Drama K – 7 - orange.k12.nj.us



2165350130302000Orange Public SchoolsDrama K – 7, Drama 8,Intro to Drama, Fundamentals of Theatre, Acting I, II, & III, & Capstone and Career ReadinessCurriculum GuidesOBE Approval Date: ORANGE TOWNSHIP BOARD OF EDUCATIONTyrone TarverPresidentBrenda DaughtryVice PresidentMembers Guadalupe Cabido Derrick Henry Sueann Gravesande Cristina MateoSiaka SherifShawneque Johnson Jeffrey Wingfield SUPERINTENDENT OF SCHOOLSGerald Fitzhugh, II, Ed.D.BUSINESS ADMINISTRATOR/BOARD SECRETARYAdekunle O. JamesEXECUTIVE DIRECTOR OF HUMAN RESOURCESGlasshebra Jones-DismukeDIRECTORSKaren Harris, English Language Arts/TestingTina Powell, Ed.D., Math/ScienceShelly Harper, Special ServicesTerri Russo, D.Litt., Curriculum & InstructionPRINCIPALSFaith Alcantara, Heywood Avenue School Myron Hackett, Ed.D., Park Avenue SchoolJason Belton, Orange High SchoolKaren Machuca, Scholars AcademyJacquelyn Blanton, Orange Early Childhood CenterDana Gaines, Oakwood Avenue Community SchoolDebra Joseph-Charles,Ed.D., Rosa Parks Community SchoolDenise White, Central Elementary SchoolYancisca Cooke, Ed.D., Forest Street Community SchoolErica Stewart, Ed.D., Twilight ProgramCayce Cummins, Ed.D., New Early Childhood CenterRobert Pettit, Cleveland Street School (OLV)Frank Iannucci, Jr., Lincoln Avenue School Salvatore Lima, Jr., STEM Academy of the OrangesCarrie Halstead - Orange Preparatory AcademyASSISTANT PRINCIPALSPatrick Yearwood, Lincoln Avenue SchoolNyree Delgado, Forest Street Community SchoolAnthony Frantantoni, Orange High School/Athletic DirectorDevonii Reid, Ed.D.,STEM Academy of the OrangesOliverto Agosto, Orange Preparatory AcademyJoshua Chuy, Rosa Parks Community SchoolTerence Wesley, Rosa Parks Community SchoolGerald J. Murphy, Heywood Avenue SchoolSamantha Sica-Fossella, Orange Preparatory AcademyShadin Belal, Ed.D., Orange Preparatory AcademyKavita Cassimiro, Orange High SchoolApril Stokes, Park Avenue SchoolIsabel Colon, Lincoln Avenue SchoolNoel Cruz, Dean of Students, Lincoln Avenue SchoolSUPERVISORSOlga Castellanos, Math (K-4) Jahmel Drakeford, CTE (K-12) & Health & Physical Education (K-7)Tia Burnett, TestingHennie Parillon, Science (K-12)Meng Li Chi Liu, Math (9-12)Rosa Lazzizera, ELA (3-7) & Media SpecialistDonna Sinisgalli, Ed.D, Visual & Performing ArtsDaniel Ramirez, Math (5-8)Linda Epps, Social Studies 5-12/Technology CoordinatorsKurt Mathews, (8-12) ELA & Media SpecialistJanet MClouden, Ed.D.,Special ServicesCaroline Onyesonwu, Bilingual/ESL & World LanguagesAdriana Hernandez, ELA (K-2) & Media Specialist Frank Tafur, GuidanceDavid Aytas, STEM Focus (8-12)Amina Mateen, Special Services The Orange Board of EducationVision and Mission StatementVisionThe Orange Public School District commits to provide a safe and caring environment where each student is expected to grow and succeed. We pledge to prepare all students with equitable opportunities for college and career readiness, leading to lifelong learning and responsible citizenship in a competitive global community.MissionThe Orange Public School District in collaboration with all stakeholders is responsible for promoting the academic, social, emotional and personal success of all students. With a commitment to academic excellence, the district provides teachers, families, and administrators the tools needed for all students to reach their full potential. The district serves all students in our schools, acknowledging their unique backgrounds, cultural perspectives and learning styles. The district recognizes that curiosity, discipline, integrity, responsibility and respect are necessary for success. The Orange Public School District cultivates a community of 21st century learners where students take ownership of the learning process, achieve high standards of excellence, and focus on academics.Good to Great!Table of Contents TOC \o "1-3" \h \z \u Drama K – 7 PAGEREF _Toc28822891 \h 7Kindergarten PAGEREF _Toc28822892 \h 81: Body, Voice and Imagination! The Actor’s Tools. PAGEREF _Toc28822893 \h 82: Oh, the Places You’ll Go: Creating Environment with Pantomime PAGEREF _Toc28822894 \h 183: Perfecting the Puppet Performance PAGEREF _Toc28822895 \h 274: Connecting Your World with the World of Theater! PAGEREF _Toc28822896 \h 39Grade One PAGEREF _Toc28822897 \h 501: Creating Drama through Pantomime! PAGEREF _Toc28822898 \h 502: Dramatic Story Creation and Sequencing PAGEREF _Toc28822899 \h 583: Reader’s Theater PAGEREF _Toc28822900 \h 684: Performance Reflections PAGEREF _Toc28822901 \h 77Grade Two PAGEREF _Toc28822902 \h 851: Exploring the World Around You: The Ensemble! PAGEREF _Toc28822903 \h 852: Creating Plays through Improvisation! PAGEREF _Toc28822904 \h 963: Emotional Motion! PAGEREF _Toc28822905 \h 1144: Making Real World Connections through Theater Literacy! PAGEREF _Toc28822906 \h 126Grade Three PAGEREF _Toc28822907 \h 1431: Dramatic Traits and the Actor’s Choice! PAGEREF _Toc28822908 \h 1432: Staging the Production! PAGEREF _Toc28822909 \h 1563: Origins of Theater: Theater in Myth, Storytelling and Fable PAGEREF _Toc28822910 \h 1684: Play the Page! PAGEREF _Toc28822911 \h 185Grade Four PAGEREF _Toc28822912 \h 1971: Careers in Theater: What’s My Role? PAGEREF _Toc28822913 \h 1972: Portraying the World of Fiction PAGEREF _Toc28822914 \h 2063: The Greek Chorus: Exploration Collaboration! PAGEREF _Toc28822915 \h 2204: Dramatic Snapshots: Exploring Relationships PAGEREF _Toc28822916 \h 2325: Creating Convincing Characters PAGEREF _Toc28822917 \h 246Grade Five PAGEREF _Toc28822918 \h plete the Character PAGEREF _Toc28822919 \h 2622.Designing the Production PAGEREF _Toc28822920 \h 2763.Adapting the Dramatic Story PAGEREF _Toc28822921 \h 2884.Musical Theater: A Cultural Mirror PAGEREF _Toc28822922 \h 3015.Greek Exploration PAGEREF _Toc28822923 \h 312Grade Six PAGEREF _Toc28822924 \h 3251.Acting the Part: Scripted Scenes & Monologues PAGEREF _Toc28822925 \h 3252.The Art of Improvisation! PAGEREF _Toc28822926 \h 3363.Theater’s Historical Traditions PAGEREF _Toc28822927 \h 3494.Forming the Theater Company! PAGEREF _Toc28822928 \h 363Grade Seven PAGEREF _Toc28822929 \h 3761.All the World’s A Stage: Shakespeare Study! PAGEREF _Toc28822930 \h 3762.Technology & Theater PAGEREF _Toc28822931 \h 3893.Analyzing & Critiquing Theater PAGEREF _Toc28822932 \h 4014. Intro to Playwriting PAGEREF _Toc28822933 \h 411Drama 8 PAGEREF _Toc28822934 \h 4251.Creating Drama through Pantomime! PAGEREF _Toc28822935 \h 4262.The Art of Improvisation! PAGEREF _Toc28822936 \h 4353.Begin with the Basics PAGEREF _Toc28822937 \h 4484.The Elements of Acting PAGEREF _Toc28822938 \h 455Grades 9 -12 PAGEREF _Toc28822939 \h 462Intro to Drama PAGEREF _Toc28822940 \h 463Theatre History PAGEREF _Toc28822941 \h 463The Art of Improvisation! PAGEREF _Toc28822942 \h 470The Play: From Vision to Reality PAGEREF _Toc28822943 \h 483Theatre and Its Counterparts PAGEREF _Toc28822944 \h 490Begin with the Basics PAGEREF _Toc28822945 \h 497The Elements of Acting PAGEREF _Toc28822946 \h 504Audition PAGEREF _Toc28822947 \h 512Monologues PAGEREF _Toc28822948 \h 519Fundamentals of Theatre PAGEREF _Toc28822949 \h 527Designing the Production PAGEREF _Toc28822950 \h 528Greek Exploration PAGEREF _Toc28822951 \h 540Theater’s Historical Traditions PAGEREF _Toc28822952 \h 553Technology & Theater PAGEREF _Toc28822953 \h 567Analyzing & Critiquing Theater PAGEREF _Toc28822954 \h 578Intro to Playwriting PAGEREF _Toc28822955 \h 588Intro to Playwriting PAGEREF _Toc28822956 \h 601The Play: From Vision to Reality PAGEREF _Toc28822957 \h 614Theatre and Its Counterparts PAGEREF _Toc28822958 \h 621Technical Theatre PAGEREF _Toc28822959 \h 628Theatre History PAGEREF _Toc28822960 \h 634Acting I PAGEREF _Toc28822961 \h 642Theatre History PAGEREF _Toc28822962 \h 645The Art of Improvisation! PAGEREF _Toc28822963 \h 652The Play: From Vision to Reality PAGEREF _Toc28822964 \h 665Theatre and Its Counterparts PAGEREF _Toc28822965 \h 672Begin with the Basics PAGEREF _Toc28822966 \h 679The Elements of Acting PAGEREF _Toc28822967 \h 686Audition PAGEREF _Toc28822968 \h 694Monologues PAGEREF _Toc28822969 \h 701Acting II PAGEREF _Toc28822970 \h 7101. Technical Theatre PAGEREF _Toc28822971 \h 7112: Theatre History PAGEREF _Toc28822972 \h 7183: Creating a Character PAGEREF _Toc28822973 \h 7254: Scene Study PAGEREF _Toc28822974 \h 7325: Theatre for Social Change PAGEREF _Toc28822975 \h 739Acting III PAGEREF _Toc28822976 \h 747Designing the Production PAGEREF _Toc28822977 \h 748Adapting the Dramatic Story PAGEREF _Toc28822978 \h 759Musical Theater: A Cultural Mirror PAGEREF _Toc28822979 \h 772Theater’s Historical Traditions PAGEREF _Toc28822980 \h 783Forming the Theater Company! PAGEREF _Toc28822981 \h 797All the World’s A Stage: Shakespeare Study! PAGEREF _Toc28822982 \h 809Technology & Theater PAGEREF _Toc28822983 \h 822Analyzing & Critiquing Theater PAGEREF _Toc28822984 \h 833Capstone PAGEREF _Toc28822985 \h 843Complete the Character PAGEREF _Toc28822986 \h 844Acting the Part: Scripted Scenes & Monologues PAGEREF _Toc28822987 \h 858Adapting the Dramatic Story PAGEREF _Toc28822988 \h 869Musical Theater: A Cultural Mirror PAGEREF _Toc28822989 \h 882Audition PAGEREF _Toc28822990 \h 893Monologues PAGEREF _Toc28822991 \h 900Scene Study PAGEREF _Toc28822992 \h 908Drama K – 7Content Area:Kindergarten Grade(s)K Unit Plan Title:1: Body, Voice, and Imagination! The Actor’s Tools. Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to allow students the opportunity to discover and develop their extra/intrapersonal skills. Students will develop body awareness as they analyze and imitate physical movement. By nurturing students’ spatial perception, they will express a multitude of moods and concepts. Students will develop sensory awareness as they imitate and analyze sounds. They will be able to incorporate this sensory information into story. As they develop personal creativity, they will create original, pantomime/statue/dynamic performances. Creating story and character through the performance concept of pantomime will allow student to develop interpersonal skills and awareness. Students will join with and respond to others in group dramatic activities. They will discover and utilize key dramatic terminology, i.e. cast, actor, cooperation, gesture, etc., as they improvise group scenes and dialogue. Students will cooperate in teams to solve problems in interactive dramatizations that assess their ability to work individually and as a team. Students will ultimately discover how to place self in other contexts, i.e. “walk in someone else’s shoes”. They will be able to draw parallels between drama activities and real life.2020 New Jersey Student Learning Standards - Visual and Performing Arts: 1.4 Theatre Standards by the End of Grade 2CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1a: Propose potential character choices and plot details in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1b: Collaborate with peers to conceptualize props, costumes and scenery in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations 1.4.2.Cr2a: Contribute to the development of a sequential plot; collaborate with peers to devise a meaningful dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr2b: Contribute original ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3a: With prompting and support, contribute to the adaption of plot and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr3b: Identify similarities and differences in sounds and movements in a guided drama experience (e.g., process drama, story drama, creative drama).PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5a: With prompting and support interpret story elements (e.g., character, setting) in a guided drama experience (e.g., process drama, story drama, creative drama).RESPONDINGAnchor Standard 7: Perceiving and analyzing products. Performance Expectations1.4.2.Re7a: Express emotional responses to characters to recall and recognize when artistic choices are made in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9b: With prompting and support, name and describe settings and identify causes of character actions in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re9c: Explain or use text and pictures to describe how personal emotions and/or others' emotions and choices compare to the emotions and choices of characters in a guided drama experience. (e.g., process drama, story drama, creative drama).CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations1.4.11a: With prompting and support, identify similarities and differences in stories and various art forms from one’s own community and from multiple cultures in a guided drama (e.g., process drama, story drama, creative drama) experience about global issues, including climate change.??????1.2 Media Arts Standards by the End of Grade 21.2.2.Cr1b: Brainstorm and improvise multiple ideas using a variety of tools, methods and materials.?1.2.11b: Interact appropriately with media arts tools and environments considering safety, rules and fairness.2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.CS.2: Explain the functions of common software and hardware components of computing systems.8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.New Jersey Student Learning Standards - ELANJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How can the same work of art communicate different messages to different people?Enduring UnderstandingsTheatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Theatre artists reflect to understand the impact of drama processes and theatre experiencesTheatre artists rely on intuition, curiosity, and critical inquiry.Facial expressions and body movement often illustrate personal emotions.A character’s vocal variation reveals emotions.Different body movements that communicate emotionsDifferent attributes and mannerisms assist in identifying character roles.Observations of roles in life help build an understanding of cultures and traditions.Students will begin to understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDemonstrate a variety of emotions through facial expressions.Demonstrate a variety of emotions through body movements.Demonstrate a variety of emotions through vocal inflections.Identify different characters from everyday life.Use body and voice to demonstrate knowledge of holidays and other cultural events.Follow a simple set of steps in a dramatic task.AssessmentsPre and Formative: Character Illustration · Classroom monitoring · Creative drama activities · Full class discussionConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Benchmark/Authentic Assessment:Performance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Recreate a scene from a book for an audience of your peers/fellow actors!Summative: Students will convey basic emotional expression (e.g., happy, sad, excited, worried etc.) through facial expressions. Students may use wordless picture books listed in teacher resources as bases for practicing/demonstrating these expressionsDocumentation Portfolio: This type of portfolio is often called a “working” portfolio. This is a collection of work over time showing growth and improvement. It reflect the student’s learning of specific and identified objectives and outcomes. The documentation portfolio may include brainstorming activities, rough drafts and final products. The collection only becomes meaningful when specific items are selected to focus on a particular goal. This portfolio will contain multiple levels of student work, from the weakest to the strongest, thus showing growth.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallsAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD –SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideasELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.G&T- Higher order thinking skills504 Plan- Adhere to all modifications and health concerns stated in 504 plan. Then assess the academics of the student to implement the necessary modifications as described in this document. See Appendix A for additional accommodations and modifications for all subgroupsLesson One Ideas: Intro to Acting Tools Imagination & Voice: Name game: in circle, students replace their last names with the name of an animal they like. Each says real first name and then name of their chosen animal; each does the sound and movement of the animal. Class copies.Walkabout in the space: No talking, no touching. Practice freeze, neutral, movement. From “favorite activity” sharing from previous lesson and “favorite place to go” from above, students move through imaginary settings, performing activities suggested.Lesson Two Ideas: Facial Expression Brainstorming Facial expressions and body movement often illustrate personal emotions. Students will watch a short video of a familiar story, fairytale or cartoon. (Suggested stories: Little Red Riding Hood or Goldilocks and the Three Bears) Then students will draw a picture of their favorite character and their facial expressions. Improvisation: respond/react to problems that occur in various settings while they are doing their fun activities from above. Use chosen animal from above to complicate problems. They solve problems. React to situations in one of the stories.Draw a picture of you doing the walkabout in a setting and doing your fun activity with your chosen animal. Show the problem and how you solved it.Lesson Three Ideas: Realistic CharactersPlay the game “Yes, let’s use a”: Students identify objects in the room and respond vocally and with their bodies (“use” the objects such as flag, chairs, desks, white board, ipod, etc.) Pantomime using the objects.Sound collage of various locations in school environment (cafeteria area; library, computer lab, classroom, playground, bus/car loading area). Pantomime: actions of various school personnel in different settings around school. Use books above for situations and specific settings.Journal: Draw a picture of the character(s) in the setting with the problem.Lesson Four Ideas: Communicating with Voice and Body“The Machine” and other sequence of action activities (e.g., energy and vocal transfer exercises in groups).Participate in teacher-guided imaginative journeys through various settings and situations.Freeze an improvisation in a static tableau. Discuss the action preceding the frozen moment and how that moment might be resolved.Lesson Five Ideas: Expressing EmotionsMood Sharing - In pairs, students will come up with 2-4 moods or emotions and share these with the class. Have students identify a time when they felt one of these emotions. Mood Coloring - Students will color the emotions coloring sheet to represent the mood or emotion expressed by the picture with color. Then, in pairs, students will make faces at each other. Each will name the emotion expressed by the “face” made.Mood Matching - Then students will suggest words that also express the emotions previously identified. Act out the different emotions with a partner or small group using both face and word.Lesson Six Ideas: Characters in SettingsCreate characters in settings and respond to various situations.Imagination: Statues: various characters in specific situations with feelings. Come alive, add sound and motion.(example: Chef making meal, feeling proud, frustrated with not enough time, upset because meal was ruined; or Firefighter saving child from burning building, feeling proud, or brave or frightened; mail carrier delivering mail, frightened by dog, excited to give you special package, etc.)Amistad EducationBooks that can be read and portions performed throughout the month of February that support a developmentally appropriate level of understanding of these values and that will engage students in discussion are:A Big Guy Took My Ball by Mo WillemsLlama Llama and the Bully Goat by Anna DewdneyLGBTQIA EducationIntroduce students to the idea of a welcoming classroom within the drama space. Modify the following lesson plan in order to function in a performance space, i.e. portray character, emotion, personality within the safe space of the nurturing environment. EducationRecognizing emotionsOne primary skill that theatre can teach students with intellectual disabilities and autism is the ability to read emotions appropriately. Begin with simple facial-expression exercises. For example, have students form a circle and observe large prints of facial expressions. Ask students to identify the expression and describe the emotion behind it. Identifying emotions even as simple as happy (smiling face) can be difficult for some students on the autism spectrum. Repeat this warm-up during each class. The photographs can later become part of the final exam.Holocaust EducationTo help young students realize that differences make each of us special, theater is a useful tool to allow kids to portray various characters of many different backgrounds, religions and cultures. Focusing on guided reading and character play of the following stories will help children understand these fundamental concepts of human decency and acceptance. Day One: We’re Different, We’re the Same.Day Two: Families are DifferentDay Three: The Ugly DucklingExperiencesD –See Appendix B for specialized programs that Reflect the Needs of Students and Community.These dramatic activities build upon a presumed (student) working knowledge of moving in a given space safely and respectfully. Practicing and roleplaying the dos and don’ts of space use is recommended.Favorite stories, books, songs, or the events of a class trip are all sources for elaboration and dramatization.Children can cooperate with their peers to negotiate who will play which role in dramatic play.Children can work in small groups to dramatize a familiar story.Children can see an appropriate dramatic performance or puppet show, discuss the characters, the setting, what happened, and how different parts of the story made them feel. Children can listen to a story, identify the setting, mark classroom spaces to distinguish acting space from audience space, and act out the story, first discussing entrances, exits, and placement, with some children being actors and others being the audience.Children can discuss a play they have seen and give some descriptions of details or scenes they particularly liked, including visuals, sound, and/or actions.ResourcesBooks:A Big Guy Took My Ball by Mo WillemsLlama Llama and the Bully Goat by Anna DewdneyBany-Winters, Lisa SHOW TIME!: MUSIC, DANCE, AND DRAMA ACTIVITIES FOR KIDS, Chicago, Chicago Review Press, 2000. 101 Drama Games for Children: Fun and Learning with Acting and Make-Believe (SmartFun Activity Books)-Paul Rooyackers and Cecilia Bowman 101 Drama Games and Activities and 101 MORE Drama Games and Activities -David FarmerBailey, Debbie LET’S PRETEND, Willowdale, Ont., Annick Press, 1999.Bryant-Mole, Karen PRETEND YOU’RE A COMMUNITY HELPER, Des Plaines, Heinemann Interactive Library, 1998.Cauley, Lorinda Bryan CLAP YOUR HANDS, New York, Putnam, 1992Malka, Lucy FUN WITH HATS, Greenvale, New York, Mondo Pub. 1995.Swanson-Natsues, Lyn DAYS OF ADVENTURE, New York, Mondo, 1996.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996.Marx, Pamela TAKE A QUICK BOW!, Glenview, Goodyear Books, 1997.Sierra, Judy NURSERY TALES AROUND THE WORLD, New York, Clarion Books, 1996Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991.Websites:LGBTQIA Theater -? HYPERLINK "" \t "_blank" New Plays for Children -? HYPERLINK "" \t "_blank" Storytelling & Creative Dramatics -? (Ideas for using picture books for drama) (Warm up lesson for building focus and increasing vocabulary while learning to speak audibly and clearly)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1Actor’s toolsImagination & VoiceMovement & character walks11Actor’s toolsFacial ExpressionsRecognizing facial expressions11Actor’s toolsRealistic CharactersPantomiming various activities11Actor’s toolsCommunicating with Voice & BodyCreate Tableaus11Actor’s toolsExpressing EmotionsIdentifying moods and emotions11Actor’s toolsCharacters in SettingsCreating characters in various settings1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)KUnit Plan Title: 2: Oh, the Places You’ll Go: Creating Environment with PantomimeCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleKnowing where we are helps us understand who we are! Character role-play, Pantomime allows students to identify character, place and setting in stories. Students will listen to and create improvised stories, myths and fairy tales from various time periods and cultures. It is important for students of this educational level to understand that voice and body placement create environments that emphasize setting in communities. Basic theater terminology such as setting, plot, and tableau is introduced as students begin to collaboratively develop a cohesive performance. Students take ownership of role as they use variations in movement and voice for different characters and setting periods. 2020 New Jersey Student Learning Standards - Visual and Performing Arts: 1.4 Theatre Standards by the End of Grade 2CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1a: Propose potential character choices and plot details in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1b: Collaborate with peers to conceptualize props, costumes and scenery in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations 1.4.2.Cr2a: Contribute to the development of a sequential plot; collaborate with peers to devise a meaningful dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr2b: Contribute original ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3a: With prompting and support, contribute to the adaption of plot and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr3b: Identify similarities and differences in sounds and movements in a guided drama experience (e.g., process drama, story drama, creative drama).PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5a: With prompting and support interpret story elements (e.g., character, setting) in a guided drama experience (e.g., process drama, story drama, creative drama).RESPONDINGAnchor Standard 7: Perceiving and analyzing products. Performance Expectations1.4.2.Re7a: Express emotional responses to characters to recall and recognize when artistic choices are made in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9b: With prompting and support, name and describe settings and identify causes of character actions in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re9c: Explain or use text and pictures to describe how personal emotions and/or others' emotions and choices compare to the emotions and choices of characters in a guided drama experience. (e.g., process drama, story drama, creative drama).CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations1.4.11a: With prompting and support, identify similarities and differences in stories and various art forms from one’s own community and from multiple cultures in a guided drama (e.g., process drama, story drama, creative drama) experience about global issues, including climate change.?????????1.2 Media Arts Standards by the End of Grade 21.2.2.Pr5c: Discover, experiment with and demonstrate creative skills for media artworks.??1.2.10a: Use personal experiences, interests, information and models in creating media artworks.????????? ??????????????????????2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.CS.2: Explain the functions of common software and hardware components of computing systems.8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How can the same work of art communicate different messages to different people?What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How can the same work of art communicate different messages to different people?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does an actor tell a story? Enduring UnderstandingsTheatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Theatre artists reflect to understand the impact of drama processes and theatre experiencesTheatre artists rely on intuition, curiosity, and critical inquiry.Objects that exist in the environment often dictate how an environment is perceivedVoice and body placement create environments through dramatic improvisation to emphasize importance of setting in position of an environment is often directly linked to cultural events and holidays.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesUse body movements and facial expressions to portray different set elements in an environment.Use body movements and facial expressions to portray different props in an environment.Identify different elements (props and sets) in different cultural events through viewing of videos or pictures.Change the mood of an environment through their portrayal of environmental objects.AssessmentsPre and Formative: · Student discussion · Create a list (tell me the names of the characters, settings, etc.) · Participation with voice creation, visual drawings · Re-enacting with teacher side-coachingConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Benchmark/Authentic Assessment: Performance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Summative: Students will keep an expressions journal wherein they will document the multiple opportunities they will have to create facial expressions, body language, and short phrases to express emotions.Documentation Portfolio: The documentation portfolio may include brainstorming activities, rough drafts and final products. The collection only becomes meaningful when specific items are selected to focus on a particular goal. This portfolio will contain multiple levels of student work, from the weakest to the strongest, thus showing growth.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD –SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideasELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Higher order thinking skills.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document. See Appendix A for accommodations and modifications for all subgroupsLesson One: Moving Your Body Through SpaceKindergartenPractice body control and moving through performance space. Imagination & Body: “Jump and Jiggle”: Students perform various types of movements as suggested inn poem. Reinforce “space bubbles” and control of bodies. Use variety of levels and directions of movements.Directional Words: Set up series of movements using directional words such as under, around, through, over; add verbs such as creep, slither, crawl, leap, twirl, twist. May want to set up like an obstacle course.Lesson Two: Pantomime Your WorldPractice pantomiming the use of imaginary objects around you.Body & Imagination: Ask students to communicate simple settings without speaking such as hot, cold, lost, having a secret.Explore use of objects in Goodnight Moon. Objects include: telephone, balloon, mittens, kittens, toy house, mouse, comb, brush, bowl of cereal, knitting.Journal: Draw a picture of the setting around you removed from the magic box or bag. Describe and illustrate your world.Lesson Three: Pantomime with PartnersBody & Imagination: Mirror exercise: Demo. work in pairs, switch who leads, who is mirror.Explore the five senses, using existing environment. (What do you smell, see, etc.) Voice: Pair Share discoveries.Pantomime activities from stories with partner (such as playing with teddy bear; playing catch, hiding under covers and getting found; purchasing toy; losing and finding buttons (various kinds in different settings—large grass, black button with two holds---dark forest, small button, square button—muddy river, thin button); sewing buttons on jacket. Trying on hats (too big, too small) and having difficulties. (or difficulties with kite)Reflective question: The characters in our stories had problems with objects, real ones. When have you had problems with objects like those or with other things?Journal: Draw a picture of one of the problems you and your partner pantomimed today. Tell what the object is and who the characters are.Lesson Four: Group Pantomime in SettingBody & Imagination: Whole group in circle: Pantomime actions of nursery rhyme songs, following teacher leader.Train Trip: tickets, seats, train setting, travel up hill, down valleys, over bridge, through tunnel. Instructions: safety, souvenir gathering.Exit train to first nursery rhyme setting: country-side with hill and well (Jack and Jill), fall into bucket to next setting: big tree, spider web, tuffet (Little Miss Muffet), climb up spider web to next setting: room in a castle with big clock and mice (Hickory Dickory Dock), go through door of clock to next setting: outside castle in garden with wall (Humpty Dumpty), climb on horse and ride to next setting: school with girl with lamb (Mary Had a…), open a book and climb into next setting: park at night with full moon (Hey Diddle, Diddle), dish and spoon run into a dark house and have to light a candle (Jack Be Nimble), jump to train setting. Pair Share: Show each other the souvenirs you collected. Where will you keep them? Will you give any of them to a special person?Journal: Draw a picture of your favorite nursery rhyme setting with characters in action. Write a descriptive sentence.Lesson Five: Story Setting PantomimeBody: Character Statues: Working alone and simultaneously, become statues of: child, night wind, bird, cricket, frog, moth, moon, cloud, elephant. Voice: Character Voices: Working as a group with leader as conductor, make sounds of night wind, bird, cricket, frog, moth, moon, cloud. Conduct them to become louder and softer.Imagination: Go/Stop: Working alone and simultaneously, perform activities from story such as: child trying to sleep, mockingbird singing, cricket playing violin, frog strumming a bass, moth dancing, moon shining, night wind blowing, cloud floating. Begin when the leader says go; freeze when the leader says stop.Wind Says Good Night: Read/story, tell story.Story Dramatization: Cast everyone using multiples for each character (e.g. 5 moths, 3 frogs, 4 mockingbirds). Place each group of characters in a setting (area). Retell story pausing for improvisation and pantomime from students. Switch parts and enact it again. Use music and scarves (optional).Discuss: What keeps you awake at night? Can you demonstrate it with acting? Journal: Draw a picture of some of the animals in the night setting.Amistad EducationStudents can learn two songs (Sing About Martin, Martin Luther King). Students can translate the lyrics into Pantomime performance to be performed silently, underscored by the song.LGBTQIA EducationUtilizing the link below and a content geared play/script/folktale will support the idea of students accepting each other and themselves as unique individuals. Possibilities for performance pieces are encouraged.Be Who You Are!IDEA EducationPantomimeViola Spolin’s mirrors exercise is another excellent device for exploring expressions. This activity calls for students to mirror the expressions of their peers, such as smiling or frowning, then discuss the attendant emotions. The same mirroring activity can next apply to movements, such as slowly lifting arms and lowering them or pretending to do an activity like pouring and drinking a cup of tea or putting on a hat.After students have practiced a few mirroring pantomimes, take the exercise one step further by asking them to act out how they think a cowboy, chef, firefighter, or football player might move through an empty space or talk. Holocaust EducationUsing dramatic forms to understand family and cultural celebrations helps children grow to understand our difference. Read and perform age appropriate scripts/plays/stories which champion all varieties of cultural background.ExperiencesD –See Appendix B for specialized programs that reflect the needs of students and community.These dramatic activities build upon a presumed (student) working knowledge of moving in a given space safely and respectfully. Practicing and role playing the dos and don’ts of space use is recommended.Favorite stories, books, songs, or the events of a class trip are all sources for elaboration and dramatization.Children can cooperate with their peers to negotiate who will play which role in dramatic play.Children can work in small groups to dramatize a familiar story.Children can see an appropriate dramatic performance or puppet show, discuss the characters, the setting, what happened, and how different parts of the story made them feel. Children can listen to a story , identify the setting, mark classroom spaces to distinguish acting space from audience space, and act out the story, first discussing entrances, exits, and placement, with some children being actors and others being the audience.Children can discuss a play they have seen and give some descriptions of details or scenes they particularly liked, including visuals, sound, and/or actions.ResourcesBooks:Bany-Winters, Lisa SHOW TIME!: MUSIC, DANCE, AND DRAMA ACTIVITIES FOR KIDS, Chicago, Chicago Review Press, 2000. 