instructor will call out “4” and once students make their image, they will
be informed that these will be their groups for the next assignment./ This is
done in order to encourage students to work with new people.
Activities: 60 minutes - Already divided into groups of 4, they will be asked to find a short script from
selected books put aside in the library containing short scenes (max 5 minutes
in length). A photocopier will be available in the library for students to use in
order to copy their scripts for their group. They will be given 25 minutes to
find a scene. They will then be
- Having their own individual scripts, students will then decide which character
each member will play and will begin a read-through of their scenes as a
group.
- Note: students will be asked to consider their character life and reflect on
physical attributes that may help to enhance their portrayal of each character
by writing in their journal reflection and filling out a Character Development
Worksheet. Students will work on reading through their scenes for the
remainder of class, and will be asked to begin memorization and character
development. Students are to be informed that scenes will be performed the
following Friday, giving them a total of 7 classes to prepare, with one
weekend in between for any necessary out of class rehearsal. It is
recommended that students work outside of class time to ensure adequate
rehearsal time.
Closing Set: students will return to check-in circle and will be asked to take a moment
and reflect on the character development process, while writing in their personal journals.
Journal questions to consider:
What is your character’s favourite color?
Favourite food?
Where does your character come from?
Does your character have a family?
For homework, they will be expected to continue working on their scenes and character
discovery.
Assessment: Since it is an introduction to their scripts, the assessment for today’s work
will be formative, including a journal reflection on today’s lesson and Character
Development worksheet. The final presentation will be graded as a summative
assessment; a project description and rubric will be handed out at the beginning of the
lesson so students are aware of the expectations.
Adaptations: as there is minimal physical activity, students with physical and mobility
concerns will not be affected by the nature of the activities.
Resources:
Program of Studies, Alberta Education Curriculum, drama
Laurie, Kandice, Character Development Questionnaire Worksheet
Suggested Booklist:
Chandler, Wilma Marcus (August 1, 2001). The Ultimate Scene Study Series: 101 Short
Scenes for Groups. Smith and Kraus
Cohen, Lorraine and Cohen, Stephen P (February 2, 1990). Scenes for Young Actors.
Avon
Lamedman, Debbie (February 24, 2004). The Ultimate Scene Study Series for Teens.
2.55. Smith and Kraus
Shantz, Valerie (September 1, 2000). Short Spells: Scenes and Monologues of the
Prairies. Playwrights Canada Press
Stevens, C. and Rolle-Whatley R (February 2001). Sensational Scenes for Teens : The
Scene Studyguide for Teen Actors! (Hollywood 101). Sandcastle Publishing LLC
Stoler, A. Sigmund (, November, 1989). TV Scenes for Actors: Selected Short Scenes
from the Golden Age of T.V. Drama. Meriwether Pub; 1st edition
**Other resources available in library
Play for Play
This assignment is designed for students to find their inner actor by discovering a
character from a scene, while working in groups. As a group, you will be expected to find a short
scene (5 minutes in length) from the books provided and choose and develop a character in the
script, using various acting techniques reviewed in class. You will be expected to incorporate
different elements from Theatre Studies, which will be reflected in your individual class journal.
Elements of speech and improvisation may come in handy while trying to discover your
character.
Working as a team is essential! You need to support your group and be open to ideas. A decision
making process (such as flipping a coin) may come in handy if your group cannot agree.
You will also be expected to keep a journal reflecting the process of your work and character
development for a minimum of 5 days. These are to be handed in on the presentation day prior to
your groups performance.