101 Drama Games for Children: Fun and Learning with Acting and Make-Believe (SmartFun Activity Books)-Paul Rooyackers and Cecilia Bowman 101 Drama Games and Activities and 101 MORE Drama Games and Activities -David FarmerBailey, Debbie LET’S PRETEND, Willowdale, Ont., Annick Press, 1999.Bryant-Mole, Karen PRETEND YOU’RE A COMMUNITY HELPER, Des Plaines, Heinemann Interactive Library, 1998.Cauley, Lorinda Bryan CLAP YOUR HANDS, New York, Putnam, 1992Malka, Lucy FUN WITH HATS, Greenvale, New York, Mondo Pub. 1995.Swanson-Natsues, Lyn DAYS OF ADVENTURE, New York, Mondo, 1996.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996.Marx, Pamela TAKE A QUICK BOW!, Glenview, Goodyear Books, 1997.Sierra, Judy NURSERY TALES AROUND THE WORLD, New York, Clarion Books, 1996Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991.Websites:LGBTQIA: Be Who You Are!Story Theater -? HYPERLINK "" \t "_blank" New Plays for Children -? HYPERLINK "" \t "_blank" Storytelling & Creative Dramatics -? (Ideas for using picture books for drama) (Warm up lesson for building focus and increasing vocabulary while learning to speak audibly and clearly)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Non-verbal actingMovementAppropriate movement for stage12Non-verbal actingPantomimeExpressing characters and situations through movement4* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)K Unit Plan Title:3: Perfecting the Puppet PerformanceCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleIt is important to begin the process of introducing students to the idea of living “in someone else’s shoes.” Utilizing puppets allows students who are hesitant towards expressing emotion in front of crowds, to feel more at ease. Analyzing the history of the puppet medium introduces our young actors to a world of rich history and tradition that continues to this day. Establishing that connection impresses upon our students that theater comes in many different forms. Focus will be on puppet creation, performance and reflection in which students will actively develop character archetypes for their puppets. This unit intends to grant ownership to the students so that they feel a greater sense of personal achievement.2020 New Jersey Student Learning Standards - Visual and Performing Arts: 1.4 Theatre Standards by the End of Grade 2CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1a: Propose potential character choices and plot details in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1b: Collaborate with peers to conceptualize props, costumes and scenery in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1c: Identify ways in which voice, gestures, movements, and sounds may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations 1.4.2.Cr2a: Contribute to the development of a sequential plot; collaborate with peers to devise a meaningful dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr2b: Contribute original ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3a: With prompting and support, contribute to the adaption of plot and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr3c: Independently imagine multiple representations of an object in a guided drama experience (e.g., process drama, story drama, creative drama) and collaboratively create multiple representations of an object in a guided drama experience (e.g., process drama, story drama, creative drama).PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work Performance Expectations1.4.2.Pr4a: With prompting and support, demonstrate the physical movement, voice and sound, which are fundamental to creating drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5a: With prompting and support interpret story elements (e.g., character, setting) in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 6: Conveying meaning through art.Performance Expectations1.4.2.Pr6a: Use voice, sound, movement, and gestures to communicate emotions in a guided drama experience; informally share guided drama experiences (e.g., process drama, story drama, creative drama) with peers.RESPONDINGAnchor Standard 7: Perceiving and analyzing products. Performance Expectations1.4.2.Re7a: Express emotional responses to characters to recall and recognize when artistic choices are made in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9b: With prompting and support, name and describe settings and identify causes of character actions in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re9c: Explain or use text and pictures to describe how personal emotions and/or others' emotions and choices compare to the emotions and choices of characters in a guided drama experience. (e.g., process drama, story drama, creative drama).CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations1.4.11a: With prompting and support, identify similarities and differences in stories and various art forms from one’s own community and from multiple cultures in a guided drama (e.g., process drama, story drama, creative drama) experience about global issues, including climate change.?????????1.2 Media Arts Standards by the End of Grade 21.2.10b: Share and discuss experiences of media artworks, describing their meaning and purpose.1.2.11b: Interact appropriately with media arts tools and environments considering safety, rules and fairness.2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.CS.2: Explain the functions of common software and hardware components of computing systems.8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How can the same work of art communicate different messages to different people?What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How can the same work of art communicate different messages to different people?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does an actor tell a story?How can we act through puppets and why do we do it?Enduring UnderstandingsFictional and human characters, through movements and actions, help construct environments.The difference between a theatrical setting and a real-life setting after viewing a performance.Students can identify examples of effectively using character relationships within a scene.Puppet Theater is a worldwide performance type practiced over the centuries. Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesUse sound or voice to create an original character archetype.Change the mood of an environment through their portrayal of fictional character.Follow a simple set of steps in a dramatic task, i.e. puppet creation to puppet manipulation.Voice variations such as pace, speed and volume can add dimension to a puppet character.Act out a character’s feelings that come from family stories and respond to verbal prompts to demonstrate feeling such as happy or sad.AssessmentsPre and Formative: Classroom monitoring · Creative drama activities · Full class discussion /Open discussionConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Benchmark/Authentic Assessment : Puppet Performances, The ABCs of Puppetry RubricsObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative: Journal/Puppet Journal Drawings and WritingsDocumentation Portfolio: The documentation portfolio may include brainstorming activities, rough drafts and final products. The collection only becomes meaningful when specific items are selected to focus on a particular goal. This portfolio will contain multiple levels of student work, from the weakest to the strongest, thus showing growth.Performance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Written response The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideasELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for accommodations and modifications for all subgroupsLesson One: How Do Puppets Move Us?Puppets Around the World PowerPoint PresentationHistory, Traditions, Implementation, ConstructionKindergartenFinger Puppet Modeling: Teacher will model how the fingers can move like a puppet to retell the story with each hand playing a character- to show action, feeling, and a voice. Students sit with a partner and tell the same small moment like last session but this time adding puppet fingers to the storytelling, one is ACTOR, the other AUDIENCE. Teacher observes for possible partnerships.Grade OnePuppet Partners Warm up with mirror game. Tell your story to your story partner using puppet hands. Draw the beginning, middle and end moments. Students may write words if they can on their own. This is their “script”. If time, practice with your script narrating the story to your story partner. Switch.Grade TwoLesson Two: Puppets – Developing the CharacterStudents are introduced to role-play and the foundations of character development by utilizing the art of puppetry.Grade One and TwoMaking the PuppetStudents will make either a sock / glove / rod puppet in which to begin developing improvised character.Students initiate improvised dialogue and the action of a story line through the puppets.Simple sets for puppet stages as puppet productions become more elaborate.Grade One and TwoPuppet AutodramasStudents will work individually and in small groups by diagraming a life background for the created puppet.Students will focus on…Family HistoryHobbies/Likes/DislikesPersonality/Physical AttributesStudents will describe and discuss ways dramatic problems in their “puppet life” story line are resolved through the action and dialogue.Discussion: Discussing ways to creating substantial, realized character, students develop critical and creative thinking skills, form judgments, and provide rationales for their opinions.KindergartenShadow Play PresentationsShadow play and shadow puppetry are new media for creative thought and action.Shadow puppets are flat and two-dimensional and cast a shadow or form a silhouette against a white screen. Students recreate a famous fairy tales of their groups choosing.The presentation should include at least one prop, two developed characters, and a musical introduction. The dialogue should sound like the dialogue in the version being re-created.Grade TwoLesson Three: Character Development Discuss and define the words character and characteristics. What are the traits that make us who we are? Make a distinction between physical characteristics and personality traits. Discuss how one might affect the other. Grade TwoCreate a “TV Studio” in your classroom and host a talk show. With younger grades, the teacher will be the host and interview the puppets. Use a “microphone” (a fat marker will do) and focus your attention on the puppet, not the child. Try to tease out as many details as possible. Take questions from your “studio audience” (the class), have the puppet elaborate as much as possible. Find out about their likes and dislikes, families, and their opinions. Each character should have a big dream, and one serious problem, this makes for a more interesting and lifelike character.Lesson Four: Mapping Story with Puppet CharactersKindergartenStory Share: With the class as a read- aloud. (Suggested Story: The Little Red Hen. red hen story )Students will use their “puppet” voices to communicate and retell the story.Share the stories with the class (audience) and ask the audience to identify the beginning, middle and end. Storytellers should have the opportunity to retell their story so that these elements are clearer.Journal: Have your puppet journal his/her experiences telling and acting out the story.Lesson Five: Puppet StorytellingIntroduce or review story form.Grade One If students are already familiar with the template that your curriculum suggests, then use the same one. If not, I like to use a recipe with the following ingredients: Situation = Who or what, where, and when. Conflict = Problem Transformation = Change (where the magic happens) Resolution = Tie up loose ends into The End. Develop a group story with your class. Grade TwoUse a brainstorming format and follow the “recipe”. Begin with the phrase “once upon a time there was a…” then add details, tease out a setting, etc. As the moderator, choose the most interesting and/or workable ideas and re-tell the story at each new phase of the process (as each new ingredient is added and mixed in). Discuss and demonstrate the difference between narrative and dialogue.How could you get the puppets to speak to explain the group story? What might a character say? What would they sound like? Reference any storybook with quotation marks.What is a script and how is it used? Using the group story, develop a script for the characters. This can be done either as individual writers (for more writing practice) or as a group, brainstorming and writing on the board (for a more engaging script).Lesson Six: Improv Puppet PerformancesDivide students into small groups. Have each group decide on a single problem to serve as the basis for a brief puppet play.Students are guided to producing a simple conflict with a solution.ABC’s OF PUPPET PERFORMANCE Keep your eyes on your puppet Use your normal voice (for now) and speak loudly and clearlyMove your puppet deliberately, pausing in between movements You don’t have to hide to be invisible; you just have to really FOCUS on your puppet. If you believe you can bring it to life, your audience will too!Class Reflection and DiscussionAmistad EducationRuby Bridges Paper Bag Puppet creation project - See information on lesson at; and collaborate to create student versions of puppet performances based on via “Andy and Jessie Show” EducationThe following lesson can easily be modified to support the puppetry unit, as students can create their own version of the characters within the story and perform them as a class ensemble. The story supports concepts of accepting various identities whether they be gender, emotional or otherwise. Red: A Crayon's StoryIDEA EducationPuppetsPuppets, either purchased or made, are an excellent way to explore storytelling, express emotions, communicate collaboratively, explore vocal variety, and practice appropriate social interactions. You can start by reading stories and having students use puppets to respond to the story, then move to having them act out parts of the story with the puppets.Working with puppets allowed the students to work together to create the puppets, take part in writing a short script, and present their work to other students. The applause and laughter reinforced positive social interactions and led to the final performance at our school.Holocaust EducationDiversity of Families – Puppet PerformancesStudents will be able to make connections to different types of families in the classroom as they create a “Puppet Family” that builds on the diversity of the students in the classroom. The lesson can be found below and should be modified at the teacher’s discretion. Diversity of FamiliesExperiencesD –See Appendix B for specialized programs that Reflect the Needs of Students and Community.These dramatic activities build upon a presumed (student) working knowledge of moving in a given space safely and respectfully. Practicing and roleplaying the dos and don’ts of space use is recommended.Favorite stories, books, songs, or the events of a class trip are all sources for elaboration and dramatization.Children can cooperate with their peers to negotiate who will play which role in dramatic play.Children can work in small groups to dramatize a familiar story.Children can see an appropriate dramatic performance or puppet show, discuss the characters, the setting, what happened, and how different parts of the story made them feel. Children can listen to a story , identify the setting, mark classroom spaces to distinguish acting space from audience space, and act out the story, first discussing entrances, exits, and placement, with some children being actors and others being the audience.Children can discuss a play they have seen and give some descriptions of details or scenes they particularly liked, including visuals, sound, and/or actions.ResourcesBooks:Jim Gamble (Master Puppeteer) DVD’s available at (excellent for examples of performance) Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991.Young, Ed and Hilary Beckett THE ROOSTER’S HORNS: A CHINESE PUPPET PLAY TO MAKE AND PERFORM, A UNICEF Storycraft book.Schloz, Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998.Currell, David PUPPETS AND PUPPET THEATRE, Wiltshire, Crowood Press, 1999.Sivin, Carole MASKMAKING, Worcester, Davis Publishing, 1986.Bany-Winters, Lisa SHOW TIME!: MUSIC, DANCE, AND DRAMA ACTIVITIES FOR KIDS, Chicago, Chicago Review Press, 2000.Take a Bow: Lesson Plans for PreK-2nd Grade Drama by Nina Czitram 101 Hand Puppets: A Beginner’s Guide to Puppeteering by Richard Cummings Hand Shadows and More Hand Shadows by Henry Bursill Finger Puppet Mania: 64 Pages Includes Patterns by Karen H. Whiting Puppets Around the World by Meryl Doney Puppet Playhouse by Ellen Florian 101 Drama Games for Children by Paul Rooyackers and Cecilia Bowman (Mirror Game) Children Tell Stories: A Teaching Guide by Martha Hamilton The Way of the Storyteller by Ruth SawyerWebsites:Amistad: : Red: A Crayon's StoryHolocaust: Diversity of FamiliesStory Theater -? HYPERLINK "" \t "_blank" New Plays for Children -? HYPERLINK "" \t "_blank" Storytelling & Creative Dramatics -? (Ideas for using picture books for drama) (Warm up lesson for building focus and increasing vocabulary while learning to speak audibly and clearly)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3PuppetryPuppets around the worldUse Finger puppets13PuppetryCharacter developmentMake a puppet and create character23PuppetryMapping StoriesIdentify Beginning, middle and end of story13PuppetryStorytellingDevelop a script13PuppetryPuppet performancePerform improvised scenes using puppets1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)K Unit Plan Title: 4: Connecting Your World with the World of Theater! Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe goal of this unit is to allow students to have a broader idea of how theater can be created from any source, i.e. cultural, personal, and social, etc. Students will develop their understanding of basic theater terminology and how it relates to the framework of what encapsulates the Theater Arts. Students will have the opportunity to view and discuss live theater performances. They will analyze and discuss the aspects of other arts disciplines such as visual art, music, and dance that exist in live theater. Theater will be created based on themes from other areas of learning disciplines. Allowing students the opportunity to demonstrate drama skills of taking turns, listening, reacting and audience behavior fosters not only theater design, but life-long behavioral design as well. Theatrical creation is highlighted in this final unit as a means to foster the ideal that Theater is an all-encompassing area of continuous exploration. Standard(s) 2020 New Jersey Student Learning Standards - Visual and Performing Arts:1.4 Theatre Standards by the End of Grade 2CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1a: Propose potential character choices and plot details in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1b: Collaborate with peers to conceptualize props, costumes and scenery in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1c: Identify ways in which voice, gestures, movements, and sounds may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations 1.4.2.Cr2a: Contribute to the development of a sequential plot; collaborate with peers to devise a meaningful dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr2b: Contribute original ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3a: With prompting and support, contribute to the adaption of plot and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr3c: Independently imagine multiple representations of an object in a guided drama experience (e.g., process drama, story drama, creative drama) and collaboratively create multiple representations of an object in a guided drama experience (e.g., process drama, story drama, creative drama).PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work Performance Expectations1.4.2.Pr4a: With prompting and support, demonstrate the physical movement, voice and sound which are fundamental to creating drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5a: With prompting and support interpret story elements (e.g., character, setting) in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 6: Conveying meaning through art.Performance Expectations1.4.2.Pr6a: Use voice, sound, movement, and gestures to communicate emotions in a guided drama experience; informally share guided drama experiences (e.g., process drama, story drama, creative drama) with peers.RESPONDINGAnchor Standard 7: Perceiving and analyzing products. Performance Expectations1.4.2.Re7a: Express emotional responses to characters to recall and recognize when artistic choices are made in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9b: With prompting and support, name and describe settings and identify causes of character actions in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re9c: Explain or use text and pictures to describe how personal emotions and/or others' emotions and choices compare to the emotions and choices of characters in a guided drama experience. (e.g., process drama, story drama, creative drama).CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations1.4.11a: With prompting and support, identify similarities and differences in stories and various art forms from one’s own community and from multiple cultures in a guided drama (e.g., process drama, story drama, creative drama) experience about global issues, including climate change.1.2 Media Arts Standards by the End of Grade 21.2.2.Pr5a: Identify and enact basic skills such as handling tools, making choices, and soft skills for planning and creating media artworks.?1.2.2.Pr5c: Discover, experiment with and demonstrate creative skills for media artworks.??1.2.10a: Use personal experiences, interests, information and models in creating media artworks.?2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.CS.2: Explain the functions of common software and hardware components of computing systems.8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How can the same work of art communicate different messages to different people?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can we express ourselves through acting?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Artistic creation is all connected through art, media, history, etc. Community uses tradition to create works of connected art. Voice and body placement create environments through dramatic improvisation to emphasize importance of setting in communities.Observations of roles in life help build an understanding of cultures and traditions.A character’s vocal variation reveals emotions.Students will understand the different types of careers in theatreIn this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesThe theatrical elements that make an environment different during a cultural celebration or holiday.Students can identify examples of objects and sound from environments that affect mood.Students can employ different attributes and mannerisms that assist in identifying character roles.Demonstrate a variety of emotions through vocal inflections/body movements/facial expressions. AssessmentsPre and Formative: Classroom monitoring · Creative drama activities · Full class discussion /Open discussionConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Benchmark/Authentic Assessment– Performances/Performance reflections and group cooperation assessments. Written response The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Summative: Students will work in small groups to use their Venn diagrams from the previous learning experiences to construct their own short skits documenting either family roles or a family tradition. Students will use verbal and nonverbal forms of communication in the skits.Documentation Portfolio: The documentation portfolio may include brainstorming activities, rough drafts and final products. The collection only becomes meaningful when specific items are selected to focus on a particular goal. This portfolio will contain multiple levels of student work, from the weakest to the strongest, thus showing growth.Performance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideasELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for accommodations and modifications for all subgroupsAcademic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideasELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.Lesson One: Stories From Around the WorldExperience similar games, music and traditions from various cultures and understand that they influence stories.Imagination, voice & Body: Jump Rope Games (pantomime): Teddy Bear, Teddy Bear with music (USA), A Little Ball (China), Fire! Fire! Said Obediah from England, Red, White and Blue (double-dutch-USA), Kookaburra sits in the old oak tree (Australia), Reloj (clock-Peru)Context: Different cultures have similar activities and stories, but they are influenced by traditions, geography, climate, etc.Circle Games: Zui zui zukkorobashi with music (Japan), Circle, little circle (Brazil), Around the round path (Greece), Los elefantes-The elephant song (Argentina), Los pollitos-The baby chicks (Cuba), Poison (Zimbabwe), The cat amd the mouse (Puerto Rico), Loo k’bah zee (Burma). Choose several from the list; some are more active than others.Journal: Draw a picture of your favorite game. What did you like about it?Lesson Two: Our StoriesStorytelling: The Magic Porridge PotVoice: Identify the elements of the story. Which character wanted to share? Which character did not want to share? What is the story teaching us?Body & Imagination: Working in partners, pantomime: sharing a ball, sharing a yo-yo, sharing a kite, sharing a swing.Stories: Using stories listed above, identify sharing activities. Compare to examples from personal experience.Partners: Choose a moment personal experience and dramatize it.Journal: Draw /write a description of a personal experience. How can we place it in our stories?Lesson Three: Theater, The Lorax, and YouStudents will gain an appreciation of how literature/theater can influence society through a shared reading of a story about the environment. (Suggested story: “The Lorax” by Dr. Seuss).Students will identify the characters from the story and determine the outlook on the environment that each character exhibited.Students will discuss and create a list of the changes in the environment shown in the story.In small groups, students will create and perform a creative theatre presentation of the selected children’s story by assuming and acting out the roles previously identified.Discussion Reflection: After a shared reading experience of a children’s story of a societal issue, students will identify and discuss the issue and how it relates to our world.Amistad EducationCreating African Tribal Masks to celebrate cultural diversity within the performance classroom. can choose to utilize Reader’s Theater plays which incorporate many facets of African-American performance culture. EducationThis lesson offers you the ability to explore the idea of family varieties in your community and throughout other parts of the world. Modifications can be made to rehearse roles, portray characters and analyze potential performance pieces which are collaboratively devised by the theater unit. The Great Book of Families!See Appendix A for accommodations and modifications for all subgroupsIDEA EducationGuided Imagery - Kinesthetic based lesson which allows a variety of modification to address the needs of the special needs student. An excellent guide on how to explore personal, group space using your creativity, imagination, and teamwork. Guided Imagery in the Special Needs EnvironmentHolocaust EducationBeing Different: Utilizing the creative stories you have devised with your theater class, you have an idea of what the students know and have gotten them interested in learning about the about how cultures are invariably different from one another. Build off of this and provide your students with the opportunity to begin thinking about differences between their peers and how it feels to be different, whether it is through guided character roles, improvisational scenes, or character/personality mood boards.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.These dramatic activities build upon a presumed (student) working knowledge of moving in a given space safely and respectfully. Practicing and roleplaying the dos and don’ts of space use is recommended.Favorite stories, books, songs, or the events of a class trip are all sources for elaboration and dramatization.Children can cooperate with their peers to negotiate who will play which role in dramatic play.Children can work in small groups to dramatize a familiar story.Children can see an appropriate dramatic performance or puppet show, discuss the characters, the setting, what happened, and how different parts of the story made them feel. Children can listen to a story, identify the setting, mark classroom spaces to distinguish acting space from audience space, and act out the story, first discussing entrances, exits, and placement, with some children being actors and others being the audience.Children can discuss a play they have seen and give some descriptions of details or scenes they particularly liked, including visuals, sound, and/or actions.ResourcesBooks:Bany-Winters, Lisa SHOW TIME!: MUSIC, DANCE, AND DRAMA ACTIVITIES FOR KIDS, Chicago, Chicago Review Press, 2000. 101 Drama Games for Children: Fun and Learning with Acting and Make-Believe (SmartFun Activity Books)-Paul Rooyackers and Cecilia Bowman 101 Drama Games and Activities and 101 MORE Drama Games and Activities -David FarmerBailey, Debbie LET’S PRETEND, Willowdale, Ont., Annick Press, 1999.Bryant-Mole, Karen PRETEND YOU’RE A COMMUNITY HELPER, Des Plaines, Heinemann Interactive Library, 1998.Music: Teddy Bear, Teddy Bear with music (USA), A Little Ball (China), Fire! Fire! Said Obediah from England, Red, White and Blue (double-dutch-USA), Kookaburra sits in the old oak tree (Australia), Reloj (clock-Peru)Book: The Magic Porridge Pot Stone Soup, Pictures of characters from 18th century European village, food pyramid , The Lorax (Dr. Seuss)Cauley, Lorinda Bryan CLAP YOUR HANDS, New York, Putnam, 1992Malka, Lucy FUN WITH HATS, Greenvale, New York, Mondo Pub. 1995.Swanson-Natsues, Lyn DAYS OF ADVENTURE, New York, Mondo, 1996.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996.Marx, Pamela TAKE A QUICK BOW!, Glenview, Goodyear Books, 1997.Sierra, Judy NURSERY TALES AROUND THE WORLD, New York, Clarion Books, 1996Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991.Websites:LGBTQIA The Great Book of Families! Guided Imagery in the Special Needs EnvironmentAmistad: Theater -? HYPERLINK "" \t "_blank" New Plays for Children -? HYPERLINK "" \t "_blank" Storytelling & Creative Dramatics -? (Ideas for using picture books for drama) (Warm up lesson for building focus and increasing vocabulary while learning to speak audibly and clearly)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Culture of theatreStories around the worldDiscover stories from various cultured14Culture of theatreOur storiesIdentify elements of a story, characters, and environments4* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:Grade One Grade(s)1Unit Plan Title:1: Creating Drama through Pantomime!Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe goal of this unit is to let students engage in dramatic play and role play, with a focus on exploring a variety of sources from diverse communities, times, and places. Gesture, pantomime, statue/tableau, emotional recall will be reviewed and enhanced throughout this unit. Student will demonstrate an understanding of the elementsof character by adopting thoughts, feelings, and gestures relevant to the role being played. Students will be introduced to the concept of story structure, while gaining the knowledge to identify beginning, middle and end. Students will utilize ELA cross-curricular methods to journal their improvisational story creations as a vehicle to foster a development of script production. 2020 New Jersey Student Learning Standards - Visual and Performing Arts:1.4 Theatre Standards by the End of Grade 2CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1a: Propose potential character choices and plot details in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1b: Collaborate with peers to conceptualize props, costumes and scenery in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1c: Identify ways in which voice, gestures, movements, and sounds may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations 1.4.2.Cr2a: Contribute to the development of a sequential plot; collaborate with peers to devise a meaningful dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3a: With prompting and support, contribute to the adaption of plot and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr3b: Identify similarities and differences in sounds and movements in a guided drama experience (e.g., process drama, story drama, creative drama).PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work Performance Expectations1.4.2.Pr4a: With prompting and support, demonstrate the physical movement, voice and sound which are fundamental to creating drama experiences (e.g., process drama, story drama, creative drama).1.4.2.Pr4b: Explore and experiment with various technical elements in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5a: With prompting and support interpret story elements (e.g., character, setting) in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Pr5b: Utilize body and facial gestures with a change in voice to communicate character traits and emotions in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 6: Conveying meaning through art.Performance Expectations1.4.2.Pr6a: Use voice, sound, movement, and gestures to communicate emotions in a guided drama experience; informally share guided drama experiences (e.g., process drama, story drama, creative drama) with peers.RESPONDINGAnchor Standard 7: Perceiving and analyzing products. Performance Expectations1.4.2.Re7a: Express emotional responses to characters to recall and recognize when artistic choices are made in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9a: With prompting and support, identify and explain preferences and emotions in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance, and explain how personal preferences and emotions affect an observer's response in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance.1.2 Media Arts Standards by the End of Grade 21.2.10a: Use personal experiences, interests, information and models in creating media artworks.?1.2.10b: Share and discuss experiences of media artworks, describing their meaning and purpose.2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.8.1.2.AP.4: Break down a task into a sequence of steps.8.2.2.ED.1: Communicate the function of a product or device. New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writingEssential Question(s)How do theatre artists comprehend the essence of drama processes and theatre experiences?How can we express ourselves through acting?How, when, and why do theatre artists’ choices change?How do theatre artists transform and edit their initial ideas?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does an actor tell a story?What kinds of responsibilities does an artist have to an audience or a consumer?Enduring UnderstandingsTheatre artists rely on intuition, curiosity, and critical inquiry.Theatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.The difference between a theatrical setting and a real-life setting after viewing a performance.Specific characters, through movements and actions, help construct environments.Pantomime encourages us to use our bodies actively and with specific meaning. Animal characters are personified through informed actions within their environments.Inuni 21st Century themes and skills that are addressedCheck all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesRetell short stories or scenes for use with an audience through movement and music. Act out a character’s feelings that come from family stories and respond to verbal prompts to demonstrate feeling such as happy or sad.Identify examples of effectively using character relationships within a scene.Respond with gestures and movements in a dramatic portrayal.Move respectfully throughout an acting space.AssessmentsPre and Formative: · Student discussion · Create a list (tell me the names of the characters, settings, etc.) · Participation with voice creation, visual drawings · Re-enacting with teacher side-coachingBenchmark/Authentic Assessment– Journal Entries and performancesSelected response In selected response assessments, students must choose the most appropriate response for the matter being assessed. Examples of selected responses include multiple-choice, matching, and true-false items.Conversations Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Summative: Students will keep an expressions journal wherein they will document the multiple opportunities they will have to create facial expressions, body language, and short phrases to express emotions.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.G&T- Higher order thinking skills.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for accommodations and modifications for all subgroupsSection One: Moving Your Body Through SpacePractice body control and moving through performance space. Imagination & Body: “Jump and Jiggle”: Students perform various types of movements as suggested inn poem. Reinforce “space bubbles” and control of bodies. Use variety of levels and directions of movements.Directional Words: Set up series of movements using directional words such as under, around, through, over; add verbs such as creep, slither, crawl, leap, twirl, twist. May want to set up like an obstacle course.Section Two: Pantomime Your WorldPractice pantomiming the use of imaginary objects around you.Body & Imagination: Ask students to communicate simple settings without speaking such as hot, cold, lost, having a secret.Explore use of objects in Goodnight Moon. Objects include: telephone, balloon, mittens, kittens, toy house, mouse, comb, brush, bowl of cereal, knitting.Journal: Draw a picture of the setting around you removed from the magic box or bag. Describe and illustrate your world.Section Three: Pantomime with PartnersBody & Imagination: Mirror exercise: Demo. work in pairs, switch who leads, who is mirror.Explore the five senses, using existing environment. (What do you smell, see, etc.) Voice: Pair Share discoveries.Pantomime activities from stories with partner (such as playing with teddy bear; playing catch, hiding under covers and getting found; purchasing toy; losing and finding buttons (various kinds in different settings—large grass, black button with two holds---dark forest, small button, square button—muddy river, thin button); sewing buttons on jacket. Trying on hats (too big, too small) and having difficulties. (or difficulties with kite)Reflective question: The characters in our stories had problems with objects, real ones. When have you had problems with objects like those or with other things?Journal: Draw a picture of one of the problems you and your partner pantomimed today. Tell what the object is and who the characters are.Section Four: Group Pantomime in SettingBody & Imagination: Whole group in circle: Pantomime actions of nursery rhyme songs, following teacher leader.Train Trip: tickets, seats, train setting, travel up hill, down valleys, over bridge, through tunnel. Instructions: safety, souvenir gathering.Exit train to first nursery rhyme setting: country-side with hill and well (Jack and Jill), fall into bucket to next setting: big tree, spider web, tuffet (Little Miss Muffet), climb up spider web to next setting: room in a castle with big clock and mice (Hickory Dickory Dock), go through door of clock to next setting: outside castle in garden with wall (Humpty Dumpty), climb on horse and ride to next setting: school with girl with lamb (Mary Had a…), open a book and climb into next setting: park at night with full moon (Hey Diddle, Diddle), dish and spoon run into a dark house and have to light a candle (Jack Be Nimble), jump to train setting. Pair Share: Show each other the souvenirs you collected. Where will you keep them? Will you give any of them to a special person?Journal: Draw a picture of your favorite nursery rhyme setting with characters in action. Write a descriptive sentence.Section Five: Story Setting PantomimeBody: Character Statues: Working alone and simultaneously, become statues of: child, night wind, mockingbird, cricket, frog, moth, moon, cloud. Voice: Character Voices: Working as a group with leader as conductor, make sounds of night wind, bird, cricket, frog, moth, moon, cloud. Conduct them to become louder and softer.Imagination: Go/Stop: Working alone and simultaneously, perform activities from story such as: child trying to sleep, mockingbird singing, cricket playing violin, frog strumming a bass, moth dancing, moon shining, night wind blowing, cloud floating. Begin when the leader says go; freeze when the leader says stop.Wind Says Good Night: Read/storytelling.Story Dramatization: Cast everyone using multiples for each character (e.g. 5 moths, 3 frogs, 4 birds). Place each group of characters in a setting (area). Retell story pausing for improvisation and pantomime from students. Switch parts and enact it again. Use music and scarves (optional).Discuss: What keeps you awake at night? Can you demonstrate it with acting? Journal: Draw a picture of some of the animals in the night setting.Amistad EducationStudents reviewed stories, collections of different words of wisdom quotes from African American folktales /storytellers/actors/actressess. After watching brief videos of those artists, students wrote their ideas about their quotes. EducationThis lesson focuses on the for students to consider the importance of words and actions, as well as for students to see themselves as allies standing up for each other in a caring community. In the drama classroom, it can be modified to incorporate the lesson of pantomime and body language. Words that Hurt Lesson IDEA EducationPantomime PracticeAnother variation begins with students moving through space and describing environments familiar to them as though they were there. Depending on mobility limitations, students can also move through space with just their hands or imaginations.For students having trouble coming up with places, suggest settings that might be familiar: a beach, the woods, or a swimming pool. Talk about or demonstrate what it feels and looks like to walk on the beach with the sand sinking beneath your feet, to walk in the woods with low-hanging branches or rocky paths, or to wade through a pool of water up to your waist.Modify these as necessary. Students can remain seated and pour sand from their hands or imagine sunbathing poolside. This may take several days of practice. Once this activity is mastered, have students move through unusual materials or objects, such as peanut butter, ping-pong balls, or worms. Holocaust EducationYertle the Turtle: This story is a fun way to bring the historical information of the Holocaust through to the students by using literature that is often thought of as a just child’s book. Not only does this permit the students to think critically about the Holocaust, but it will also introduce them to ways that authors can write something that has a totally ulterior meaning than what it seems like on the surface. This can lead the students to a more thought provoking discussion and possible guided performance which can draw students in to think critically about what they read in other situations.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community. (Warm up lesson for building focus and increasing vocabulary while learning to speak audibly and clearly)Students may participate in a guided movement exercise (Good ideas for working with students and guided movement)Attend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesAMISTAD: : Words that Hurt Lesson101 Drama Games for Children: Fun and Learning with Acting and Make-Believe (SmartFun Activity Books)-Paul Rooyackers and Cecilia BowmanSchloz, Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998Sierra, Judy NURSERY TALES AROUND THE WORLD, New York, Clarion Books, 1996.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996. 101 Drama Games and Activities and 101 MORE Drama Games and Activities -David Farmer Take a Bow!: Lesson Plans for Pre-School Drama (Young Actors Series)- Nina CzitromGoodnight Moon by Margaret Wise BrownNursery Rhymes, Nursery Rhyme posters, train hat & whistle, train tickets*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1Non-verbal actingMovementAppropriate movement for the stage11Non-verbal actingPantomimeExpressing characters and situations through movement4* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:Drama Grade(s)1Unit Plan Title:2: Dramatic Story Creation and Sequencing Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleStudents will benefit from cross-curricular instruction in this hallmark unit. Story sequencing allows students to analyze and interpret parts of the story. Students learn how and why stories have beginning, middles and ends, and what relationship they have with scripted and non-scripted theater. Students will plan and shape dramatic play by building on the ideas of others, both in and out of role. Originality is paramount is this unit as students are encouraged to illustrate, write and perform their fantasy/myth/story creations in a sequential format. Concepts of plot, story design, locale, and mood are introduced to assist in the story building process. Students will apply the theatrical concept of story sequencing and plot to other content areas which highlight certain cultural, geographic and personal situations. Historical Theme, Oral tradition and Tall Tales are utilized as reading/performing resources to learn from. Concepts of Non-Fiction/Fiction are introduced as a cross-curricular device to foster the ideals of real and imaginary storytelling and play writing. Group performances will communicate these feelings and emotions as truly unique, student inspired productions.2020 New Jersey Student Learning Standards - Visual and Performing Arts:1.4 Theatre Standards by the End of Grade 2CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1a: Propose potential character choices and plot details in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1b: Collaborate with peers to conceptualize props, costumes and scenery in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1c: Identify ways in which voice, gestures, movements, and sounds may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations 1.4.2.Cr2a: Contribute to the development of a sequential plot; collaborate with peers to devise a meaningful dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr2b: Contribute original ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3a: With prompting and support, contribute to the adaption of plot and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr3b: Identify similarities and differences in sounds and movements in a guided drama experience (e.g., process drama, story drama, creative drama).PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work Performance Expectations1.4.2.Pr4a: With prompting and support, demonstrate the physical movement, voice and sound which are fundamental to creating drama experiences (e.g., process drama, story drama, creative drama).1.4.2.Pr4b: Explore and experiment with various technical elements in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5a: With prompting and support interpret story elements (e.g., character, setting) in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Pr5b: Utilize body and facial gestures with a change in voice to communicate character traits and emotions in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 6: Conveying meaning through art.Performance Expectations1.4.2.Pr6a: Use voice, sound, movement, and gestures to communicate emotions in a guided drama experience; informally share guided drama experiences (e.g., process drama, story drama, creative drama) with peers.RESPONDINGAnchor Standard 7: Perceiving and analyzing products. Performance Expectations1.4.2.Re7a: Express emotional responses to characters to recall and recognize when artistic choices are made in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 8: Interpreting intent and meaning.Performance Expectations1.4.2.Re8a: With prompting and support, actively engage and build on others' ideas in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re8c: Compare and contrast how characters respond to challenges in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9a: With prompting and support, identify and explain preferences and emotions in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance, and explain how personal preferences and emotions affect an observer's response in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance.1.4.2.Re9b: With prompting and support, name and describe settings and identify causes of character actions in a guided drama experience (e.g., process drama, story drama, creative drama). CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations1.4.11a: With prompting and support, identify similarities and differences in stories and various art forms from one’s own community and from multiple cultures in a guided drama (e.g., process drama, story drama, creative drama) experience about global issues, including climate change.1.4.11b: Collaborate on the creation of a short scene based on personal perspectives and understandings.1.2 Media Arts Standards by the End of Grade 21.2.10b: Share and discuss experiences of media artworks, describing their meaning and purpose.1.2.11b: Interact appropriately with media arts tools and environments considering safety, rules and fairness.2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.8.1.2.AP.4: Break down a task into a sequence of steps.8.2.2.ED.1: Communicate the function of a product or device. New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)What happens when theatre artists and audiences share creative experiences?How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How can the same work of art communicate different messages to different people?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does an actor tell a story?How do theatre artists use tools and techniques to communicate ideas and feelings?Do audiences?have a responsibility towards actors? Enduring UnderstandingsTheatre artists, through a shared creative experience with an audience, present stories, ideas, and envisioned worlds to explore the human experience.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Theatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Story sequencing and plot munity culture influences the traditions or stories over long periods of change. Story expresses longstanding traditions and values.Story telling communicates in many different forms, myth, tall tale, fairy tale, etc.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesIdentify a scene where sequenced action takes place, then recreate and retell it through drama.Act out a character’s feelings that come from a sequenced story and respond to verbal prompts to demonstrate feeling such as happy or sad.Create environments, where characters interact through movement with their setting.Act out key elements of a short story.Respond with gestures and movements in a dramatic portrayal.AssessmentsPre and Formative: Discuss types of relationships. Pre-assess prior knowledge of the story before reading. (Who are the characters in this story? What are the locations and settings?) · Student discussion · Create a list (tell me the names of the characters, settings, etc.) · Participation with voice creation, visual drawings · Re-enacting with teacher side-coachingBenchmark/Authentic Assessment– Journal Entries, Spiral Learning Map. Have students color in content objectives on their personal Learning Map.Summative: Students will keep an expressions journal wherein they will document the multiple opportunities they will have to create facial expressions, body language, and short phrases to express emotions. Drawings, journals, prop and costume organization and dramatic playAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.G&T- Higher order thinking skills.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson One: Elements of a Script The student can identify story elements and retell a story about a favorite character.Story Time Mime: Before you read a story, look through the book and assign students to play all of the roles. Not all students need roles for each story time, but if you want to increase the number of active children, assign some children to be inanimate things such as wind or a table in the story. As you read, have the children act out the story in mime. Choose more bashful children to be the inanimate objects, so they can work up to being more active mimes.Identify story elements of characters, setting and eventsStory Modeling: Retell the story changing the characters, setting, or events in the story. Engage in retelling this changed story through pretending to be the characters and acting out the story.Students will help teacher identify characters and the relationships among them in the selected story or script.Identify the main events and organize them in story sequence using prepared or student-created cards. Categorize each event as to beginning, middle or end of the story.Journal: Students will write or illustrate their understanding of the story each session of the assignment.Lesson Two: Set the SettingUse the five senses to create and experience various settings.Imagination: Guided Transformations in different settings: Using the Go/Stop technique, students pantomime an activity in a setting; leader transforms setting keeping same activity. Then ask students what was different. Continue the pattern. Examples: playing with a ball on playground, in a pool, in the snow; reading a book in a library, at the beach, in a noisy classroom; eating a snack at home, in the cafeteria, etc.Body, Voice, Imagination: Setting Exploration: Pantomime some activities in settings such as picnicking at the park, playing at the beach, building a snowman in the mountains and incorporate the five senses. Do a pair share to describe one of the settings in detail and tell how you included the five senses. Share some details with the group.Bats at the Beach: Read/Storyteller. Students improvise story. Pair share: Describe setting. Set up improvisation with people at the beach doing chosen activities, bats arrive, react.Discuss: What happened when the bats arrived at the beach? What did you do?Journal: Draw/describe the beach before and after the bats arrived.Lesson Three: Beginning, Middle, End Practice improvisation and establish beginning, middle and endRead/Storyteller: The Boy Who Cried Wolf.Beginning: Establish setting with sheep and shepherd safely grazing and getting bored. Establish townspeople doing jobs such as shearing sheep, knitting sweaters, selling sweaters, buying sweaters to stay warm.Middle: Boy cries out, townspeople are interrupted and come to help; he laughs and they leave grumbling. Boy cries out again; townspeople again arrive and get angry and tell him to stop making things up. He cries again when he sees a real wolf; they ignore the cries. Worried when he didn’t return with the sheep.Ending: Find him crying with sheep scattered; old man comforts. Groups: In small groups students enact either the beginning, middle or end. Choose, cast, rehearse, share.Discussion: What can help after two big whopping lies? Apologies, Forgiveness, Trust, Time. What are the consequences of his actions? Missing sheep so sheep owners have less wool, less yarn for fewer sweaters, less money to buy food. Cold and hungry winter. Did the boy think about any of that?Journal: If you could change the ending of the story, what would it be?Lesson Four: Plot and ConflictBegin to understand plot (beginning, middle, end) and the importance of conflict in a story.Read/Storyteller story: Anansi and the Moss-covered Rock Improvisations: Beginning: Anansi in jungle & meeting LionMiddle: Playing tricks on each animal (A/B Improvisation) - conflictBiggest Conflict: Anansi wants coconuts/Bush Deer wants to get food backEnding: Animals with food, Anansi ready for another adventureGroups share complete stories with each other.Journal: Describe the conflict (problem) in one of the stories presented. How did they solve it?Lesson Five: Story DramatizationPerform a story and identify the beginning, middle and end.Scripting to class. Suggested texts: A fairy tale such as “Cinderella” or “Snow White”.Discuss the meaning of setting. Students will then help the teacher list the settings in the story or play on chart paper. Students will draw pictures and/or color prepared illustrations of the different settings for the story. Identify the main events and organize them in story sequence using prepared or student-created cards. Categorize each event as to beginning, middle or end of the story. List scenes and identify characters involved in each scene. Using previously drawn illustrations of settings, students will add characters for each time and location. Organize these into story sequence (creating an elementary “story board”).After briefly reviewing the plot of the show, students act out the scenes represented by the Play Center using the props and costume pieces to help create character.Flow Map: Make a Flow Map of the story points and mark the beginning, middle and end.Tableau: In partners, make a tableau of the beginning of the story. Observe and note positive qualities: frozen, clear expression, obvious activity, able to be seenJournal: Write or draw in a journal to express understanding of story, events, character, and relationshipAmistad EducationUtilization of fictional/nonfictional stories, African American Folk tales and other relevant literary media. Read-Aloud and class discussions:Happy Birthday, Martin Luther King A Picture Book of Martin Luther King, Jr. Martin Luther King Jr. Day I Am Rosa ParksBig WordsLGBTQIA EducationThis lesson focuses on building acceptance and understanding using a children’s story. Theater can interpret the message and find ways to perform the intended meanings, while teaching ideals of plot structure, sequencing and literary competency. Acceptance and UnderstandingIDEA EducationStory Sequencing & PlotBuild the class lesson up slowly in a structured way, gradually getting more complex, and practice communication techniques over several lessons. For instance, start with individual mime work, and move on to turn-taking games in pairs and in a whole group. Then try specific role-plays before using a kind of group improvisation. If these methods are repeated, the drama lesson will provide an opportunity to teach communication skills and group work rather than making certain students afraid of them.Holocaust EducationMiming Stereotypes: This lesson builds on learning about being different and helps the students learn about stereotypes and discrimination and their effects on others by miming. These initial lessons prepare the students to physicalize, verbalize and create emotion in order to be able to empathize with people of different shapes, sizes and background.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Attend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.Students may participate in a guided movement exercise (Good ideas for working with students and guided movement)ResourcesLQBTQIA: Acceptance and Understanding101 Drama Games for Children: Fun and Learning with Acting and Make-Believe (SmartFun Activity Books)-Paul Rooyackers and Cecilia Bowman 101 Drama Games and Activities and 101 MORE Drama Games and Activities -David Farmer Take a Bow!: Lesson Plans for Pre-School Drama (Young Actors Series)- Nina CzitromMusic, Numbered tickets, hot air balloon models, Lit: All Around Us by Eric Carle, Rain by Robert Louis Stevenson, The Boy Who Cried Wolf.Schloz, Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996.Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Creating storiesElements of a scriptidentify story elements and retell a story about a favorite character12Creating storiesSet the settingUse the five senses to create and experience various settings12Creating storiesBeginning, Middle, & EndPractice improvisation and establish beginning, middle and end12Creating storiesPlot and ConflictBegin to understand plot and the importance of conflict in a story22Creating storiesStory DramatizationPerform a story and identify the beginning, middle and end2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)1Unit Plan Title:3: Reader’s TheaterCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleStudents will be introduced to Reader’s Theater or comparable literature based plays to eventually perform. Bridging family or societal ideals with literature-based plays allows students to invest emotionally, mentally and physically with Non-Fiction/Fictional character or stories. Small, group performances and/or pantomimes will communicate these feelings and emotions as truly unique, student inspired production. By doing so, students will demonstrate an awareness of a variety of roles, themes, and subjects in dramas and stories from different communities around theWorld. Story varieties, which will be covered include: Fables, Morality, Universal, Tall Tales, etc… Students will also be introduced to technical theatrical conventions, such as costuming, set pieces, props and makeup. This unit takes what we love about our own stories and places them in the spotlight for all to analyze and critique. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1a: Propose potential character choices and plot details in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1b: Collaborate with peers to conceptualize props, costumes and scenery in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1c: Identify ways in which voice, gestures, movements, and sounds may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations 1.4.2.Cr2a: Contribute to the development of a sequential plot; collaborate with peers to devise a meaningful dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr2b: Contribute original ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3a: With prompting and support, contribute to the adaption of plot and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr3b: Identify similarities and differences in sounds and movements in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr3c: Independently imagine multiple representations of an object in a guided drama experience (e.g., process drama, story drama, creative drama) and collaboratively create multiple representations of an object in a guided drama experience (e.g., process drama, story drama, creative drama).PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work Performance Expectations1.4.2.Pr4a: With prompting and support, demonstrate the physical movement, voice and sound which are fundamental to creating drama experiences (e.g., process drama, story drama, creative drama).1.4.2.Pr4b: Explore and experiment with various technical elements in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5a: With prompting and support interpret story elements (e.g., character, setting) in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Pr5b: Utilize body and facial gestures with a change in voice to communicate character traits and emotions in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 6: Conveying meaning through art.Performance Expectations1.4.2.Pr6a: Use voice, sound, movement, and gestures to communicate emotions in a guided drama experience; informally share guided drama experiences (e.g., process drama, story drama, creative drama) with peers.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations1.4.2.Re8a: With prompting and support, actively engage and build on others' ideas in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re8b: Identify and use props and costumes that might be used in a guided drama experience (e.g., process drama, story drama, creative drama). Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9a: With prompting and support, identify and explain preferences and emotions in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance, and explain how personal preferences and emotions affect an observer's response in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance.1.4.2.Re9b: With prompting and support, name and describe settings and identify causes of character actions in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re9c: Explain or use text and pictures to describe how personal emotions and/or others' emotions and choices compare to the emotions and choices of characters in a guided drama experience. (e.g., process drama, story drama, creative drama).CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations1.4.11b: Collaborate on the creation of a short scene based on personal perspectives and understandings.1.2 Media Arts Standards by the End of Grade 21.2.2.Pr5c: Discover, experiment with and demonstrate creative skills for media artworks.??1.2.10a: Use personal experiences, interests, information and models in creating media artworks. 2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.8.1.2.AP.4: Break down a task into a sequence of steps.8.2.2.ED.1: Communicate the function of a product or device. New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?What happens when theatre artists and audiences share creative experiences?How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?What would the world be like if there were no actors?Enduring UnderstandingsWhat happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?What happens when theatre artists and audiences share creative experiences?How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?Theatre artists refine their work and practice their craft through rehearsal.Theatre artists develop personal processes and skills for a performance or design.Theatre artists make choices to convey meaning.Reader’s Theater communicates story in related, updated means of understanding.Cultural tradition is exhibited in fable, myth and legend.Ensemble participation assists in the creation of a production.Fictional/Non-Fictional stories can act as historical lessons.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesIdentify a scene where sequenced action takes place, then recreate and retell it through drama.Students can describe how acting is different from a real life story.Theater is rooted in cultural tradition expressed through fictional/nonfictional means. Students can work as an ensemble to perform a guided performance of a choice Reader’s Theater production. AssessmentsPre and Formative: Discuss types of stories. Pre-assess prior knowledge of the story before reading. (Who are the characters in this story? What are the locations and settings?) · Student discussion · Create a list (tell me the names of the characters, settings, etc.) · Participation with voice creation, visual drawings · Re-enacting with teacher side-coachingBenchmark/Authentic Assessment – Throughout the unit, students will compare and contrast folk tale similarities and differences in and between cultures. Students will utilize a reflection journal throughout the unit for analyzing and discussing how to bring folktales alive through drama. Summative: Students will keep an expressions journal wherein they will document the multiple opportunities they will have to create facial expressions, body language, and short phrases to express emotions. Drawings, journals, prop and costume organization and dramatic playAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and language Word WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson One: Characters In Fables Practice developing and staying in character while dramatizing a story.Body: From a drama seed, grow into characters of turtle and rabbit. Run in place slowly and quickly and on cue with various speeds of music.Imagination: Walkabouts in Character: Hare making challenge and showing off, turtle determined to win, both getting ready for the race, both running, rabbit showing he has plenty of time, rabbit surprised to see turtle win, turtle pleased to winRead/storyteller Stories: The Rabbit and the Turtle, The Tortoise and the Hare, The Tortoise and the Jackrabbit. Talk about similarities and differences.A/B Improvisations: Challenge to race: Hare wants to mock the turtle, Turtle wants to winEnd of the race: Hare wants to be left alone, Turtle wants to celebrate victoryJournal: Choose one of the characters and describe it.Brainstorm: List other characters that could be in a fable.Lesson Two: Setting in Tall TalesPractice establishing and relating to an imaginary setting.Read/storyteller Story: The Monkey and the FoxSettings: Jungle: create the characters (including objects), sounds and activities using the five senses; transform into Zoo setting and create characters (including objects), sounds and activities using the five sensesA/B Improvisation: Fox and Monkey at the Zoo: Monkey wants to blame Fox for his capture; Fox wants Monkey to understand it was his own faultDramatize story in one group. Divide tasks: sound collage, parts of the settings, and charactersJournal: Draw both settings. Write a sentence describing each of them.Brainstorm: Make list of settings that could be used to create a fable. Lesson Three: Plot in Fables/Tall TalesDivide a plot into beginning, middle, and end and dramatize each section.Body and Imagination: In groups of three create one tableau for each suggestion that shows the beginning, middle and end of: acorn to oak tree, eating a meal, tying a shoe, learning to ride a bike, having a balloon on a string.Read/storyteller Story (beginning, middle, end)Dramatize story in partners working simultaneously. Rehearse. Share if ready.Journal: The moral is: “Treat others as you want to be treated.” What does that mean to you personally?Brainstorm: Make a list of possible plot situations for an original fable.Lesson Four: Morals in Fables/Tall TalesPractice identifying the moral of a fable.Voice and Imagination: Using the moral “Do not try to be something you are not,” work with a partner and pair share something true about yourself.Imagination: Using the moral “Treat others as you want to be treated,” work with a partner, and each one takes a turn doing something nice for the other.Groups dramatize story working simultaneously. Rehearse.Discussion: What is the moral of the fable?Journal: Describe something about yourself that makes you feel proud.Lesson Five: Blocking in Reader’s TheaterPractice following basic blocking directions with audience awareness. Blocking PowerPointRead/Storyteller: The Grasshopper and the Ants.Establish the “set.” Block the movements.Journal: Draw the character you played. Show the character onstage, in the setting, facing the audience.Lesson Six: Using Costume and Props in Theater Read a simple fairytale to the class, for example “Jack and the Bean Stalk”. Prompted by the teacher, make a list of all of the characters. Once the list is complete, have the students brainstorm (with guidance) and think about what kind of clothes each character might wear. After diligent discussion, have students decide on a “look” for each character and draw a color representation. Using large paper grocery bags, transform the bags into costumes for the story.Have student wear their paper bag costumes to act out the story of “Jack and the Bean Stalk.”Groups use fabric and scarves to costume a ragged wolf and a fancy dog. Create a park setting.Journal: How do props and costumes help you tell a story?Amistad EducationUtilization of fictional/nonfictional stories, African American Folk tales and other relevant literary media.Now Let me Fly – Reader’s Theater Script LGBTQIA EducationThe theater classroom can use this lesson to create performable works of theater, by helping each other share and explore their identities through performance poetry.Diversity PoemsIDEA EducationReader’s Theater designed for the special needs student is an excellent way to create success stories for students struggling with language, literary skills and group dynamics. Below is a link containing videos and lesson guides outlining some popular techniques and strategies. Reader's Theater in the Special Needs ClassHolocaust EducationJewish Life Before the Holocaust: Another appropriate way to introduce this age child to what they will later learn about the Holocaust is to acquaint them with stories about Jewish life before the Holocaust. A few recommendations to read and/or scene create include: Joseph Had a Little Overcoat, which is graphically interesting, playfully ironic, fun for parents and kids from ages Hannah’s Sabbath Dress is set in a non-specific time period, it has a sweet ”old-world” feel about it and is appropriate for ages 3 and up.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Watch Disney animated film of the selected story · Create puppets and develop a puppet show of story, tying into puppetry unit · Create a map of the land of the storyAnalyze a character that supports the overall mood, period, and content of the play selected Attend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesAMISTAD: : Reader's Theater in the Special Needs ClassLGBTQIA: Diversity Poems (Tortoise and Hare script) 12 Fabulously Funny Folktale Plays -Justin McCory Martin (Site with several FolkTale renditions)Paul Bunyan (610L Lexile level)Johnny Appleseed (AD480L Lexile level)John Henry (320L Lexile level)Pecos Bill (AD540L Lexile level)The Rabbit and the Turtle by Eric Carle, The Tortoise and the Hare by Aesop, The Tortoise and the Jackrabbit by Susan LowellSchloz, Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996.Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991.Sierra, Judy NURSERY TALES AROUND THE WORLD, New York, Clarion Books, 1996.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Reader’s TheatreCharacters in fablesPractice developing and staying in character while dramatizing a story23Reader’s TheatreSetting in tall talesPractice establishing and relating to an imaginary setting13Reader’s TheatrePlot in Fables/Tall talesDivide a plot into beginning, middle, and end and dramatize each section13Reader’s TheatreMorals in Fables/Tall TalesPractice identifying the moral of a fable13Reader’s TheatreBlocking in Reader’s theatrePractice following basic blocking directions with audience awareness13Reader’s TheatreUsing Costumes and PropsUse fabric and scarves to costume various characters1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)1Unit Plan Title:4: Performance ReflectionsCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit focuses on the student’s ability to identify and give examples of their strengths, interests, and areas for improvement as drama participants and audience members. Student will express feelings and ideas about a drama experience or performance in a variety of ways, making personal connections to the characters and themes in the story. By focusing on the metacognitive, students will be able to improve not only their own, but their classmates Theater making after careful and intuitive reflection. Students will witness live performances and view performances via electronic media. Concepts of audience etiquette, creative critiquing and respect will help students understand the vast differences that an audience experiences during live/taped theater. Theater experiences help students develop basic physical skills in self-control, and understanding of the relationship between their body and the space around them, and appropriate use of voices.2020 New Jersey Student Learning Standards - Visual and Performing Arts:1.4 Theatre Standards by the End of Grade 2RESPONDINGAnchor Standard 7: Perceiving and analyzing products. Performance Expectations1.4.2.Re7a: Express emotional responses to characters to recall and recognize when artistic choices are made in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 8: Interpreting intent and meaning.Performance Expectations1.4.2.Re8a: With prompting and support, actively engage and build on others' ideas in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re8b: Identify and use props and costumes that might be used in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re8c: Compare and contrast how characters respond to challenges in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9a: With prompting and support, identify and explain preferences and emotions in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance, and explain how personal preferences and emotions affect an observer's response in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance.1.4.2.Re9b: With prompting and support, name and describe settings and identify causes of character actions in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re9c: Explain or use text and pictures to describe how personal emotions and/or others' emotions and choices compare to the emotions and choices of characters in a guided drama experience. (e.g., process drama, story drama, creative drama).CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations1.4.10a: With prompting and support, identify similarities between characters in dramatic play or a guided drama experience and relate character emotions and experiences to personal experiences of self and peers (e.g., process drama, story drama, creative drama).Anchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations1.4.11a: With prompting and support, identify similarities and differences in stories and various art forms from one’s own community and from multiple cultures in a guided drama (e.g., process drama, story drama, creative drama) experience about global issues, including climate change.1.2 Media Arts Standards by the End of Grade 21.2.2.Pr5a: Identify and enact basic skills such as handling tools, making choices, and soft skills for planning and creating media artworks.?1.2.2.Pr5c: Discover, experiment with and demonstrate creative skills for media artworks.??1.2.10a: Use personal experiences, interests, information and models in creating media artworks.?2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.8.1.2.AP.4: Break down a task into a sequence of steps.8.2.2.ED.1: Communicate the function of a product or device. New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How can the same work of art communicate different messages to different people?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does an actor tell a story?How do we know if a play is successful?Enduring UnderstandingsCooperative collaboration will improve our relationships and skill. Audience etiquette/respect helps us become better theater going individuals. Theater helps us control our bodies, voices, and relationships with one another. How feedback from an audience can affect a performers performance.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesStudents can move respectfully throughout an acting space.How to successfully collaborate within an acting ensemble.Identify relationships within a stage community.Analyze and critique character movement within a short story based on the characters traits and emotions.AssessmentsPre and Formative: Discuss types of stories. Pre-assess prior knowledge of the story before reading. (Who are the characters in this story? What are the locations and settings?) · Student discussion · Create a list (tell me the names of the characters, settings, etc.) · Participation with voice creation, visual drawings · Re-enacting with teacher side-coachingBenchmark/Authentic Assessment: Throughout the unit, students will compare and contrast folk tale similarities and differences in and between cultures. Students will utilize a reflection journal throughout the unit for analyzing and discussing how to bring folktales alive through drama. Summative: Students will keep an expressions journal wherein they will document the multiple opportunities they will have to create facial expressions, body language, and short phrases to express emotions. Drawings, journals, prop and costume organization and dramatic playAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson One: Theater EtiquetteDiscuss the different jobs and roles of both the Audience and the Performers on stage using a tree map.Explore the rules of Audience Etiquette for attending a performance using personal experiences.Act It Out Ask students to describe places where they were members of an audience. Answers might include attending a movie, a theater, a sports arena, at home watching television, a concert hall, etc. List the answers on the chalkboard.Discuss the appropriate audience behavior for each of the settings listed above. For example, how would audience behavior at a golf tournament be different from a football game? How would the audience behave at a rock concert compared with a classical concert or a recital by a single person?Choose students to act as performers in at least three of the settings listed above. For example, they may pretend to be playing golf or tennis; or they could pretend to be playing instruments in an orchestra or a rock band. Allow the students to perform while the rest of the class is the audience.Reflect: Point out that some behaviors that are fine in one setting are inappropriate in another. Ask performers if they felt that the audience's behavior was appropriate for their performance, and why.Lesson Two: Developing Theater Appreciation ExplorationDiscuss personal stories related to theme of a play Look at images of characters and settings Improvisation Become character statues showing emotions Pantomime activities from play Dramatize conflict of playAudience ReactionWhat worked? What didn’t work?Constructive Criticism between peers is key to developing an aura of respect and rapport. Lesson Three: Audience ResponseAttend a live theatre performance. Draw a picture of your favorite part of the play and tell why you liked it. Explain how you felt about the play.Use detail to illustrate favorite part of the play and coherently y explains why they liked it.Write a reflection.Story board the play or production.Strengths and weaknesses, high and lows. ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.SKYPE connections through school wide productions. Analyze a character that supports the overall mood, period, and content of the play selected Attend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesBasic Audience Etiquette Rule Sheet; Basic Actor Etiquette Rule Sheet; Clips of various types of theatre (musical, stage play, movie clip), “Audience Etiquette” Note Cards for “Do’s and Don’ts” Improv GameLocal Theater Companies (Tortoise and Hare script) 12 Fabulously Funny Folktale Plays -Justin Mccory Martin (Site with several FolkTale renditions)Paul Bunyan (610L Lexile level)Johnny Appleseed (AD480L Lexile level)John Henry (320L Lexile level)Pecos Bill (AD540L Lexile level)The Rabbit and the Turtle by Eric Carle, The Tortoise and the Hare by Aesop, The Tortoise and the Jackrabbit by Susan LowellSchloz, Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996.Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991.Sierra, Judy NURSERY TALES AROUND THE WORLD, New York, Clarion Books, 1996.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Performance ReflectionsTheatre EtiquetteDemonstrate proper audience etiquette14Performance ReflectionsTheatre AppreciationDramatize scenes and self-reflect24Performance ReflectionsAudience ResponseCritique a performance1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:Grade Two Grade(s)2Unit Plan Title:1: Exploring the World Around You: The Ensemble!Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to allow students the opportunity to discover and develop their understanding of the world around them. Students will develop body awareness as they analyze different levels of body positioning that convey environment. Students will be introduced to stage directions (upstage, downstage, down stage, etc) for a collaborative ensemble. By nurturing students’ spatial perception, they will express a multitude of moods and concepts. Students will actively participate in ensemble centered performances with they will learn the foundation of the following elements of drama; role/character, plot, setting. Establishing the ideals of “community” and “relationships” in the theater is an important lesson to instill in our budding thespians. 2020 New Jersey Student Learning Standards - Visual and Performing Arts:1.4 Theatre Standards by the End of Grade 2CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1a: Propose potential character choices and plot details in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1b: Collaborate with peers to conceptualize props, costumes and scenery in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1c: Identify ways in which voice, gestures, movements, and sounds may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations 1.4.2.Cr2a: Contribute to the development of a sequential plot; collaborate with peers to devise a meaningful dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr2b: Contribute original ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3a: With prompting and support, contribute to the adaption of plot and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr3b: Identify similarities and differences in sounds and movements in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr3c: Independently imagine multiple representations of an object in a guided drama experience (e.g., process drama, story drama, creative drama) and collaboratively create multiple representations of an object in a guided drama experience (e.g., process drama, story drama, creative drama).PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work Performance Expectations1.4.2.Pr4a: With prompting and support, demonstrate the physical movement, voice and sound which are fundamental to creating drama experiences (e.g., process drama, story drama, creative drama).1.4.2.Pr4b: Explore and experiment with various technical elements in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5a: With prompting and support interpret story elements (e.g., character, setting) in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Pr5b: Utilize body and facial gestures with a change in voice to communicate character traits and emotions in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 6: Conveying meaning through art.Performance Expectations1.4.2.Pr6a: Use voice, sound, movement, and gestures to communicate emotions in a guided drama experience; informally share guided drama experiences (e.g., process drama, story drama, creative drama) with peers.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations1.4.2.Re8a: With prompting and support, actively engage and build on others' ideas in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama). 1.2 Media Arts Standards by the End of Grade 21.2.2.Cr1b: Brainstorm and improvise multiple ideas using a variety of tools, methods and materials.?1.2.2.Cr3a: Create and assemble content for media arts productions, identifying basic principles (e.g., pattern, positioning, attention, and repetition.)?2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.8.1.2.AP.4: Break down a task into a sequence of steps.8.2.2.ED.1: Communicate the function of a product or device. New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.Essential Question(s)How can we express ourselves through acting?How, when, and why do theatre artists’ choices change?How do theatre artists transform and edit their initial ideas?How can the same work of art communicate different messages to different people?What roles do people play in your life?Enduring UnderstandingsTheatre artists rely on intuition, curiosity, and critical inquiry.Theatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through munities on and off the stage must cooperate to build relationships.Body shapes and physical movements can convey setting elements in order to communicate context.Ensemble work can often exhibit the same interrelationships that are found in communities. Fundamental stage/body position design on stage. In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesHow to successfully collaborate within an acting ensemble.Use body positioning to create different setting elements.Move respectfully throughout an acting space.Identify relationships within an ensemble, acting community.AssessmentsPre and Formative: Written response. The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc.; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Observations: Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Benchmark/Authentic Assessment:Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Summative: Performance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Portfolios Portfolios may contain many different types of documentation for what students know and are able to do. Items in a portfolio may be teacher-selected, student-selected, or a combination of these.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and language Word WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Higher order thinking skills.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: The Machine EnsembleUnderstand ensemble movement and sound.Body: Isolations: Follow leader to do isolations; pass leadership around circle continuing isolation movements. Break into circle of 5-7 and continue with isolations using Follow the Changing Leader game.Walkabout: Students individually and simultaneously move through space and freeze as signaled using various shapes and levels based on identified machines. Add sound and repetitive movement in place as directed.Small Groups: Working in groups of 4-5, students select a machine from the list and create it as a group.Performance: Groups share machines created. Discuss: What makes a theatre machine interesting?Journal: What are some important things to remember when working together to create a machine?Partners: Begin with emotional statues in different shapes and levels. Turn choices into a machine with the chosen feeling. Discuss: What are some themes you are studying? What feelings do you get from thinking about them? Chart one theme with adjectives on a Bubble Map. Create a sample machine.Journal: Explain why using emotion when creating a machine makes it more theatrical?Section Two: Rhythm and RepetitionExplore rhythm and repetition as they work with others.Enter Theatre Space: Classroom teacher brings students into room and creates one large emotion machine. Body: Energy clap around circle; then concentric circles.Voice: Produce repetitive sounds. Different students lead.Imagination: Who Started the Movement? Rhythms: Leader begins rhythmic movement in place. Others imitate. Add sound. New leader. Repeat.Perfect Circle: Actors work together and form a perfect circle. Once it's formed, they must break away, run touch the wall, and then come back to form the perfect circle again. Do the exercise again, (form the circle, break away and return) – this time without speaking.Clap Wave: The goal of this exercise is to send a continuous clap wave around the circle. The first person turns to the actor on their right, makes eye contact and tries to clap in unison with that person. The second person turns to the actor on their right, makes eye contact and tries to clap in unison with that person. Everyone has to be ready to make eye contact, and clap, keeping the rhythm of the clap going. How quickly can the group send the wave around the circle?Lesson Three: Ensemble in SpaceUnderstand ensemble movement and sound.The Ensemble – Students will develop their skills and learn how to perform movements in the style of a ensembleWhat is a ensemble? Instead of one actor telling a story a group of actors known as a ensemble/chorus worked together in movement and voice so that stories could be heard and movements seen.Mirror Exercises: Teacher faces class and students have to mirror movements.If appropriate a couple of students could try taking the lead.Mirroring in pairs.Discuss: What skills did you have to use to successfully mirror someone?Focus, control of movement, patienceGroup Animals - In groups students should create four movements or actions to show the following: Tail of snakeBody of a LionWings of an eagle Head of a womanThe four movements/actions can be in any order but students should aim to move fluently from one to the other. The Mask – Students discover the importance of the mask and it’s use in Greek Theater and beyondMask Archetypes – PowerPoint (Greek Mask Origins)Fool, King, Warrior, Everyman, Old Man, ScholarHot and Cold AurasStudents carefully observe each other as they make stage entrances wearing simply a blank mask.Other students try to determine whether or not the students presents a COLD or HOT auraCold = Calm, Relaxed, Tired, Slow, Calculated, etc...Hot = Excited, Frenetic, Motivated, Fidgety, etc…Afterwards, discuss which pantomimes were the most successful and why.Making the Mask - Working alone, students create a mask of a character using a variety of materials. Then they collaborate with other students to perform a Greek Chorus Show. For example, each student designs a separate character from The Wizard of Oz. Then the teacher can direct them in using the Ensemble Style to performing the story.Section Four: Ensemble PantomimesStudents will take part in cooperative role-playing through recorded improvisation, where they will demonstrate the ability to utilize the body and voice (e.g., breath control, diction, concentration, and isolation) for creative self-expression in thought, feeling, and character.Making the Machine! (or animal)Students are divided into groups. Each group has fifteen seconds to agree on how to present a pantomime of a machine in action Telephone, a car, a blender, a clockEach student has to participate in some part of the machine. Groups who fail to have their machines ready on time fail to gain points in this game. Rather than machines, the object might be to put together any system of interrelated parts. Solar System, the Water Cycle, the process of photosynthesis, the continents.Scenes from our Past!Students are divided into groups with one “director” in charge of each group’s performance. Each group is assigned a scene from history to dramatize.Columbus’s audience with Ferdinand and IsabellaSigning of the Declaration of IndependenceApollo Moon Landing to dramatize. They plan collaboratively on how to present it, but the “director” makes all final decisions.Discussion: Students observe the dramatic skit and list two positive comments and two suggestions for improvement.They must justify their comments, explaining why they liked certain elements.Amistad EducationSupport the concept of ensemble building by watching, analyzing, performing the ensemble piece, ANANSI’S RESCUE FROM THE RIVER. EducationRun creative exercises based on LGBT themes or characters: Run drama exercises that allow pupils to think about social issues, including LGBT topics, in more detail. For example, give pupils a theme, such as coming out, identity or gender, and ask them to improvise. Use this as a basis to start a discussion and challenge stereotypes on lots of different issues. Alternatively, ask pupils to choose characters from plays or films that explore LGBT issues and create a series of character video diaries.IDEA EducationPassing the Face Exercise - The whole group stands in a circle. Then, one person in the circle begins by turning to the person on his/her right and making a face – it could be an emotional face or a funny face. The next person then makes another face and passes it to the person next to him/her, and so on. This activity helps the participants to overcome their fears, and become more relaxed and at ease with themselves.Holocaust EducationWhen addressing the Holocaust, where possible, spend time focusing on characters’ lives prior to and, if appropriate, after the Holocaust. In addition to reflecting historical reality, this will help students as performers to develop well-rounded, three-dimensional characters rather than caricatures. In this context, also ensure that students avoid simplistic characterizations of the sort unfortunately encountered in some plays written about the Holocaust. Jews should not be presented as passive victims or perpetrators as sadistic monsters – all involved in the Holocaust were human beings much like ourselves.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Share student presentations (puppet theater, storytelling, choral scene work, mini-plays) with peers, other classes, younger students and families.Explore stories that are thematically or dramatically similar appearing in a variety of cultures (e.g., animal myths, hero or Cinderella stories).Use diverse images from a photo resource such as the New York Public Library Photo Collection, the Library of Congress or the National Archives to gather a group of images to demonstrate the historical and cultural aspects of storytelling.Students attend a live theatrical performance and a talk-back where actors (as themselves) interact with students.Performing a student developed structured improvisation Reflecting on process and product of self and peers.ResourcesAMISTAD: , Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998.Sivin, Carole MASKMAKING, Worcester, Davis Publishing, 1986. Instructions for making masks from various materials progress from simple to complex techniques.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996.Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1Theatre ensembleThe Machine EnsembleUnderstand ensemble movement and sound11Theatre ensembleRhythm and RepetitionExplore rhythm and repetition as they work with others11Theatre ensembleEnsemble in Spacedevelop their skills and learn how to perform movements in the style of a ensemble21Theatre ensembleEnsemble Pantomimescooperative role-playing through recorded improvisation3* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:Drama Grade(s)2Unit Plan Title:2: Creating Plays through Improvisation!Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to use improvise characters, setting and conflict to build an understanding of how to create stories. Ensemble cooperative will bolster the natural, creative energies of students as they will observe, analyze and critique various design structures, i.e. Plot, Technical, Character, Setting. In other words, students will begin to formulate the rudimentary skills that are associated skills with playwrighting, acting, designing, and directing. The heart of their budding theatre education should build on this solid foundation. The standards assume that theatre education will start with and have a strong emphasis on improvisation, which is the basis of social pretend play. In an effort to create a seamless transition from the natural skills of pretend play to the study of theatre, the standards call for instruction that integrates the several aspects of the art form: script writing, acting, designing, directing, researching, comparing art forms, analyzing and critiquing, and understanding contexts.2020 New Jersey Student Learning Standards - Visual and Performing Arts:1.4 Theatre Standards by the End of Grade 2CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1a: Propose potential character choices and plot details in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1b: Collaborate with peers to conceptualize props, costumes and scenery in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1c: Identify ways in which voice, gestures, movements, and sounds may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations1.4.2.Cr2b: Contribute original ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3a: With prompting and support, contribute to the adaption of plot and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr3b: Identify similarities and differences in sounds and movements in a guided drama experience (e.g., process drama, story drama, creative drama).PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work Performance Expectations1.4.2.Pr4a: With prompting and support, demonstrate the physical movement, voice and sound which are fundamental to creating drama experiences (e.g., process drama, story drama, creative drama).1.4.2.Pr4b: Explore and experiment with various technical elements in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5a: With prompting and support interpret story elements (e.g., character, setting) in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Pr5b: Utilize body and facial gestures with a change in voice to communicate character traits and emotions in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 6: Conveying meaning through art.Performance Expectations1.4.2.Pr6a: Use voice, sound, movement, and gestures to communicate emotions in a guided drama experience; informally share guided drama experiences (e.g., process drama, story drama, creative drama) with peers.RESPONDINGAnchor Standard 7: Perceiving and analyzing products. Performance Expectations1.4.2.Re7a: Express emotional responses to characters to recall and recognize when artistic choices are made in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 8: Interpreting intent and meaning.Performance Expectations1.4.2.Re8a: With prompting and support, actively engage and build on others' ideas in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re8b: Identify and use props and costumes that might be used in a guided drama experience (e.g., process drama, story drama, creative drama). Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9a: With prompting and support, identify and explain preferences and emotions in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance, and explain how personal preferences and emotions affect an observer's response in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance.1.4.2.Re9b: With prompting and support, name and describe settings and identify causes of character actions in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re9c: Explain or use text and pictures to describe how personal emotions and/or others' emotions and choices compare to the emotions and choices of characters in a guided drama experience. (e.g., process drama, story drama, creative drama).CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations1.4.11b: Collaborate on the creation of a short scene based on personal perspectives and understandings.1.2 Media Arts Standards by the End of Grade 21.2.2.Pr5c: Discover, experiment with and demonstrate creative skills for media artworks.??1.2.10a: Use personal experiences, interests, information and models in creating media artworks.?2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.NI.3: Create a password that secures access to a device. Explain why it is important to create unique passwords that are not shared with others. 8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.8.1.2.AP.4: Break down a task into a sequence of steps.8.2.2.ED.1: Communicate the function of a product or device. New Jersey Student Learning StandardsNJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.Essential Question(s)How can the same work of art communicate different messages to different people?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does an actor tell a story?How do theatre artists use tools and techniques to communicate ideas and feelings?Why should we care about acting?Enduring UnderstandingsTheatre artists make choices to convey meaning.Theatre artists, through a shared creative experience with an audience, present stories, ideas, and envisioned worlds to explore the human experience.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Dramatic style communicates expression, informs character development, and elicits audience reaction.A specific theatrical style (i.e. improv) dictates dramatic decision-making and form, and drives character expression.Body, voice, and intention must be clearly expression to communicate a scene/play/performance. Investigation of character elements creates thoughtful improvisation to develop dramatic character and performance.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesHow actors’ movements communicate emotion.Students can implement quality improvisation tools (such as: saying “yes and…”, no blocking, be specific, respect the audience)Interact with other characters in scene work and melodramatic presentations.Perform quality improvisation while developing melodramatic and stock characters.AssessmentsPre and Formative: Written response The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Observations: Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Benchmark/Authentic Assessment:Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Summative: Performance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Portfolios Portfolios may contain many different types of documentation for what students know and are able to do. Items in a portfolio may be teacher-selected, student-selected, or a combination of these.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and language Word WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Higher order thinking skills.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.Section One: Intro to ImprovStudents will explore the backgrounds/foundations of improvisational acting and how their own cultural and life experiences can be expressed through improvisational techniques and exercises.What is Improv? – Guide the students through improvisational warm-up activities and/or team building exercises so that students can begin to develop a sense of community and risk-taking comfort.Improvisational Acting – PowerPoint including;Do’s and Don’ts of ImprovImprov Company historyLong/Short form sketchesForward the Action!Pulling FocusPlaying your AgendaEnrichment: The teacher may use a variety of activities to create and build collegiality so that students can begin to develop a sense of ensemble and risk-taking comfort.Runway Model Walk (gesture and warm-up exercise)One Word Story (verbal communication/listening exercise)Introductory Exercises - Students will participate in improvisational activities and continue to write in reflection journals about observations and discoveries during the improvisational exercises.Yes and…? (Stream of consciousness exercise)Asking Questions (dialogue/scene building)The Mumbo Jumbo Game (verbal/nonverbal voice and gesture)Discussion: How improvisation derives from personal experience? What is creativity through improvisation? How does improvisation require self-direction, confidence and concentration?Getting Comfortable in Improv- Students will demonstrate full participation in the ensemble building activities and evidence that students show more confidence throughout the processStudents will demonstrate understanding of improvisational exercises as directed by the teacher.Whose Line is it Anyway – Used as an improv teaching device where students will view, reflect and model their own improve acting.Games include;Press Conference (Forward the Action based exercise)Film, TV, Theater Styles (characterization based)News Reporters (creative story creation)Reflection: Students will continue their reflective journal by documenting (drawing/describing) one example of a particular improvisational exercise and writing about writing about how they incorporated at least one of the following: Pop culture, social issue, current events, and/or global awareness topics.Section Two: The QuestionsStudents will explore the use of the 5 W’s of improvisation (who, what, when, where, and why) through expression and group collaboration.Who? - “Who” activity is used to co-construct a group definition of “who” so that students can explore ways to create and develop character traits in improvisational work(s).In small groups of 4-5 students, using a photo of a person they feel is an “interesting” character, students list character traits.Possible trait ideasJob, age, where they live, family background, and name Following the activity, students will independently reflect on the group “who” definition and what influenced their character trait decisions and why. This information can be collected through class discussion and/or written reflection journals.Enrichment: Students may conduct an one-on-one discussion with teacher concerning character.Students may create a character independently from the character trait work and perform created character in small groups.What? - “What” activity is used to co-construct a group definition of “what” so that students can explore ways to purposefully include actions in improvisational work(s).In small groups of 4-5 students, using teacher generated action phrases, students perform given actions Possible action phrases Wash the dog, get gas, cook dinner, etc.) Following the activity, students will independently reflect on the group “what” definition and what influenced their action decisions and why.This information can be collected through class discussion and/or written reflection journalsEnrichment: Using a picture, students will write a scenario concentrating on what is happening in the photoUsing a picture, students create and perform the scene based on the photo that takes either before or after the photo was taken.When? - “When” activity is used to co-construct a group definition of “when” so that students can explore ways to use time (day/night, season, etc.) to help determine actions in improvisational work(s).In small groups of 4-5 students, using student generated situations of time such as: Season, holiday, time of day etc., Students pantomime scenarios that convey the time as the whole class guesses the time being acted out. Students will independently reflect on the group “when” definition and what influenced their action decisions and why. This information can be collected through class discussion and/or written reflection journals.Enrichment: Students may sort a pre-selected pictures into a timeline.Students may draw a timeline of their life and discuss with a partner.Students may find a variety of pictures and make a collage that shows a timeline for a scene.Where? - “Where” activity is used to co-construct a group definition of “where” so that students can explore the ways in which specific locations ground and strengthen focus in improvisational work(s).In groups of 4-5, students will present a “Frozen Tableau.” In this activity students can have one student narrate what is happening in their “family photo” while the other group members pantomime three different settings and what happens within each setting. An example may be: This is my family at the zoo. Oh no, the lions got out of their cages. Now my family running away from the lions. Following the activity, students will independently reflect on the group “Where” definition and what influenced their action decisions and why. This information can be collected through class discussion and/or written reflection journals.Enrichment: Students may list or tell all of the “where’s” you hear in the story Students may draw a “where” that was described in the story Students may tell, write, or perform a familiar fairytale in a new locationWhy? - “Why” activity is used to co-construct a group definition of “why” so that students can explore ways to establish character motivations and the connections between motivation and powerful improvisational work(s).In groups, 4-5 students are each given a different motivation/emotion to perform with a partner.Students will recite letters of the alphabet so that students understand perspective in improvisation.Following the activity, students will independently reflect on the group “Why” definition and what influenced their action decisions relationships, setting, conflict etc. and why. This information can be collected through class discussion and/or written reflection journalsEnrichment: Students may role play simple scenarios through acting or using flash card image Students may pair with a partner and use a short scripted conversation and attach an emotion to each character.Applying the Questions – Students will be involved in a collaborative rehearsal process so that they can consider the ways in which “question” structure informs improvisational work to help create fully realized performances.Students will fully participate in various improvisational games that relate to the 5 W’s and give one another feedback on their performances. Games include:Comedy Sportz (action oriented improve tournament)Party Quirks (character creativity based)Questions Only (character/verbal communication)Typewriter Narrator (Forward the action exercise)Journal: Peer feedback can be collected through peer notes (similar to informal director’s notes)Students will write/journal a self-assessment of their performances of how they used the 5 W’sHow they collaborated with othersHow they used improvisational skills in their performances during the showcase assessment.Section Three: Story Structure and ImprovStudents will engage in collaborative writing groups so that they can use the peer feedback process to develop and strengthen basic elements of story; beginning, middle, and end related to a central focus.Creating Storyline - Students will continue their improv work as they determine key elements of the scripted work. Students will work in small groups to develop an improvised storyline which includes;Characters, conflicts and scenariosDialogue and character choices (rough idea template)Students will continue to draw upon personal experiences surrounding their selected topic of focus.Students will create dialogue and rehearse their scenes using concepts of character, conflict, action, choice, ideas.Students will present scene to the class. Teacher may an activity such as “Freeze Frame” to inform details about the storyline and/or character choices. Teachers and/or students can videotape group process to help with reflection and editing of the script writing anizing the Improv - Teacher may use selected fairy tales to organize improvisational experiences so that students can begin to discover the dramatic elements necessary in the development of a successful scene.Students will demonstrate basic rules/steps of improvisation to determine how to deconstruct improvisation Spontaneity and Take).Teachers can evaluate the degree of understanding of improvisational structure in a variety of ways such as: Informal ‘quiz’ on rules of improvisation Pick-a-Card Game (randomly choose a card with a step of the process and demonstrate the step) Observational data collection Section Four: Improvisation in FairytalesStudents will Improvise movement and dialogue to tell stories, and formalize improvisations by writing or recording the dialogue.Brainstorming the Fairytale Improv – Students can brainstorm fairytale titles and plots to co-construct the basic structure of fairy tale storylines so that performers can begin to discern common elements (as well as deviations from those elements) within the fairytale genre.Students will identify, through improvisation;The setting and plot elements of a variety of fairytales focusing on;Character points Similarities and differences of plot structure within the fairytale genreStudents will view, use and collect picture chronologies of fairytales and videos of fairy tales.Enrichment: Students may create mosaics of fairy tales or physically connect visual images with the key events within a fairy tale.Grade TwoPhysicality in Improv – Students will be introduced to an improvisational activity (e.g., tableau) so that students can explore how to physically reveal setting, chronology, and key plot points of selected fairy tales.Students will present a minimum of three created tableaus (beginning, middle, end)Picture book versions of fairytales are used to provide visual image ideas for tableau.Books to use: Jack and Jill, Three Little Pigs, The Stinky Cheese Man, Rapunzel, Goldilocks and the Three BearsProps and/or shadow theatre elements can be layered into the tableau creationHighlighting key events within a selected fairytale to the class as a slide show/physical presentation. Teacher may use the improvisation technique of ‘spotlighting’ to give individual students the opportunity to dig deeper into their character’s thoughts in the moment to discern individual depth of understanding.Enrichment: Students may recreate visual images of fairytale events.Supplemental ExercisesLost in Space (spatial/setting awareness exercise)Water, Land, Air (pantomime gesture exercise)Hard at Work (character/setting creation exercise) Developing Improv Characters – Students will research well-written character backstories so that they can begin using improvisation, observation, personal background and life experiences to explore and inform character development.Backstories - Students will provide a character backstory with an accepted level of detail. Backstories can be created in a variety of ways such as: Character biography worksheet (teacher created) (Student interactive resource for building a character bio) Drawing of character “Hot Seat” activity (Video of a “Hot Seat” interview) Create a Fake Book entry of the characterPolishing the Improv PerformanceTeacher facilitates a collaborative rehearse, revise, and prepare process so that students can use peer feedback to develop and strengthen a performance.Students will rehearse created scripted scene using teacher and peer feedback to adjust and refine scene elements. Journal: Students will continue journaling reflections about the scene rehearsal and refinement process.Enrichment: Students may choose to participate in semi-scripted scene creation in any way that reflects their comfort and ability level such as director, designer, prop manager, actor.Perform the Improv! Peer groups will apply teacher created rubrics to assess the success of the group script-to-improv performances. Post-Performance Talk Balks - The teacher may facilitate a class discussion on the improvisation-to-script process so that students can evaluate and reflect upon the development of their personal creative process.Students will evaluate their group performances and reflect/analyze the creative process of scene creation through the strategy of improvisation. Examples include; How was the conflict represented in each scene?Were the groups successful in creating a clear beginning, middle, end for their scene? If so, how?Were the characters represented clearly and effectively within the context of the improv scene?Journal: Students will journal final reflections about their own creative scene creation process.ActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Higher order thinking skills.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.Amistad EducationScenarios, conceptual ideas can stem from a Black History background, where students are able to portray famous black leaders throughout history in improvisational settings. LGBTQIA EducationSupport pupils to create their own Improv drama piece on an LGBT topic, such as coming out or tackling homophobic, biphobic and transphobic bullying. Organize performances for other year groups, schools and colleges, to encourage pupils throughout the local community to consider these issues, and consider filming the piece to share at school events (such as parents’ evenings) or with other schools.See Appendix A for additional accommodations and modifications for all subgroupsIDEA EducationSensory exploration is a great way into drama for many Special Needs students. Creating playlists with music which remind you and your students of the world of the play enables students to experience the atmosphere of the improvisation that is created. We also suggest using a particular scent or perfume to conjure up the setting: you can spray this smell, for example lavender, every time you rehearse, so that students feel really comfortable with the increasingly familiar scent and world of the play. Sensory props can work well onstage in an improvisational performance. For example, find a large umbrella and tie strips of blue fabric to the sides so that they hang down. Your student can open the umbrella to show rain falling and hide behind it if they need a quiet moment onstage too.Holocaust EducationMy Doll: The memoir of Yael Rosner, adapted especially for younger children (grades 1-2). The book focuses on the subjects of struggle, survival, and revival. This story particularly emphasizes the significance of imagination and creativity inherent in the process of hiding and coping as a child during the Holocaust.When choosing to play/perform/act out character archetypes during a Holocaust-centered unit, avoid Stanislavskian/method-style approaches, particularly when focusing on victims. We cannot truly imagine or expect students to imagine what it was like to be in the camps or on a transport, for example. The purpose of any work is not to create empathy to the point of trauma – rather, students should be encouraged to represent and reflect on the experiences that they are exploring.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Share student presentations (puppet theater, storytelling, choral scene work, mini-plays) with peers, other classes, younger students and families.Explore stories that are thematically or dramatically similar appearing in a variety of cultures (e.g., animal myths, hero or Cinderella stories).Use diverse images from a photo resource such as the New York Public Library Photo Collection, the Library of Congress or the National Archives to gather a group of images to demonstrate the historical and cultural aspects of storytelling.Students attend a live theatrical performance and a talk-back where actors (as themselves) interact with students.Listening to teacher-shared storytelling of Improvs Analyzing improve on video/tv/movie for morals and lessons Improvising using stories found in myths, fables, fairytales Performing a student developed structured improvisation Reflecting on process and product of self and peers. Applying information gained from reading and teacher sharing to a structured improvisation, story analysis and reflectionsResourcesBooks:Improv! A Handbook for the Actor- Greg Atkins Improv Game Book II- Lynda BeltImprovisation Starters- Philip Bernardi The Actor’s Book of Improvisation- Sandra Caruso and Paul ClemensActing Games- Marsh Cassady Comedy Improvisation: Exercises & Techniques for Young Actors- Delton T. Horn Improve With Improv - Brie Jones Improvisations in Creative Drama- Betty Keller Theatre Games for Young Performers –Maria C. Novelly Improvisation for the Theatre- Viola Spolin Theatre Games for the Classroom A Teacher’s Handbook- Viola Spolin Theatre Games for Rehearsal: A Director’s Handbook.- Viola SpolinWebsites: (Who’s Line is It Anyway) (Second City Improv) (New York Improv) (Ten ways to practice your improve) (Lessons and resources for teaching improvisation) (Improv activities) (Improv activities) (Improv resources) (Kevin Spacey explaining the importance of improv in Theatre), notebook or electronic device (YouTube, Whose Line is it Anyway?) · (Denver Improvisational Theatre)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Creating plays through improvisationInto to Improvexplore the backgrounds/foundations of improvisational acting22Creating plays through improvisationThe Questionsexplore the use of the 5 W’s of improvisation22Creating plays through improvisationStory Structure & Improvin collaborative writing groups so that they can use the peer feedback process to develop and strengthen basic elements of story32Creating plays through improvisationImprovisation in FairytalesImprovise movement and dialogue to tell stories3* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)2Unit Plan Title:3: Emotional Motion!Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to allow students to develop an understanding of how movement communicates emotion in order to convey the meaning of a story to an audience. As performers, we make character choices in order to interpret literary relationships. These choices are predicated by the instincts of our physical, mental and emotional movements. Allowing students to use emotion to move their intentions in a given work of written scene, play or text gives them a greater opportunity to understanding the subtext of a plot. This unit endeavors to let our young actors explore the world as a complex individual, as well as a member of a collaborative acting unit. This is a vital component of a young individual growth as a confident member of society on and off the stage. 2020 New Jersey Student Learning Standards - Visual and Performing Arts:1.4 Theatre Standards by the End of Grade 2CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1a: Propose potential character choices and plot details in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr1c: Identify ways in which voice, gestures, movements, and sounds may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations 1.4.2.Cr2a: Contribute to the development of a sequential plot; collaborate with peers to devise a meaningful dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Cr2b: Contribute original ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3b: Identify similarities and differences in sounds and movements in a guided drama experience (e.g., process drama, story drama, creative drama).1.4.2.Cr3c: Independently imagine multiple representations of an object in a guided drama experience (e.g., process drama, story drama, creative drama) and collaboratively create multiple representations of an object in a guided drama experience (e.g., process drama, story drama, creative drama).PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work Performance Expectations1.4.2.Pr4a: With prompting and support, demonstrate the physical movement, voice and sound which are fundamental to creating drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5b: Utilize body and facial gestures with a change in voice to communicate character traits and emotions in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 6: Conveying meaning through art.Performance Expectations1.4.2.Pr6a: Use voice, sound, movement, and gestures to communicate emotions in a guided drama experience; informally share guided drama experiences (e.g., process drama, story drama, creative drama) with peers.RESPONDINGAnchor Standard 7: Perceiving and analyzing products. Performance Expectations1.4.2.Re7a: Express emotional responses to characters to recall and recognize when artistic choices are made in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 8: Interpreting intent and meaning.Performance Expectations1.4.2.Re8a: With prompting and support, actively engage and build on others' ideas in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama). Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9a: With prompting and support, identify and explain preferences and emotions in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance, and explain how personal preferences and emotions affect an observer's response in a guided drama experience (e.g., process drama, story drama, creative drama), or theatre performance.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations1.4.10a: With prompting and support, identify similarities between characters in dramatic play or a guided drama experience and relate character emotions and experiences to personal experiences of self and peers (e.g., process drama, story drama, creative drama).Anchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations1.4.11b: Collaborate on the creation of a short scene based on personal perspectives and understandings.1.2 Media Arts Standards by the End of Grade 21.2.2.Cr3a: Create and assemble content for media arts productions, identifying basic principles (e.g., pattern, positioning, attention, and repetition.)?1.2.2.Pr5a: Identify and enact basic skills such as handling tools, making choices, and soft skills for planning and creating media artworks.?2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.NI.3: Create a password that secures access to a device. Explain why it is important to create unique passwords that are not shared with others. 8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.8.1.2.AP.4: Break down a task into a sequence of steps.8.2.2.ED.1: Communicate the function of a product or device. New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text. NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.Essential Question(s)How can the same work of art communicate different messages to different people?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does an actor tell a story?How do theatre artists use tools and techniques to communicate ideas and feelings?What life skills can we learn from acting?Enduring UnderstandingsTheatre artists develop personal processes and skills for a performance or design.Theatre artists make choices to convey meaning.Theatre artists, through a shared creative experience with an audience, present stories, ideas, and envisioned worlds to explore the human experience.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Movement communicates emotion in order to convey the meaning of a story to an audience.Performers make character choices in order to interpret literary relationships.Stories rely on character details and relationships to depict a strong plot.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyTCollaborationStudent Learning Targets/ObjectivesWays in which actors move respectfully throughout an acting space.How actors’ movements communicate emotion.Create character movement within a short story based on the characters traits and emotions.Articulate the difference between constructive and negative feedback.Identify and describe the character relationships in theatrical scenes.AssessmentsPre and Formative: Written response The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Observations: Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Benchmark/Authentic Assessment:Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Summative: Performance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Portfolios Portfolios may contain many different types of documentation for what students know and are able to do. Items in a portfolio may be teacher-selected, student-selected, or a combination of these.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideasELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Higher order thinking skills.