Scoring Rubric
Showing Developing Beginning to Teacher
Strong
Skill(s)
Development
(3)
Skill(s)
(2)
Develop
Skill(s)
(1)
comments
Vocal clarity and
correct articulation
of script
Uses a large
variety of vocal
skills to enhance
characterization
and clearly and
strongly
articulates the
script
Uses some
vocal skills to
enhance
characterization
and
demonstrates
adequate
articulation of
the script
Uses minimal
vocal skills to
enhance
characterization
and struggles with
the articulation of
the script
Characterization
Strongly
physicalizes
character through
selected
economical
movement and it
is clear that a
character life
exists beyond the
script
Demonstrates
acceptable
physicalization
of character
through selected
economical
movement and
has attempted to
create a
character life
beyond the
script
Character
physicalization is
through
movement is
weak and
character life
beyond the script
is unclear
Stage Business
Creates and
demonstrates
clear and
appropriate stage
business and
displays strong
and developed
relationships with
other characters
in the scene
Creates and
demonstrates
sufficient stage
business and
displays a
satisfactory
relationships
with other
characters in the
scene
Stage business is
unclear and
demonstrates
weak or
undeveloped
relationships with
other characters
in the scene
Please Check: YES NO Additional Comments
Elements of
Speech are Present
Text is memorized
Journal Entries are
completed
**Partial marks may be awarded depending on elements present in each scene
Character Development Questionnaire
Developed and created by Kandice Laurie
The Basics
Name:
Birth date/age:
Born (Country):
Sex:
Eye colour:
Hair colour:
Height:
Weight:
Dialect/Accent:
Status (Single/Married/etc):
– How long:
Address:
– How Long:
Education:
Occupation:
Salary:
The Next Level
Family Members:
Best Friend:
Spouse/Partner:
Physical injuries/impairments:
Illness(es):
Mannerisms:
Living circumstances: (house, apartment, room, etc and with whom?)
Pets:
Hobbies:
Favourite Colour:
Favourite Movie:
Favourite Type of Music:
Worst Fear(s):
Biggest Accomplishment:
Biggest Regret:
Secrets:
Deeper Questions
Myself
How do I walk, run, crawl?
What is my physical appearance?
What am I most likely to be seen wearing? What colours?
What are my strong emotions?
What are my weak emotions?
Am I healthy?
How do I take care of myself?
Am I clean and well-groomed?
What facial expression do I most frequently use?
What are my responsibilities? (younger siblings, work, school, chores, family, etc)
Do I accept responsibilities?
Do I believe in myself, have self-confidence?
Do I speak well or speak poorly?
Do I believe in God?
Am I smart? (at school, at work, in sports, at chess, with people, etc)
What am I good at?
Am I athletic?
What are my views on sex?
What are my views on war?
What are my views on drugs?
What are my views on politics?
Am I religious? What is my religion?
What are my thoughts on Christmas? (or Hannukah, or Id al-Adha, etc)
What do I always keep in my pockets/wallet/purse?
How do I act when no one is around?
Am I clumsy? What am I clumsy in doing?
Do I brag?
Do I like to read? Can I read?
What do I like to read?
Do I buy cheap or expensive things?
What do I like to eat?
Do I drink alcohol?
Have I travelled? Where?
How would I react if I were the only witness to a murder?
Am I a musician in any way?
What makes me laugh most of all?
How would I react if I were caught in a severe fire?
My Relationships
What are my relationships like with my parents? Siblings? Friends? Partner(s)? Family?
What kind of parents do I have?
Who have I lost in my life?
In whose company am I most likely to be seen?
Do I feel like I fit in?
Do I get along with others my age?
Do I get along with older people?
Do I get along with children?
Do I get along with strangers?
What are my relationships like with authority figures?
Who are the authority figures in my life?
What would I do if I were approached by a beggar in the street?
What would I do if I were approached by someone in need who didn't speak my language?
Self-Image Exercise
(from The Actor in You, Robert Benedetti)
What is your character's dominant self-image? Enter into your character's frame of mind and
complete these phrases:
a. The most beautiful part of my body is . . .
b. Happiness to me is . . .
c. The thing I most want to do before I die is . . .
d. The ugliest part of my body is . . .
e. The thing I like best about myself is . . .
f. Pain to me is . . .
g. My mother . . .
h. The most secret thing about me is . . .
i. I can hear my father's voice speaking through my own when I tell myself . . .
j. Love to me is . . .
k. If you could hear the music in me . . .
l. I want my epitaph to be . . .