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Self-Expression is the Key!Students will understand that the use theatre arts help us to illustrate how people express themselves differently.What is Self-Expression?Teacher will share different ways that people share ideas and feelings through words and actions.Direct Communication, Indirect Communication, Body Language, Emotions and Feelings.In pairs, students will come up with 2-4 moods or emotions and share these with the class. Have students identify a time when they felt one of these emotions.In pairs, students will perform / gesture these emotions to the class.Discussion: Have you felt these emotions before? Why?Coloring our Emotions - Students will express an understanding of different emotions through the use of color.Students will color an emotions coloring sheet to represent the mood or emotion expressed by the picture with color. In small groups, students will dress up in teacher provided costumes.Each group will be wearing a solid color intended to represent a certain emotional pool. The groups will improvise a scene, guided by the instructor, to fully performing their representational color emotion.Discussion: Why do certain colors represent certain feelings? What words can you use to describe different feelings?Section Two: The Emotions of Your Voice and BodyStudents will begin to demonstrate the ability to utilize the body and voice (e.g., breath control, diction, concentration, and isolation) for creative self-expression in thought and feeling.Isolating the BodyStudents perform isolation exercises, taking turns moving different parts of the body in a circular motion.Rotate only your shoulders, now just one finger, now just your tongue, etc…Students will demonstrate control of their own bodies by participating in various isolation activities including;Roll Downs, Centering Circles, Body Awareness High Intensity warm-ups are essential to a young students learning how to control his/her instrument. Creating the Object - Students use imagination to pantomime the shapes and dimensions of objects Blow up imaginary balloons, bounce or throw an imaginary ball, etc…Students will receive visual and aural cues from their instructor on how to use their body to recreate these imaginary objects. Every-BODY - Students using a list of everyday human actions to pantomime isolated action in space.Students demonstrate body language and facial expressions that communicate appropriate actions and feelings.Eating favorite foods, listening to music, playing sports, etc…Students try to guess what the favorites are from visual clues.This may be done with an entire class at once, or the students may take individual turns. Enrichment: As the teacher calls out each emotion, the student(s) must immediately create a pose that reflects that everyday action.Isolating the VoiceHow Does your Voice Work? – PowerPointBreath Control, Diaphragm ControlRelaxation exercises - Geared to enhance concentration and imagination skills and to overcome stage fright. As a group, students take a series of deep breaths from the diaphragm They should feel their stomachs expand as they inhale.Blowing Up a Balloon imagery techniqueThen they close their eyes and imagine themselves in a calm, comforting environment as they practice saying their teacher prompted lines of dialogue.Characterized Voices - Students practice speaking in different voices.Teach foundations of Vocal InflectionImitate different voices demonstrated by the teacher or other students.High/LowFast/SlowLoud/SoftStudents read sentences or poems as different characters might say them.Witch, a giant, a news announcer, a robot, etc…Vocal VarietiesStudents will tell a story and portray their unique character effectively by using vocal variety and movement. Students can implement techniques of;AccentDialectVocal Cadence and DictionDiscuss: How can we identify & apply vocalization techniques to fit a character?Section Three: Expressing Emotion Character (Non-Verbal)Students will continue their understanding of how to express emotion and ideas without using words (non-verbal).Creative Dramatics: Students will practice using movement to express teacher supplied characters.Gesture Games / Pantomime Students will be prompted with characters, which will display a student’s ability to show distinction between character profiles. Students need to be aware of how facial expression & movement communicate characters.Emotion LocomotionPartnered/Whole class participation where students are tasked to display an ever-changing range of nonverbal emotions. Musical PantomimeStudents create expressive movements to enhance their character’s dramatic mood, while adding external elements, such as;MusicSound effects Environmental/Animal soundsSection Four: Expressing Emotion Full Voiced)Students should be able to identify character and emotions as they are communicated verbally. Improvisational scenes and Poetry reading will assist in student’s understandings of character development. Poetry Portraits – Students will demonstrate how a script comes to life by using previous stories such as literature, poetry and speeches. Students will work together to collaborate poetry into character scripts. Some Children’s Favorite Poems: avourites/index.htm)Students will choose a poetry piece of their ability and liking. Each student will be responsible for diagraming their character through the context of the poem. Students will perform collaborative scripts from poetry and municate characters effectively through movement and dialogue. Journal - How is dialogue and character creation used to bring a story to life?Emotion LevelsTeacher calls out an emotion, like “sad.” Students to take one step forward and show us with their bodies, faces, and voices someone sad at level 1. Then have someone else step forward and show us sad at a level 2.Have them increase their portrayal of sadness by exaggerating it and stepping forward at a Level 3, then 4, and so on up to 10. By 10, encourage students to be over the top and dramatic, perhaps screaming and crying on their knees. Go through this progression several times with different emotions, like happy, jealous, or heartbroken.Discuss: How the emotions change as they increase? If you were sad at a 1, what emotion were you portraying at a 10? Despair? Distraught? Once students get the hang of exaggerating the emotions step-by-step, this can become a game by calling out the numbers and emotions out of order. LGBTQIA EducationTask pupils with doing a piece of improvised drama where they try out the different strategies to challenge bullying and support bullied peers. Show the video for Stonewall’s #NoBystanders campaign, which can be found at .uk/NoBystanders. Ask pupils to create an inverse of the campaign video, where instead of saying insulting and bullying remarks, pupils act out a chain of kindness that shows the domino effect of being compassionate towards those who are different.IDEA EducationShow, not tellAs the teacher and director, you are also the ‘storyteller-in-chief’. Students will imitate your energy and ideas, and you are their single biggest motivator! So, bring brilliant enthusiasm to the room, and make sure that you model what you would like to happen: show your students how the ghost or fairy might move, so that they can copy you and feel confident to add their own ideas too.Holocaust EducationInteractive Theater Activities:Theater activities which support the development of emotional acceptance and understanding. Chart how children in the class or school are the same and different.Discuss whether children observe other children who are not treated well, why this is so, and what can be done about it.Identify groups of people who suffer from prejudice in the school or community and read children’s literature that presents these groups in a positive light.Engage in a collaboratively devised theater performance to address the dangers of prejudice in the school or community.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Share student presentations (puppet theater, storytelling, choral scene work, mini-plays) with peers, other classes, younger students and families.Explore stories that are thematically or dramatically similar appearing in a variety of cultures (e.g., animal myths, hero or Cinderella stories).Use diverse images from a photo resource such as the New York Public Library Photo Collection, the Library of Congress or the National Archives to gather a group of images to demonstrate the historical and cultural aspects of storytelling.Students attend a live theatrical performance and a talk-back where actors (as themselves) interact with students.Listening to teacher-shared storytelling of Improvs Analyzing improve on video/tv/movie for morals and lessons Improvising using stories found in myths, fables, fairytales Performing a student developed structured improvisation Reflecting on process and product of self and peers.ResourcesOnline: (Video with tips on writing a character backstory) (Video overview of writing a character sketch) mediabyfava.it sites.site/italiancommedia/plays-and-scenariwww1.american.edu/IRVINE/jenn/home.html carnival/html/commedia.html (A quick synopsis on steps for character development with pictures) (Overview of creating a persona to include guiding questions for consideration) (advice for what to do once you have been cast in a part)Books:Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991. Thirty puppet plays adapted from nursery rhymes, folk songs, fables, poetry, folktales, and myths with instructional chapters on making and using rod and shadow puppets and puppet stages.Grantham, Barry. Playing Commedia: A Training Guide to Commedia Techniques. Heinemann, 2000.Fava, Antonio. The Comic Mask in the Commedia dell’Arte: Actor Training, Improvisation, and the Poetics of Survival. Northwestern UP, 2007.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Emotional connectionSelf-Expressionunderstand that the use theatre arts helps us to illustrate how people express themselves differently13Emotional connectionEmotions of your voice & bodydemonstrate the ability to utilize the body and voice for creative self-expression in thought and feeling23Emotional connectionExpressing emotion character(non-verbal)Students will continue their understanding of how to express emotion and ideas without using words33Emotional connectionExpressing emotion (full-voiced)identify character and emotions as they are communicated verbally3* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)2Unit Plan Title:4: Making Real World Connections through Theater Literacy!Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to allow students to develop an understanding of dramatic structure and theater traditions. Students will demonstrate, both in writing and in group sharing, an understanding of: sequence and plot - action and climax - character traits including the primary emotional quality - differences between real and fantasy settings - the conflict or problem of a story or play. Whether through extra-curricular experiences or class environment productions, students will develop the skills to be able to successfully articulate responses to a wide variety of theater performances. Students will begin to recognize the relationship between theater and community, and between theater and culture(s). Students will extend their understanding of theater by connecting it to learning in other disciplines. It is vital that student can connect learning from other arts and disciplines, such as math, science, language arts, social studies, technology, music, visual arts and dance, to extend their understanding of theater. These art forms include: written and spoken text, music and song, visual arts, dance and movement and film and video. Through an exploration of theme and context, students connect personal experience to an understanding of theater.2020 New Jersey Student Learning Standards - Visual and Performing Arts:1.4 Theatre Standards by the End of Grade 2CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations1.4.2.Cr1c: Identify ways in which voice, gestures, movements, and sounds may be used to create or retell a story in guided drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 2: Organizing and developing ideas.Performance Expectations1.4.2.Cr2b: Contribute original ideas and make decisions as a group to advance a story in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 3: Refining and completing products.Performance Expectations1.4.2.Cr3a: With prompting and support, contribute to the adaption of plot and dialogue in a guided drama experience (e.g., process drama, story drama, creative drama). PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work Performance Expectations1.4.2.Pr4a: With prompting and support, demonstrate the physical movement, voice and sound which are fundamental to creating drama experiences (e.g., process drama, story drama, creative drama).Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations1.4.2.Pr5a: With prompting and support interpret story elements (e.g., character, setting) in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 6: Conveying meaning through art.Performance Expectations1.4.2.Pr6a: Use voice, sound, movement, and gestures to communicate emotions in a guided drama experience; informally share guided drama experiences (e.g., process drama, story drama, creative drama) with peers.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations1.4.2.Re8a: With prompting and support, actively engage and build on others' ideas in dramatic play or a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re8b: Identify and use props and costumes that might be used in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re8c: Compare and contrast how characters respond to challenges in a guided drama experience (e.g., process drama, story drama, creative drama).Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations1.4.2.Re9b: With prompting and support, name and describe settings and identify causes of character actions in a guided drama experience (e.g., process drama, story drama, creative drama). 1.4.2.Re9c: Explain or use text and pictures to describe how personal emotions and/or others' emotions and choices compare to the emotions and choices of characters in a guided drama experience. (e.g., process drama, story drama, creative drama).CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations1.4.10a: With prompting and support, identify similarities between characters in dramatic play or a guided drama experience and relate character emotions and experiences to personal experiences of self and peers (e.g., process drama, story drama, creative drama).Anchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations1.4.11a: With prompting and support, identify similarities and differences in stories and various art forms from one’s own community and from multiple cultures in a guided drama (e.g., process drama, story drama, creative drama) experience about global issues, including climate change.1.4.11b: Collaborate on the creation of a short scene based on personal perspectives and understandings.1.2 Media Arts Standards by the End of Grade 21.2.2.Pr5c: Discover, experiment with and demonstrate creative skills for media artworks.??1.2.10a: Use personal experiences, interests, information and models in creating media artworks.?1.2.10b: Share and discuss experiences of media artworks, describing their meaning and purpose.2020 New Jersey Student Learning Standards – Computer Science and Design Thinking 8.1 Computer Science by the End of Grade 28.1.2.CS.1: Select and operate computing devices that perform a variety of tasks accurately and quickly based on user needs and preferences.8.1.2.NI.3: Create a password that secures access to a device. Explain why it is important to create unique passwords that are not shared with others. 8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.1: Model and describe how individuals use computers to connect to other individuals, places, information, and ideas through a network. 8.1.2.NI.2: Describe how the Internet enables individuals to connect with others worldwide.8.1.2.AP.4: Break down a task into a sequence of steps.8.2.2.ED.1: Communicate the function of a product or device. New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing. Essential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists transform and edit their initial ideas?How can the same work of art communicate different messages to different people?What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?Why do we pretend?How do we respond to theatre?How do our other art disciplines play roles in the creation of theater?Enduring UnderstandingsTheatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Theatre artists allow awareness of interrelationships between self and others to inform their work.As theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theater and community work hand in hand when creating works that reflect culture and society. Connections exist between others arts, disciplines and careers in the theater world. Character, plot and relationship are highly dependent upon personal viewpoints. Theatrical depictions of relationships within communities occur through detailed analysis and discussion of a performance.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyECommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesThere are numerous types of relationships that exist within a theater community.Create a drama production that incorporates other disciplines of art including dance, music, etc…Identify roles and relationships within an art community, i.e. Musical Theater production teams. Dramatic style communicates expression, informs character development, and elicits audience reaction.AssessmentsPre and Formative Student illustrations Student developed stories Create stories through creative dramatics Specific questions directed by teacherBenchmark/Authentic AssessmentResponding to literature Identifying societal issues Responding to teachers side-coaching Portraying a character Listing ways to be a part of supporting the environmentSummativeFormal Performance Rubric Students will write a reflection on the performance of their peersTeacher circulates among students as they use creative dramatics to act out feelings Teacher side-coaches as students use creative dramatics to show acts of kindness and acts of bullying Teacher supports the students acting out their own storiesAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.Section One: Creating Theater in Our SocietyStudents will learn and analyze theatre in terms of the social, historical, and cultural contexts in which it was created.The Environment Around You - Students will gain an appreciation of how literature can influence society through a shared reading of a story about the environment.The Lorax, by Dr. SeussStudents will identify the characters from the storyStudents will determine the outlook on the environment that each character exhibited.Students will discuss and create a list of the changes in the environment shown in the story.Story PerformanceIn small groups, students will create and perform a creative theatre presentation of the selected children’s story Students will assume and act out the roles previously identified. 5. SReflection: Students will discuss and write a reflection on how this activity has affected each one’s personal attitude on the environment and what each could do to help our environment.Issues in our Society – Students will begin to recognize how common issues in our society can be represented through children’s literature.After a shared reading experience of a children’s story of a societal issue, students will identify and discuss the issue and how it relates to our world.Distinguish the ideas and outlooks of the different characters as expressed in the story.Discuss and list issues and changes as shown in literature.Role Play - Students will use creative dramatics to act out a story about a societal issue.Discussion - Decide on and explain ways that each student could help the environment.Section Two: Theater Teacher a LessonStudents will learn how morals were taught through drama, and assume the roles of characters in a morality play.What is a Moral? – PowerPointThe structure of a morality play teaches or enforces a lesson or value from a society.Morals in Fables: Students design and perform a puppet show based on one of Aesop’s fables, concluding with an announcement of the moral of the story.Students will focus on the;Accuracy of storyCreativity of design of puppets Volume and expression of voice(s) Awareness of moralTheater Teaches Kindness - Students will use dramatic play to improvise stories and situations which champion kindness, respect and responsibility towards each other’s peers.Random Acts of Kindness - Teacher-guided discussion about how demonstrate kindness to others.Use “Random Acts of Kindness” poster for ideas. Using dramatic play, have students act out different random acts of kindness. Teacher side- coaches during this improvisation session.Let’s Be Kind by Joni Downey - Read the book to the students, and then discuss the characters and the storyline.Main IdeasCharacter TypesConflict, Climax, ResolutionAct It Out: Students do a movement warm-up where they act out emotions. Teacher side-coaches as students use creative dramatics to act out the story.Be a Pully, Not a Bully - Teacher-guided discussion about what makes a person a bully.Use the educational poster “Are you a bully?” for ideas. Using dramatic play, have students act out different bullying situations that young students might find themselves involved in at school or home. Teacher side-coaches during this improvisation session to make sure the students understand the situations are pretend Students do not make physical contact with each other during this activity.Discussion: Compare and contrast acts of kindness and acts of bullying.Creating the Kindness – Teacher and students will begin to create their own stories that focus on kindness, respect and responsibility. List story ideas that the students develop during a teacher-led discussion about acts of kindness. Students tell a story of something that happened to them or other family members on a vacation or at home. Have students draw a picture that represents their story about an act of kindness.Discussion: How are the problems in your story like the problems you face in your everyday life?Presenting Kindness - Students will tell the original stories to their peers Divide the class in to groups of four to five students. Using creative dramatics have the groups act out the stories written by each group member for the class. With classmates assigned to different roles, remind students to work together as a unit that uses kindness to make successes After a test performance, discuss ways to improve the story.Fix the Main ideas, conflicts, resolution, etc..Reflecting Kindness - Teacher-led discussion reviewing aspects of bullying and kindness. Review the aspects of kindness vs. bullying using the posters listed in previous lessons.Remind students of how they feel when being bullied and how it feels to have other people be kind to them.RETELLING: Using creative dramatics, students will retell the story of: Let’s Be Kind in their own words.Section Three: Connecting the Arts!Students can connect learning from other arts and disciplines, such as music, visual arts and dance, to extend their understanding of theater.All the Arts! - Students will develop their skills to compare and contrast many types of performances, such as; a play, a dance, or a concert. The teacher leads a discussion using questions such as: “How is a ballet or an opera different from a play? What do they have in common?”“How can we combine singing and acting?Using Venn Diagrams, students will bridge the gaps between various types of arts, including music, dance and instrumental and visual arts. Diagrams contents include;Performance SpacesStorytelling abilityUse of costume/props/sceneryArt Integration (which arts can be performed simultaneously)Dance Connections - Suggested ActivitiesCreate a dance or movements to link a series of dramatic tableaux. Use observations and re-creations of various animal movements in a dance or movement exercise. Create a simple dance in response to a dramatic script or story.Music Connections – Suggested ActivitiesUse a variety of musical selections or rhythms to inspire and/or underscore theater games and improvisations. Fashion Runway, Zip Zap Zop, Three Headed Opera Star, Our School’s Got Talent!Use three different types of music, such as classical, world music and contemporary, in same movement and vocal improvisation to note impact of music on interpretation. Add found music to a story or play to heighten mood and atmosphere.Musical Pantomime scenes, Puppet Performances, Draw What you Hear!Use a variety of Broadway show tunes to introduce students to Musical Theater.Visual Arts Connections – Suggested ActivitiesDraw a scene or costume rendering for a script or play your class is reading.Design costumes or sets, using research, rendering and construction. Analyze the design of theater posters, including period and contemporary designsCreate puppets to be used in storytelling or in a group share. Glove, Shadow, Stick, Body puppets work well in the cooperative classroom setting.Prior to seeing a performance, make predictions about the possible scenic and costume designs and colors.Introduction to costume design and coloring renderings in the technical design process.Section Four: Cross Curriculum ConnectionsStudents will extend their understanding of theater by connecting it to learning in other disciplines. Math Connections: Suggested Activities – Students will develop their numerical and calculation based skills by partaking in drama centric, arithmetic activities.Create word problems related to ticket and concession sales. Use real world Broadway sales and or school wide event ticket sales as a launching pad for math exploration. Estimate the length of a play, taking into account scene changes and intermissions. Using a clock, determine the ending and starting times. Measure the stage and performance spaces for area and perimeter. Mark off the downstage edge of the playing area in one-foot increments from either side of center stage.Language Arts Connections – Suggested Activities: Students will have the opportunity to expand their language arts skills by reading, writing and comprehending scripted texts and scenes. Use a work of children’s literature to animate improvisation, role-playing, storytelling or group sharing.Cinderella StoriesCinderella can also be used for connecting the student’s performance response to understanding the lessons of the story (i.e. what do we learn from Cinderella?). More advanced students can also discuss the time and place embedded in the work and how these provide context. Additionally, students can examine how different cultures are represented in various performances of the same story. Students can develop their understanding of the sequence a story or script by creating beginning, middle and end tableaux. Write “How To” essays about theater activities, including attending performances, participating in theater games, etc.Science Connections – Suggested Activities: Students will gain a deeper understanding of grade appropriate science terminology and practice as they improvise, explore and create scientific based principles. Life Cycles in Nature Improvise movement based on life cycles such as;Seed-to-plantEgg-to-tadpole-to-frogEgg-to-chick-chicken Our Senses in Theater: Use an exploration of the five senses in improvisation activities. Frozen Statues (touch)Blind Man’s Bluff (sight)One Word Story (hearing)Puppet Theater ExplorationsUsing light and shadow, explore stage lighting and the use of lights with shadow puppets.Social Studies Connections – Suggested Activities: Students will gain a deeper understanding of grade appropriate social studies terminology and practice as they improvise, explore and create social issues and histories. Societal Roles Identify and report on character types or roles in the neighborhood Lunchroom attendant, firefighter, store clerk, etc. Explore the neighborhood setting in a work of dramatic literatureComparing Worlds: Explore the neighborhood setting in a work of dramatic literatureImplement a scripted version of the Chicken Little or The Pied pare this with the students’ community. Exploring Cultures: Dramatize and explore similar stories from different cultures.Introduce students to various Animal myths and hero stories such as;Anansi Stories (Latin America)Tall Tales (American folklore)Yen Shen, Toad Bridge-groom (Asia)Conchil and the Crocodile (Africa)Technology Connections – Suggested Activities: Students will have the opportunity to expand their technology skills by utilizing social media, digital photography and computer technology in and outside the classroom setting.Story BoardingUse a simple computer program to create a cartoon storyboard with a plot sequence, captions and dialogue.Supplement story structure and the “Hero’s Journey” concepts.Drama CriticsThe class creates and maintains a Drama Critique Blog and or private Facebook page.Social Media is utilized primarily for Compare/contrast responsesPersonal reflections and critiquesFilm/Theater/TV study and debatePicture Perfect ScenesUsing a digital camera, photograph student tableaux showing character responses and setting. Create a PowerPoint slide show using the tableaux photographs.ActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.Amistad EducationMorals, Cultural acceptance, diversity lessons can be taught via Black-centric skits/plays/musicals EducationFocusing on the culture of creating theater families and acceptance, the following story strives to help students understand what it can mean to be transgender using developmentally appropriate language for younger students. I am JazzIDEA EducationWorld Building with EnsemblesTo work on creating an ensemble, challenge the group to make a big shape together using just themselves: everyone can take part. For example, you could make a ship, with students as the bow, rigging and wheel – use different levels and make sure that everyone is linked to someone else in the shape. Other staff members in the classroom are a vital part of your creative team, so make sure that they have a part to play too, whether it’s taking photos so that you can market your production, or being a part of the action on stage too!Communicate!Every way which human beings can communicate is a part of how the audience will understand and enjoy your story. Holocaust EducationShowcasing Act of KindnessThe objective is to recognize and honor the kind acts of Holocaust liberators and rescuers and to cultivate students' ability to do kind acts. You can choose to recount stories of truth and encourage students to look for ways that they can make positive differences in someone’s life. This can be documented in live journals, video journals and or class skits.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Share student presentations (puppet theater, storytelling, choral scene work, mini-plays) with peers, other classes, younger students and families.Explore stories that are thematically or dramatically similar appearing in a variety of cultures (e.g., animal myths, hero or Cinderella stories).Use diverse images from a photo resource such as the New York Public Library Photo Collection, the Library of Congress or the National Archives to gather a group of images to demonstrate the historical and cultural aspects of storytelling.Students attend a live theatrical performance and a talk-back where actors (as themselves) interact with students.Listening to teacher-shared storytelling of Improvs Analyzing improve on video/tv/movie for morals and lessons Improvising using stories found in myths, fables, fairytales Performing a student developed structured improvisation Reflecting on process and product of self and peers.ResourcesWebsite: AMISTAD: : I am JazzArts EducationAmerican Alliance for Theatre and Education Artsedge Artsgenesis Artsvision & Presentation Astound Keynote 1.0 Keynote 1.0 is a new generation of presentation software that brings the ability to create stunning, professional-quality presentations to everyone. PowerPoint Screenplay , Fran Averett. Basic Drama Projects. 6th ed. Topeka, Kan . : Clark Pub., c1995Polette, Nancy. Another point of view: Reader’s theatre fairy tales and activities.Book: Let’s Be Kind by Joni Downey Shepard, Aaron. Readers on Stage: Resources for reader’s theatre, with tips, play scripts, and worksheets. c2004.DeSpain, Pleasant ELEVEN NATURE TALES: A MULTICULTURAL JOURNEY, Little Rock, August House Pub. 1996.Hamilton, Virginia A RING OF TRICKSTERS: ANIMAL TALES FROM NORTH AMERICA, THE WEST INDIES, AND AFRICA, New York, Blue Sky Press, 1997.Hoffman, Mary A FIRST BOOK OF MYTHS: MYTHS AND LEGENDS FOR THE VERY YOUNG FROM AROUND THE WORLD, New York, DK, 1999.Dezseran, Louis John. The Student Actor’s Handbook: Theatre games and exercisesPosters: -Random Acts of Kindness -Are You A Bully? -How Are You Feeling Today?*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Real world connectionsCreating Theatre in our societyanalyze theatre in terms of the social, historical, and cultural contexts in which it was created34Real world connectionsTheatre teaches a lessonassume the roles of characters in a morality play24Real world connectionsConnecting the artsconnect learning from other arts and disciplines, such as music, visual arts and dance, to extend their understanding of theater24Real world connectionsCross-curricular connectionsextend their understanding of theater by connecting it to learning in other disciplines1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Grade BandThree - FiveContent Area:Grade Three Grade(s)3Unit Plan Title:1: Dramatic Traits and the Actor’s Choice!Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleDeveloping choice in character is a vital piece of the young actor’s development. By studying the characteristics of dramatic character (such as: hero, heroine, villain, protagonist, antagonist), students can make informed choices, which influence rich characters they create and portray. In this unit, we seek to break down the aesthetic designs of stock character using Commedia dell Arte as a point of reference. Students need to understand that character is an extension of their personal understanding, experiences and desires in order to fully become those characters. The investigation of character elements allows us to create thoughtful portrayals that are able to build and sustain relationships with given text/scenes/plays. This introductory workshop gives students ample opportunity to understand, evaluate and create their own character creations. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3b: Use and adapt sounds and movements in a guided drama experience.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5b: Physically and intellectually investigate how movement and vocal choices are incorporated and make meaning in drama/theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.5.Re8a: Develop and implement a plan to evaluate drama/theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.5.Re9a: Compare and contrast multiple personal experiences when participating in or observing a drama/theatre work and justify responses to drama/theatre work based on personal experience.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11b: Compare the drama/theatre conventions of a given time period with those of the present.1.2 Media Arts Standards by the End of Grade 51.2.5.Cr1a: Generate ideas for media artwork, using a variety of tools, methods and/or materials.?1.2.5.Cr1b: Develop individual and collaborative artistic goals for media artwork using a variety of methods.?Technology Standard(s)8.2.5.ED.3: Follow step by step directions to assemble a product or solve a problem, using appropriate tools to accomplish the task.9.4.5.CI.1: Use appropriate communication technologies to collaborate with individuals with diverse perspectives about a local and/or global climate change issue and deliberate about possible solutions9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifactNew Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.W1. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.Essential Question(s)What can you do to relax on stage?What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?Enduring UnderstandingsTheatre artists rely on intuition, curiosity and critical inquiry.Dramatic style communicates expression, informs character development, and elicits audience reaction.A specific theatrical style (i.e. melodrama) dictates dramatic decision making and form, and drives character.Investigation of character elements creates thoughtful improvisation to develop dramatic character and performance.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDevelop melodramatic and stock characters.Identify characteristics of dramatic character.Portray believable characters in the context of a scripted story/improvised.Share individual feelings and opinions appropriately in reflective sessions. Develop characters which show mood, movement and mannerism.AssessmentsPre and Formative – SGO pre-assess examinations, Open discussion · Small group discussion · Creative drama activitiesBenchmark/Authentic Assessment:Teacher side-coaching to prompt establishing scene characters and character relationships Establish character-given circumstances through teacher questioningPerformances and Performance EvaluationsSummative - Classroom monitoring · Full class discussion · Small group discussion · RehearsalCharacter Exams – Blocking, Subtext, Body Positions, Voice and DictionBrainPop, SMART Assess, Reflect & Response PapersCharacterization RenderingsPeer Critiques Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD –SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Commedia dell’ArteThe style of Commedia is characterized by its use of masks, improvisation, physical comedy, and recognizable character types. Students will benefit greatly by learning the basics of stock/stereotypical characters and what they are used to communicate.The Traditions and History of Commedia dell’Arte Teacher Guided PowerPointsFamous Character TypesZanni, Old Men, Captain, Lover (Friends)Importance of the MaskImprovised ComedyIntroduction of the ActressCharacter WalksStudents walk around the room as a character of their (or your) choice.When you call out “TAKE,” students should freeze. Now as they are walking, ask them to imagine that an invisible string is attached to the top of their head. The string is going to pull them through space, causing their head to lead them. Have students explore walking this way. What happens to the rest of their body? Do they speed up or slow down? Encourage students to think about who these characters might be: what’s their name and/or profession? where are they going? etc.Then call “TAKE.” The imaginary string is reintroduced within a few seconds, only now it’s pulling a different part of their body. Explore leading with the nose, chin, chest, stomach, hips, and knees.Encourage students to discover the voice of the different characters. Emotion LevelsTeacher calls out an emotion, like “sad.” Students to take one step forward and show us with their bodies, faces, and voices someone sad at level 1. Then have someone else step forward and show us sad at a level 2.Have them increase their portrayal of sadness by exaggerating it and stepping forward at a Level 3, then 4, and so on up to 10. By 10, encourage students to be over the top and dramatic, perhaps screaming and crying on their knees. Go through this progression several times with different emotions, like happy, jealous, or heartbroken.Discuss: How the emotions change as they increase? If you were sad at a 1, what emotion were you portraying at a 10? Despair? Distraught? Once students get the hang of exaggerating the emotions step-by-step, this can become a game by calling out the numbers and emotions out of order. Simple ScenariosPartner students into pairs of two. Give each pair a simple scenario from the list below. Scenario #1: An Old Man and his Servant Zanni, the servant, is very hungry. Every time he is about to eat his dinner, his master gives him a new task to complete. Scenario #2: The FriendsA young boy and a young girl are best friends. They discover their fathers are enemies and will never let them be friends. They decide to run away together. Scenario #3: The Captain A soldier comes to a foreign city with his servant. He brags about how he has fought bravely in a war. The soldier then sees a mouse, and they are both scared away.Have them improvise the scene Encourage them to find three different ways of doing the task of their characters. The first time students typically rely on their voices and facial expressions to communicate the scenario.Section Two: Pantomime –SUGGESTED ACTIVITIESStudents learn the movement/pantomime techniques of age, given circumstances, place and personality.PowerPoint/SmartBoard Presentation: Chaplin/BeanIntroduce students to the basic principles of pantomime.Chaplin’s, “The Kid”Mr. Beans, “At the Library”Use vocal and physical expression to interpret a character’s thoughts, feelings and wants.Characters in PlotHero, heroine, villain, protagonist, antagonistCreate character collages of your desired character type. Describe their background and motivation for characterPerform them in an improvised pantomimeGesture and Facial ExpressionSilent Skit - Whose Line Is It Anyway???Have one of the students who is a character be a host.??Instruct the four students that they are to impersonate their characters specifically through facial expressions and popular motions that they use.?Journal: What gestures did you see???What facial expressions did you see.Musical Pantomime - Students will demonstrate an understanding of how music and story can be connected.Students will complete brainstorming activities and participate in class activities and discussions.Dynamic Music Group – Create a short scene with the teacher provided music.Classical, Rock, Soft Jazz, etc…Discuss - What images, ideas, scenes, etc. come to their mind.??Play the clip and then share your thoughts with the class and ask what they thought about.Section Three: Voice and Diction –SUGGESTED ACTIVITIESStudents will demonstrate their ability to use projection and diction.POWERPOINT/SMARTBoard – Voice and Diction Vocal AnatomyProper Technique and ControlBreath StabilityTone, pitch, volume, rate, and diction Student will participate in breathing exercises and completing an anatomy diagram worksheet. They will demonstrate their knowledge of articulation and diction by writing and performing their own tongue twister.Learning Vocal Control: Breathing ExercisesRib Expansion and Diaphragm activities.Articulators – The art of clear vocal productionsTongue Twister exerciseSally sells seashells by the seashore.Cinnamon synonym Toy boat – toy boat – toy boatDiscuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)Vocal Characterization - Students will demonstrate their ability to use vocal techniques to establish character by performing a fairy tale scene using only their voices.Fairy Tale Voices: behind some sort of screen or wall so that they have to get the whole story across with their voices only.??Each person has to have a character and has to participate.Journal: What are some examples you saw of detailed vocal choices being made to establish character???How were each of the vocal techniques we have learned used to establish character?Dialect and AccentStudents will watch various videos showcasing accent around the world.New York, English, Irish, Southern, etc…Reconstruct famous accents by implementing play and story scripts. Section Four: Character Performances –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of beginning acting skills by performing a solo/duo scene.Student Created AutoDramas - Develop a real or imaginary character, and rehearse and perform as that character in a student-created, scripted or improvised scene, demonstrating the ability to:Students will be asked to showcase the following;Being free from inhibitionsProper stage directionsObjectives and tacticsCharacter developmentVocal use and varietyBeing natural onstage. In the Moment Scenes – Demonstrate an evolving ability to commit to truthful acting and responding “in the moment” within imaginary circumstances.Instructor will challenge students with a randomly generated conflict that his/her character must manipulate through.AMISTAD EDUCATIONCivil Rights “Page to Plays”?Auto-Dramas, student scenes, commedia scenes can focus on the bring art, theater and history together by recreating Civil Rights Freedom Movement posters. Students can be supplied with an array of civil right posters and be asked to create tableau scenes from the images. HOLOCAUST EDUCATIONThemed Autodrama – When recreating, many characters are real people, in some cases still alive, so care should be taken to reflect their voices accurately. This is especially true if developing devised works based on testimonies. When students are unsure of details, they should not imagine what the answers might be but research them – this could be set as a homework task. Resources include - EDUCATIONPantomime: With no props or costumes used, provide an avenue of visual cue, such as lights on/off, for those who need support transitioning to/from the start/end of each task in the activity (start/stop of the pantomime). With a focus on movement, assessment will need to consider those with limited mobility and locomotion. Given this is primarily a non-verbal activity with an expectation of facial expression, provide examples via photo or video, as some students may have difficulty distinguishing what different facial characteristics mean. This can be part of the scaffolding that happens prior to this lesson. Especially important for those on the Autism Spectrum and those with visual impairments.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Differentiate characters within a play Distinguish aspects of a given play through research Select appropriate sections of a character’s lines in a play to create a cohesive and representative monologue Analyze a character that supports the overall mood, period, and content of the play selected Score a selected monologueAttend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesBooksImprov! A Handbook for the Actor - Atkins, Greg The Ultimate Improv A Complete Guide to Comedy Improvisation - Nevraumont, Edward J. and Nicholas Hanson (ed).Improvisation for the Theatre- Viola Spolin Theatre Games for the Classroom A Teacher’s Handbook- Viola Spolin Theatre Games for Rehearsal: A Director’s Handbook- Viola SpolinA variety of magazines with pictures of people.WebsitesHOLOCAUST: episodes of “Whose Line is it Anyway” DVD – Popular TV show based on improvisation starters, episodes available on YouTube (Guide for general performances in theatre) 2012/improv-tips-and-tactics_52678.html (Improv tips and tactics article) (The Process of Drama) (Site with numerous improvisation exercises)\glossaryofterms (Online theatre terms glossary) (Lessons and resources for teaching improvisation) (Cards with “who”)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1Dramatic traitsCommedia dell’Artelearning the basics of stock/stereotypical characters and what they are used to communicate21Dramatic traitsPantomimemovement/pantomime techniques of age, given circumstances, place and personality21Dramatic traitsVoice & Dictiondemonstrate their ability to use projection and diction21Dramatic traitsCharacter Performancesdemonstrate an understanding of beginning acting skills by performing a solo/duo scene3* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:Drama Grade(s)3Unit Plan Title:2: Staging the Production!Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleAdapting a story into a theatrical composition requires investigation into the critical elements of the plot including major events and character traits. Students will focus on investigating and interpreting stories for the stage and how that information leads to new discoveries surrounding characters and themes. By expressing the essential qualities of a story, students will interpret and disseminate important “story to stage” elements through their script writing and performances. Establishing a framework of rudimentary technical theater vernacular is an essential component of this unit. Knowing the machinations of the theater space and the “backstage” world will give students a broader sense of what it takes to stage a theatrical production. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.1.4.5.Cr1c: Imagine how a character's inner thoughts impact their actions and collaborate to determine how characters might move and speak to support the story and given circumstances in drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.1.4.5.Cr2b: Participate and identify defined responsibilities required to present a drama/theatre work informally to peers/audience and participate in the process.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3a: Collaborate with peers to revise, refine, adapt and improve ideas to fit the given parameters of an improvised or scripted drama/theatre work through self and collaborative review.1.4.5.Cr3b: Use and adapt sounds and movements in a guided drama experience.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5b: Physically and intellectually investigate how movement and vocal choices are incorporated and make meaning in drama/theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.5.Re7a: Identify, explain and demonstrate an understanding of both artistic choices and personal reactions made in a drama/theatre work through participation and observation.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations:1.4.10a: Explain how drama/theatre connects oneself to a community or culture and identify the ways drama/theatre work reflects the perspectives of a community or culture.1.2 Media Arts Standards by the End of Grade 51.2.5.Cr2c: Brainstorm goals and plans for a media art audience.1.2.5.Pr4a: Practice combining various academic arts, media forms, and content into unified media artworks such as animation, music, and dance.?1.2.5.Pr4c: Create media artworks through integration of multiple contents and forms. Technology Standard(s)9.4.5.CI.1: Use appropriate communication technologies to collaborate with individuals with diverse perspectives about a local and/or global climate change issue and deliberate about possible solutions9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifactNew Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.W1. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.Essential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists transform and edit their initial ideas?How can you recognize the cultural and historical context of a dramatic work?How does an understanding of real world literary and historical characters help inform character choices?Enduring UnderstandingsTheatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Adapting a story into a theatrical composition requires investigation into the critical elements of the plot including major events and character traits.Translating a story to the stage relies upon stage composition (i.e. scenery, blocking, and technical elements) to expresses the story’s essential qualities.Investigating and interpreting a story for the stage leads to new discoveries surrounding characters and themes.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesScript notation for writing dialogue in a script.Procedures for developing a script from a narrative story, with believable characters and basic stage environments.Coherent script writing which includes a beginning, middle, and end of a narrative story.Portray believable characters in the context of a scripted story.AssessmentsPre and Formative – SGO pre-assess examinations, Open discussion · Small group discussion · Creative drama activities Written response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Observations: Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Benchmark/Authentic Assessment Teacher side-coaching to prompt establishing scene characters and character relationships Establish character-given circumstances through teacher questioningPerformances and Performance EvaluationsConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Summative - Classroom monitoring · Full class discussion · Small group discussion · RehearsalCharacter Exams – Blocking, Subtext, Stage SpaceBrainPop, SMART Assess, Reflect & Response PapersStage Design RenderingsPeer Critiques Development of a design concept Execution and completion required illustrations based on assigned positionIdentify new performance spaces around the school campus Explore new ideas about costumes, props, masks, and set pieces with students Present stories the students already know in different spaces Specific questions directed by teacherPerformance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Portfolios Portfolios may contain many different types of documentation for what students know and are able to do. Items in a portfolio may be teacher-selected, student-selected, or a combination of these.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Staging TraditionsStudents will discover the foundations of staging and performance space. They will be able to explain how space affects performances.Creating Stage TypesUnderstand the basic types of theatre stages and how they are utilized for a given production. ProsceniumThrustArenaGreek Amphitheater, Kabuki / Noh Theater, Pageant Wagons, Concert Halls, Globe Theater, Black Box TheaterStudents are able to draw and identify the three basic stage types.Students devise simple set designs for a play through cooperative teams. Create first drawings of the set and finally a three-dimensional model.Directions on Stage – POWERPOINT Students learn and review the principles and design of stage directions and their use in dramatic performance. 9 Stage SpacesUpstagingBlockingStudents take turns directing one another to move to different stage areas. They can direct one another to move around the stage with;Different speedsSlow, Medium, FastDifferent levelsHigh, Middle, or LowDifferent emotions or attitudesSad, Happy, Excited, Sleep, Diva-ish, etc… Different styles of movement Crawling, hopping, dancing, waddling, etc…Blocking Design - Students select a scene from a play and plan blocking for the available stage area Classroom presentation areaOutside the buildingIn the school theatreBody Positions – Students learn and implement the ideals of proper body position during dramatic presentations. Full Front, ? Turn, Profile, ? Turn, Full BackStudents demonstrate a character’s inner feelings through performing various situations while maintaining specific body languageWorking in small groups, students create a list of effective and ineffective body position/emotional context choices.Section Two: The Visual Elements Students will understand how visual elements (such as space, color, line, shape, and texture) and aural elements (music, sound effects) can be used to communicate place, time, and mood in a theatrical work.Environment of the TheaterMake a list with students of performance places. Then talk about the word environment.Brainstorm the meaning and then apply it to a performance.Help the students realize that “environment” is related to scenery as a concept.Using the list, have students draw a color representation of the set.Practical Performances: After viewing a play or film (animated or live action), students identify how sound and visual elements are used to establish Understand how visual elements can be used to communicate place, time, and mood in a theatrical work.Space, color, line, shape, and texture Understand how aural elements can be used to communicate place, time, and mood in a theatrical work.Music, sound effects, underscoring.Section Three: The Production Concept –SUGGESTED ACTIVITIESStudents will understand the position of a director on a production team, and his/her responsibilities, a director’s concept and how to develop a concept. Director PowerPoint/SMARTBoard - role of the director and the various responsibilities related toMovement and stage composition Coaching actors Communicating with actors, designers and technical crewsShow a video of a production meeting so students will understand that the Director is responsible for the team understanding the concept.Creating the Concept: Shape a small group tableau, deciding which student will take the role of director.Groups all work with the same script, i.e. Reader’s Theater Scripts. Each student will take turns recognizing and discussing set, prop, costume, lighting and sound design in theatrical productions.Create Group Tableaus, deciding which character will take focus in the scene.Written/Oral/Performance based discussions guided by teacher.Section Four: Costume/Prop Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices.Costume CreationsGroups make, model, explain their design creations. Collaborate to create simple costumes for acting out a drama.Read a play and create a costume rendering for a character.Designing the Play’s CostumesHave students select from an already collected group of costume pieces, fabric swatches, ribbons, and old hats to create a simple costume they can wear based on a characters from the story they read.Prop Design Explore props and how they can enhance creative play. Using the simple short story that was read to the class, and prompted by the teacher, make a list of all of the “props”, or things that the character might hold in their hand Once the list is complete, and after diligent discussion, have students draw a color representation to be used in their reenactment.Section Five: Staging the Story – SUGGESTED ACTIVITIESStudents will reenact the story they have been working on, using their newly created production conceptsCompany Presentations: Describing your design in detail, giving justification for each, as well as describing how it fits with the director’s concept.Students reenact the short story they read integrating costumes, masks, and props.After each presentation, allow students to ask questions. Remind the students that they can ask questions about the creation process or any clarifications they might need. Remind the students that we are not critiquing the design; it is a time to understand the design process.AMISTAD EDUCATIONInterview with Paul Tazewell: Tony and Emmy Award-winning Design & Production alumnus Paul Tazewell reflects on his formative years as a student in the Costume Design & Technology program. Student can disvoer the career rise of this successful costume designer, through videos and production media! EDUCATIONTheatre in the Nazi Concentration Camps – A fascinating look into the life of Jews in German concentration camps who defied their captors with secret satires and quiet theatrical performances. Student can read, reflect and possible craft/create their own secret performances in class. EDUCATIONPuppet in the Classroom: ?Puppetry is a great way to bring more reticent or shy children out of their shells, and to help everyone become more expressive.? Children who are afraid to speak or act in front of the class will often enthusiastically emote in the character of a puppet. Utilize the following lesson link to incorporate puppetry into your special needs classroom. – See Appendix B for specialized programs that reflect the needs of students and community.Theater House visits and tours.Youtube / Literary / Archival Play Production MediaInvestigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).Participate in the running of a show as part of the properties, deck, electrics and costume crews.ResourcesAMISTAD: : Spaces - Black/Proscenium (Compilation of tips for classroom drama productions) (Guidance on various production roles and responsibilities)STAGE CRAFT DIRECTORY HYPERLINK "" \t "_blank" Glossary of Technical Theatre Terms?()?Hundreds of British (and American) technical theatre terms, explained. In alphabetical order. Soon to be sorted by category, too. HYPERLINK "" \t "_blank" Stagecraft Frequently Asked Questions?()?Frequently asked questions from the rec.arts.theatre.stagecraft and alt.stagecraft newsgroups. HYPERLINK "" \t "_blank" Drama Department Links: Stagecraft?()?From the University of Exeter. The list includes costumes, staging, props, lighting, sound, and stage management. HYPERLINK "" \t "_blank" Association of British Theatre Technicians?()?Includes information about training, publications, and other information about several aspects of technical theatre. HYPERLINK "" \t "_blank" Entertainment Technology (ETEC)?()?This site provides access to the magazines "Entertainment Design" and "Lighting Dimensions" about show business art and technology.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Staging the productionStaging Traditionsexplain how space affects performances12Staging the productionVisual Elementsunderstand how visual and aural elements can be used to communicate place, time, and mood in a theatrical work12Staging the productionThe Production conceptunderstand the position of a director on a production team, and his/her responsibilities, a director’s concept and how to develop a concept22Staging the productionCostume/Prop Designdemonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices22Staging the productionStaging the Storyreenact the story they have been working on, using their newly created production concepts2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)3Unit Plan Title:3: Origins of Theater: Theater in Myth, Storytelling and FableCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe introduction of myth, storytelling and fable is a solid spring board into the various aspects of theatrical history and tradition. Students will develop a universal understanding of varying dramatic themes and be able to dramatize different cultural versions of similar stories. Interpreting and analyzing the machinations of storytelling and myth-making through the centuries allows students to use Theater as a means to understanding the world around them. Tall Tales, Morality Plays, Fairy Tales, Historical myth and legend will serve as primary source material that students will read, perform and analyze in a collaborative setting. The inclusion of the Greek Theater tradition will act as a spring board into the rich cultural traditions that were established and still persist today. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.1.4.5.Cr1c: Imagine how a character's inner thoughts impact their actions and collaborate to determine how characters might move and speak to support the story and given circumstances in drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.1.4.5.Cr2b: Participate and identify defined responsibilities required to present a drama/theatre work informally to peers/audience and participate in the process.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3a: Collaborate with peers to revise, refine, adapt and improve ideas to fit the given parameters of an improvised or scripted drama/theatre work through self and collaborative review.1.4.5.Cr3b: Use and adapt sounds and movements in a guided drama experience.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.1.4.5.Pr4b: Identify and utilize basic technical/design elements that can be used in drama/theatre work to demonstrate an understanding of the elements.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5a: Describe and apply dramatic elements of dialogue, action, character emotion, and theme in the performance and/or creation of a drama/theatre work.1.4.5.Pr5b: Physically and intellectually investigate how movement and vocal choices are incorporated and make meaning in drama/theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.5.Re8a: Develop and implement a plan to evaluate drama/theatre work.1.4.5.Re8b: Analyze technical elements from multiple drama/theatre works and assess how the technical elements may support or represent the themes or central ideas of drama/theatre works.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.5.Re9a: Compare and contrast multiple personal experiences when participating in or observing a drama/theatre work and justify responses to drama/theatre work based on personal experience.1.4.5.Re9b: Explain responses to characters based on cultural perspectives when participating in or observing drama/theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations:1.4.10a: Explain how drama/theatre connects oneself to a community or culture and identify the ways drama/theatre work reflects the perspectives of a community or culture.Anchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Identify, respond to and investigate connections to global issues including climate change and other content areas in a dramatic/theatrical work.1.4.11b: Compare the drama/theatre conventions of a given time period with those of the present.1.2 Media Arts Standards by the End of Grade 51.2.5.Cr1b: Develop individual and collaborative artistic goals for media artwork using a variety of methods.?1.2.5.Cr2a: Collaboratively form ideas, plans and models to prepare for media artwork.?1.2.5.Cr2c: Brainstorm goals and plans for a media art audience.Technology Standard(s)9.4.5.CI.1: Use appropriate communication technologies to collaborate with individuals with diverse perspectives about a local and/or global climate change issue and deliberate about possible solutions9.4.5.CT.3: Describe how digital tools and technology may be used to solve problems.9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifactNew Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.W1. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoricNJSLSA.L3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.Essential Question(s)What happens when theatre artists and audiences share creative experiences?How can you recognize the cultural and historical context of a dramatic work?How does an understanding of real world literary and historical characters help inform character choices?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?Enduring UnderstandingsTheatre artists develop personal processes and skills for a performance or design.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Cultural references and relationships are embedded within scripted scenes and influence and inspire character development.Actors’ cultural perspectives and expressions influence character choices which, in turn, affect the other actors in a scripted scene.The study of theatre history reveals patterns of societal development and progress over time.Biographical & referential information about influential people and eventsTheatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsAGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesReenact historical events and portray authentic characters through dramatic presentation.Chronological understanding of the foundations of theatrical tradition.Write and/or speak expressively in order to communicate a range of emotions resulting from historical conflicts and situations.Use documents to inform artistic choices in ensemble situations to create historically accurate scenes or tableaux.Student will identify historical events and how they can inform non-stereotypical improvisation, enhancing the understanding of multiple perspectives for character representations.AssessmentsPre and FormativeInformal questioning pertaining student’s experiences with live performances to assess student prior knowledgeBenchmark/Authentic AssessmentDiscover new performance spaces around the school campus Explore new ideas about costumes, props, and masks with students Present stories the students already know in different spaces Specific questions directed by teacher.SummativeAsking questions pertaining where students might find performance spaces and how they could make them more interesting for a performanceAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Origins of Theater Students will gain general knowledge from the readings and discussions about the foundations of theater.Rituals of Theater– Students will gain general knowledge from the readings and discussions about rituals.What is Ritual Theater? - PowerPointRepeated ActionSymbolic SignificanceEmotion EvokingCultures used Ritual, dance and storytelling to communicate.The First Drama – PowerPointStudents will gain general knowledge about the location and culture of ancient Egypt.Ancient Egyptian “theater” – Abydos Passion PlayOsiris and the Ritual of Death/Life OverviewStudents will use creative dramatics to act out the story of Isis and OsirisRitual Tableaus Students will create and perform groups of motionless scenes portraying figures from a story of ancient ritual. Examples of ritual include;Achieve success in battle and huntEnsure adequate sun and rainExpress duty to community.Discuss: In what ways do our rituals become traditions? Do you have any traditions in your family or community you can share with the class?Theater Ritual and Dance Students will understand that dance was born out of;Animal imitation, natural gymnastics, pantomime and rhythmic movementVisual Examples:Fijian Warrior DanceThe Haka – Dance of War: The Maori HakaTheyyam: Dance of IndiaStudents will work in collaborative groups to create a ritualized performance based on a primitive dance style.Critique the performances by classmates and self.Section Two: Exploring Greek Myth Students will understand how to effectively explore cooperative movement and sound in the empty space.Greek Mythos and Theater Origins – Study of Greek myths and how they were used to teach the culture, history, moral lessons, and appropriate social behaviors to the younger generation. Greek Theater History: PowerPointFocus on;Greek Chorus (ensemble)The Chorus MaskWhy were myths important?Students can begin to evaluate and consider the power of this non-verbal form of communication.Round Robin Myth Reading Students can read various Greek Myths including;Zeus and the TitansDemeter and PersephoneThe Fall of IcarusThe Greek Chorus – Students will develop their skills and learn how to perform movements in the style of a Greek chorus.What is a chorus? Explain that in Greek times performances took place in amphitheaters Instead of one actor telling a story a group of actors known as a chorus worked together in movement and voice so that stories could be heard and movements seen.Mirror Exercises: Teacher faces class and students have to mirror movements.If appropriate a couple of students could try taking the lead.Mirroring in pairs.Discuss: What skills did you have to use to successfully mirror someone?Focus, control of movement, patienceGroup Greek Animals - In groups students should create four movements or actions to show the following: Tail of snakeBody of a LionWings of an eagle Head of a womanThe four movements/actions can be in any order but students should aim to move fluently from one to the other. The Mask – Students discover the importance of the mask and it’s use in Greek Theater and beyondMask Archetypes – PowerPoint (Greek Mask Origins)Fool, King, Warrior, Everyman, Old Man, ScholarHot and Cold AurasStudents carefully observe each other as they make stage entrances wearing simply a blank mask.Other students try to determine whether or not the students presents a COLD or HOT auraCold = Calm, Relaxed, Tired, Slow, Calculated, etc...Hot = Excited, Frenetic, Motivated, Fidgety, etc…Afterwards, discuss which pantomimes were the most successful and why.Making the Mask - Working alone, students create a mask of a character using a variety of materials. Then they collaborate with other students to perform a Greek Chorus Show. For example, each student designs a separate character from The Wizard of Oz. Then the teacher can direct them in using the Greek Chorus Style to performing the story.Reader’s Theater Performance PiecesTeacher selected improvisation groups: students select a myth from the teacher provided stories to improvise.Students develop a structured improvisation of the myth for informal presentation.Students design a performance rubric for evaluation of characterization, vocal volume, diction, pacing, gesture, and movement.Discussion: After viewing the performances, students identify structural elements (e.g., plot-setting, rising action, crisis falling action; conflict-goals versus obstacles; theme-main idea, central concept).Journal: Students write personal reflections on performance quality and success of the presentation of the myth and the function of the chorus.Section Three: Elementary SHAKESPEARE!Students will learn about William Shakespeare and the theatre history of the Renaissance Period.Why Shakespeare? - PowerPointHistorical / Personal tour of Shakespeare’s work and life. England in the 15th Century (Elizabethan)Famous playsContributions to playwrighting and dramaticsPersonal LifeThe Language of Shakespeare Students will participate in improvisations and complete worksheets focusing on;“Cursing” Like ShakespeareIambic pentameter worksheets/iambic-pentameterUniversal truthsImagery/Metaphor/Alliteration Plot PlaysStudents will review basic plot/play analysis by breaking down a teacher chosen scene from any appropriate Shakespeare play. Students will apply acting basics and period style to the building of a renaissance-style character to perform for their peers.Students will write a character sketch that reflects a well-developed character.Students will rehearse the scenes in read through, blocking, working, polishing, technical, and dress rehearsals in order to perform for their peers.Section Four – Modern Theater Traditions Around the World Students will be introduced to various cultures of theater traditions found on various continents.Map to Theater! - Use a world map to show the locations of the 7 world continents.Australia, Asia, Africa, Europe, South America, North America, AntarcticaPresent geographical information as well as;Cultural BackgroundsSocial Varieties/PeopleContinental Points of InterestNorth AmericaAmerican MusicalStudents are shown pictures and watch videos of age appropriate, famous Broadway plays.Cinderella, Annie, Little Mermaid, etc…Students can perform the scenes shown in class by;Acting out stories using body and voice for expression.Learning a selected song from the musicalImprovising a group dance, i.e ballroom dance choreographyEuropeShakespearian Theater - Students are introduced to the framework of Shakespeare’s type of language and style. THEE THOU Game – Students discover the vernacular of Shakespeare’s time by performing improvised scenes with various types of Shakespearian words such as;Thee, Thou, Art, Wherefore, -ith, Thy, etc…The Monologue - Students learn what the monologue is and why it is used as a dramatic element for character and script. Perform monologues in mock interview situations (e.g., employer-prospective employee, father-daughter’s new boyfriend).Students perform character-based improvisations in monologues to enhance meaning.Students must employ Thee Thou Speech in their interviews.Australia - Teacher-guided lesson and discussion about Australia as a continent vs. just a country.Creative Animal Movement - Use of creative movement to interpret Australian children’s song: “Kookaburra.” Discuss the different events in the life of the kookaburra. Share picture and have students act out bird movements.Feel free to use other Australia-specific animals including;Kangaroo, Platypus, Great White Shark, etc…Aborigine Culture - Use a world map to show the location of the continent of Australia in relationship to the United States of America. What is the Outback.?Who is the Aborigine – POWERPOINTTeacher-led discussion about the culture and life style of the Aborigine.Didgeridoo – Create your own didgeridoo and use it as we perform our Dreamtime Animal Improvs. DREAMTIME: Aboriginal StoriesRead the creation story from the book. Teacher led discussion about the story elements of;Content, repetition, rhythm, and rhyme of the text Play the “Rain Game” for further enrichment – Students will be introduced to and analyze the theatrical practices of the Kabuki Theater traditions.What is Kabuki? – PowerPointBrief Cultural OriginsTypes of Characters/Colors Symbolism/CostumesSamurai, Onnagata, Koken Types of Stage DesignsFun with Fans – Students will understand the significance of the fan and implement them into short, improvised skits. Fans pop out one handed and in follow the leader style, the students will demonstrate various emotions and actions with the fans. LaughterWeepingTerrorRageDyingJapanese Folk Tales - Students will learn simple routines from traditional Japanese folktales such as;Momotaro (The Peach Boy)Issun Boshi (The One Inch Boy)Yuki Onna (The Snow Woman)Students will select their roles and the groups will practice pantomimed movements in a follow the leader format. Performances with choreographed music will be presented at the end of the unit.Makeup and Costumes are completed optional in order to enhance the quality of the dramatic interpretation. Section Five: Theater and Modern Society –SUGGESTED ACTIVITIESStudents will demonstrate an understanding that theater traditions reflect the times in which they were created.Creating visual representations of knowledge gainedStudents, using notes and with access to multimedia presentations, will create charts, graphs, diagrams, posters and pictures showing similarities and differences among the various Non-Western theatre genres presented and Western theatre.Whole class assessmentUsing a test developed from the material presented, the teacher will assess knowledge gained from the student presentations.Discussions: What did we just watch???What are these trailers made for???Did this trailer accomplishAMISTAD EDUCATIONMyth and Folktale Reenactments - America is a country rich in history and stories.?As a melting pot?of cultures, our national literature comes from all over the world. One of the best ways to teach our children about other cultures is through books and African and African American folk tales are perfect to share with children. These books blend together a rich combination of history, fable, and illustrations that engage and teach children the importance of America's cultural diversity. EDUCATIONReimagining Genocide: Jane Yolan’s Fairy Tales of the Holocaust – Students can be introduced to the novella, Briar Rose, which raises some interesting questions about the limits of Holocaust representation and the ability of folk tales to encapsulate such a torrid history. Maybe Ruth Franklin is right. Maybe Yolan’s work has tapped into a cultural form that might help to advance our engagements with the Nazi genocide and to lure new readers to the topic. EDUCATIONStory in a Basket: This game is wonderful for small groups of students, those who are working on expressive language skills and those who like having something to touch. Fill a basket with about a dozen different props, which might include small dolls, objects from nature, household objects, and small toys like tools or cars. Have three students come up, and let each student choose one prop. Then, ask them to act out a story that brings together the three props they have chosen. Other students can chime in with ideas or advice for how the story might pan out. Keep it short so that others will also have a turn.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Listening to teacher-shared storytelling of Greek myths and legends Analyzing Greek myths for intended morals and lessons Improvising using stories found in Greek mythsCollaborating to create characters and to develop a structured improvisation based upon selected Greek myths Performing a student developed structured improvisation Reflecting on process and product of self and peers.Applying information gained from reading and teacher sharing to a structured improvisation, story analysis and reflectionsResourcesOnline:AMISTAD: : for Everyone Japan Performing Arts Net Information on Japanese performing arts, links to a wide range of theatre and dance companies and details of Japan Foundation Performing Arts exchange programs. - wit/mff/greektheater.htm philip-ardagh/greekmyth-and-legends.htm yths.html ient-egyptian-games-online/ (Explanation of “spotlighting” technique) bushfireTraditional-Aborignial-various-artists · Gilfond’s adaptation: The Readers Theatre Folklore Plays Dreamtime: Aboriginal Stories by Oodgeroo Nunukul Roger Ellis’ edited collection: Multicultural Theatre II Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996. Ten plays based on multicultural folktales from such countries as Ghana, China, and Italy. Williams, Marcia BRAVO, MR. WILLIAM SHAKESPEARE, Cambridge, Candlewick Press, 2000. Presents the stories of seven Shakespeare plays including actual dialogue in the illustrations, summarizing the plots in picture captions, and showing the comments and actions of audience members on the sides and bottom of the pages.Marx, Pamela TAKE A QUICK BOW!, Glenview, Goodyear Books, 1997. Contains twenty-six short plays that may be easily staged in the classroom on every subject from the seasons and holidays to American heritage, science, folk tales from diverse cultures, and more. Papp, Joseph & SHAKESPEARE ALIVE!, New York, Bantam, 1988. Kirkland, Elizabeth Describes London during Shakespeare’s time, Elizabethan theatre, how plays were produced, music of the time, where Shakespeare got his plots, and how he transformed them.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Theatre HistoryOrigins of Theatregain general knowledge from the readings and discussions about the foundations of theater.23Theatre HistoryExploring Greek Mythunderstand how to effectively explore cooperative movement and sound in the empty space33Theatre HistoryElementary Shakespearelearn about William Shakespeare and the theatre history of the Renaissance Period33Theatre HistoryModern theatre traditions around the worldExplore to various cultures of theater traditions found on various continents23Theatre HistoryTheatre and modern societydemonstrate an understanding that theater traditions reflect the times in which they were created2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)3Unit Plan Title:4: Play the Page!Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleCharacter traits and mood of a literary work often inspire a need to bring a story to life. Bringing our aforementioned stories/myths/fables to life through means of dramatic expression with the composition of a strong dramatic ensemble, will cultivate successful performance technique and literary interpretation. This unit focuses on creating various dramatic gestures, tones, and movements, which further develop elements of a literary plot. Students engulfed in the soul of dramatic improvisation based on literary text illuminates value of the original text by bringing a character’s thoughts and ideas to life. It is one thing to read the play. It’s another thing entirely to “live” the play. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.1.4.5.Cr1c: Imagine how a character's inner thoughts impact their actions and collaborate to determine how characters might move and speak to support the story and given circumstances in drama/theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3a: Collaborate with peers to revise, refine, adapt and improve ideas to fit the given parameters of an improvised or scripted drama/theatre work through self and collaborative review.1.4.5.Cr3b: Use and adapt sounds and movements in a guided drama experience.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5a: Describe and apply dramatic elements of dialogue, action, character emotion, and theme in the performance and/or creation of a drama/theatre work.1.4.5.Pr5b: Physically and intellectually investigate how movement and vocal choices are incorporated and make meaning in drama/theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.5.Re7a: Identify, explain and demonstrate an understanding of both artistic choices and personal reactions made in a drama/theatre work through participation and observation.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.5.Re9a: Compare and contrast multiple personal experiences when participating in or observing a drama/theatre work and justify responses to drama/theatre work based on personal experience.1.4.5.Re9b: Explain responses to characters based on cultural perspectives when participating in or observing drama/theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations:1.4.10a: Explain how drama/theatre connects oneself to a community or culture and identify the ways drama/theatre work reflects the perspectives of a community or culture.1.2 Media Arts Standards by the End of Grade 51.2.5.Pr4c: Create media artworks through integration of multiple contents and forms.?1.2.5.Pr5a: Develop and enact a variety of roles to practice foundational artistic, design, technical, organizational, and soft skills in producing media artworks.?Technology Standard(s)9.4.5.CI.1: Use appropriate communication technologies to collaborate with individuals with diverse perspectives about a local and/or global climate change issue and deliberate about possible solutions9.4.5.CT.3: Describe how digital tools and technology may be used to solve problems.9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifactNew Jersey Student Learning StandardsNJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively. NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally. NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.NJSLSA.L3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.Essential Question(s)Theatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.How can you recognize the cultural and historical context of a dramatic work?How does an understanding of real world literary and historical characters help inform character choices?Enduring UnderstandingsWhat happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?Character traits and mood of a literary work often inspire a need to bring a story to position of a strong dramatic ensemble will cultivate successful performance technique and literary interpretation.Various dramatic gestures, tones, and movements further develop elements of a literary plot.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesUtilize breath control and vocal tones to create mood and character within a dramatic improvisationWork successfully in ensemble settings.Improvise a scene with a clear beginning, middle, and end.Identify important moments within a literary text for a dramatic purpose.Develop criteria for constructive ensemble critique.Basic improvisational strategies such as varying transitions in movement and voice.Vocal and physical reactions from characters that illuminate key moments in plot.AssessmentsPre and Formative - · Monitoring students’ activities · Observing students’ activities · Review of guidelines for the assignments, Evaluate students’ experiences with script and stage compositions. Benchmark/Authentic Assessment – Performance and Guided questions · Memorization Quizzes, Review beginning, middle, end, conflict, and resolution · Writing dialogue leading into or resolving the action during a song · Teacher will evaluate students’ progress at memorizingSummative - Writing prompts on characteristics of a design elements, stage directions, etc. · Comprehension questions on the adaptation process of stores to stage · Final Performance ReflectionsAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Nuanced StorytellingThe teacher may model story telling (e.g., the teacher may tell a personal story or fictional story) so that students can begin to understand the nuances and details associated with strong storytelling.Articulating Your StoryThe students will use their journal to articulate a personal or family story including the key elements of; Beginning, middle, end Where the story took place Who is in the storyWhat happened in the storyStudents will present their personal stories in show and tell formatsFocus on: Specific story details and key information which assists in creating strong storytelling.Probing Questions: What is storytelling? What makes a good storyteller? Retelling without sounding like it is memorized. Know the key points of your story. Practice.Enrichment - Students may provide a more detailed personal or family story (such as adding additional characters or plot lines, adding their own “lesson learned” or moral)Section Two: Folk Tale Story Structure – Students will read several examples of folk tales (e.g., The Tortoise and the Hare, The Lion and the Mouse, Billy Goats Gruff) so that students can understand story structure and key elements of folktales. Students will continue their journaling process to brainstorm and articulate the elements of a folk tale. Key Story PointsTeachers may wish to provide a template to assist in the journaling process asking guiding questions such as: What is the main conflict of the story? What are the main lessons of the story? Who are the main characters? What’s the difference between a script and a narrative story?Students may be encouraged to “modernize” characters and/or settings of a selected story. The updating of the fairytale will require a synthesis of the story and another time/place. The moral must remain the same.Folk Tale Tableaus – Students may utilize the process of creating tableau (e.g., using scenes from The Tortoise and the Hare) so that students can begin to explore the importance of physical location/movement in the storytelling process.Student groups will create a series of at least 6 stage pictures (tableaus) that tell a recognizable story non-verbally.Teachers may ask the following questions to provide feedback to the tableau artists.“What do you think is happing in in this tableau? What helped you to understand the message of the tableau? What confuses you in the tableau? What would you do if you were creating this idea through tableau?”Enrichment: Students may create props or expand the tableau into a shadow puppet play Students may serve as directors for each group in developing the stage pictures (tableaus). Journal: Students will use their journal to compare and contrast the similarities and differences between the literary versions of a folk tale to the scripted/improvised version of a folk tale.Section Three: Identifying Performance ElementsThe teacher may present a script for one folktale that includes stage directions so that students can begin to identify additional performance elements within a script.Script Scoring – PowerPoint Students will use their notes/journals to identify performance elements within a scriptStage directions, Character notesWhat is Blocking and how do we notate it?Theme and moral of the story In cooperative groups, students will share their blocking, stage direction ideas with the classPresentations should includeDirector Notes, Stage Directions, Blocking CuesScoring the Technical Side - The teacher may model the use of simple props, set and costume pieces so that students can understand how these technical elements contribute to the theatrical performance.Student groups will work together to identify/compile a list of technical elements needed for each scene;Simple set pieces/background sceneryProp assignmentsCostume pieces for each character. Students will collect/make all needed items and use in rehearsal processes.Teachers may use a 4-Column graphic organizer to connect characters, scenes, costumes and props.Building the Scene - The teacher may brainstorm settings for scenes in the scripted folktale so that students can understand the role/use of background sets in a theatrical performance.Students will work as a production team for their folktale presentation and build basic backdrop sets for each scene.Students will use all items for the production in rehearsal processes.Section Four: Memorization TechniquesStudents will follow teacher guidance and model basic memorization techniques using the scripted folktale of choice. Students can begin to understand why memorization is a key element to a theatrical production.How to Memorize: Tips and Hints - PowerPointMemorize in ContextUse Imagery with the textDraw illustrations of your lines. Form pictures to support the context of the scene. Write the Words!Write our your lines multiple timesPartnered Characterizations.Play with a partner to hear your scene mates words.Words into Music Make a song/rap/rhythm to your linesScan and Deliver!Students will learn how to SCAN texts while reading for performance.Teacher guides students on keeping vocal projection up and away from the page and out to the audience by scanning for reading. Memorization Spot ChecksStudents will rehearse short scenes from the folktale without referring to the text.Verbatim checks will be given periodically to ensure sustained memorization.Section Five: Play the Page - Rehearsal and PerformanceThe teacher may utilize the dress rehearsal process so students can explore the effective combination of performance and technical aspects bringing a script to the stage.Rehearsal Process - Students will choose the folktale they want to depict for final performance assessment. Students will devise and perform a section of their scripted scene for the classStudents will reflect through discussion and/or journaling on what to improve or what works wellTeacher will give final thoughts on the production, i.e.Performance Strengths/WeaknessesCharacterization, Voice, Memorization, MovementTechnical Strengths/WeaknessesCostume/Set/Prop application, Blocking schemesFinal Performances- Students will perform the scripted play from memory that incorporates multiple technical elements.Costume/Prop/SetMemorizationBlocking/Direction CuesReflections: Students will reflect through discussion and/or journaling on the most important thing they learned about performing a scripted work.The teacher may use feedback from the final performance so that students can begin thinking about how critique can inform artistic development/progress.Enrichment: Students may write a book form their perspective on tips about putting on a play.AMISTAD EDUCATIONBlack Playwrights Study - Here are ten African-American dramatists who have contributed both to the canon of black theatre, and to American literature as a whole. This information can be used to research the contributions of playwrighting and how black theater developed in the early 20th century. EDUCATIONLive Performances! Number the Stars – This live theatrical performance shares the wonderful story about bravery and friendship during the outbreak of World War II. Students can assess the technical side of the production and discuss the theatrical conventions of staging with one another. EDUCATIONFaces Only: Here is a game that students can excel at even if they have very limited expressive language. With it, they can benefit from the opportunity to think about emotional expression and regulation.Give each student a note card with a word describing an emotion on it. Then, have them break up into small groups. Each student takes a turn acting out the emotion on their card with only facial expressions. Other student can either try to guess the emotion or the situation that could lead to such an emotion.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Theater House visits and tours.Youtube / Literary / Archival Play Production MediaInvestigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).Participate in the running of a show as part of the properties, deck, electrics and costume crews.In pairs, assume characters and write letters to each other.Develop scenes through improvisation, theater games or writing that have distinct character, clear relationships, conflict, setting, actions and beginning middle-end. Use situations from literature, history or current events to create tableaux, and then devise character monologues from that frozen moment.Dramatize an existing story with attention to sequence of events, conflict, character intent and resolution. ResourcesWebsitesAMISTAD: : (Tortoise and Hare script)Note to teacher: Purposefully use a script without stage directions (or remove the stage directions from a scripted work). Stage directions will be explicitly taught in the following learning experience. (Site with several FolkTale renditions) (Tips on memorizing lines) (Memorization strategies) (Ideas for assigning various roles to students for performance preparation) (Compilation of tips for classroom drama productions) (Ideas for assigning various roles to students for performance preparation) (Compilation of tips for classroom drama productions) (Guide on producing a dramatic work)Books12 Fabulously Funny Folktale Plays -Justin Mccory MartinMarx, Pamela TAKE A QUICK BOW!, Glenview, Goodyear Books, 1997. Contains twenty-six short plays that may be easily staged in the classroom on every subject from the seasons and holidays to American heritage, science, folk tales from diverse cultures, and more. Each play allows for a flexibleReally Good Readers' Theater - Folk Tales Book Set 1-4Sierra, Judy NURSERY TALES AROUND THE WORLD, New York, Clarion Books, 1996. Presents eighteen simple stories from international folklore grouped around themes like “Runaway Cookies,” “Slowpokes and Speedsters,” and “Chain Tales.” Includes background information and storytelling hints.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996. Ten plays based on multicultural folktales from such countries as Ghana, China, and Italy.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Play the pageNuanced Storytellingunderstand the nuances and details associated with strong storytelling14Play the pageFolk tale story structureunderstand story structure and key elements of folktales14Play the pageIdentifying performance elementspresent a script for one folktale that includes stage directions so that students can begin to identify additional performance elements within a script14Play the pageMemorization techniquesunderstand why memorization is a key element to a theatrical production34Play the pageRehearsal and performanceexplore the effective combination of performance and technical aspects bringing a script to the stage3* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:Grade FourGrade(s)4Unit Plan Title:1: Careers in Theater: What’s My Role?Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleTheater is not just for the individual who craves the spotlight. In this unit, students are introduced to the distinct roles and careers that encompass all aspects of the theatrical production. It is an important piece of the actor’s toolkit to understand the importance and machinations of the “backstage” world of production. Researching, exploring and appreciating this side of theater will bolster the ideals of production teamwork, business ethics and professional etiquette. Students will exhibit an understanding of the importance of collaboration in a theatrical context while reenacting the qualities of the “duality of theater”, i.e. Backstage & On Stage.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.1.4.5.Cr2b: Participate and identify defined responsibilities required to present a drama/theatre work informally to peers/audience and participate in the process.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3c: Refine technical choices by creating innovative solutions to design and technical problems that arise in rehearsal for a drama/theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4b: Identify and utilize basic technical/design elements that can be used in drama/theatre work to demonstrate an understanding of the elements.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.5.Re7a: Identify, explain and demonstrate an understanding of both artistic choices and personal reactions made in a drama/theatre work through participation and observation.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.5.Re2b: Analyze technical elements from multiple drama/theatre works and assess how the technical elements may support or represent the themes or central ideas of drama/theatre works.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11b: Compare the drama/theatre conventions of a given time period with those of the present.1.2 Media Arts Standards by the End of Grade 51.2.5.Cr2a: Collaboratively form ideas, plans and models to prepare for media artwork.?1.2.5.Cr2c: Brainstorm goals and plans for a media art audience.1.2.5.Pr4a: Practice combining various academic arts, media forms, and content into unified media artworks such as animation, music, and dance. Technology Standard(s)9.4.5.CI.1: Use appropriate communication technologies to collaborate with individuals with diverse perspectives about a local and/or global climate change issue and deliberate about possible solutions9.4.5.CT.3: Describe how digital tools and technology may be used to solve problems.9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifactNew Jersey Student Learning StandardsNJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.Essential Question(s)What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?How can you recognize the cultural and historical context of a dramatic work?How does an understanding of real world literary and historical characters help inform character choices?Enduring UnderstandingsTheatre artists allow awareness of interrelationships between self and others to inform their work.As theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists work to discover different ways of communicating meaning.Numerous theatre practitioners influence and contribute to the creation of a production.Investigation of various theatrical roles reveals that each aspect of a theatre practitioner’s skills and techniques are unique and valuable to the production process.Designers and technicians collaborate with the director to discover and create the vision of the production.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesIdentify the unique duties and contributions of each member of a production team.Articulate the process of developing a vision for a production in collaboration with designers on a production team.Exhibit an understanding of the importance of collaboration in a theatrical context.Identify the key components of successful collaboration for members on a production team (such as team work, give and take, respect, critical thinking)AssessmentsPre and Formative – Discussion of theatre organization · Sharing of governmental organization · Discussion of research requirements and AV methods · Discussion of presentation skills , Open ended Questioning, Pre Assessment Quizzes for Knowledge. Students will perform the scripted play from memory that incorporates multiple technical elements.Benchmark/Authentic Assessment - Class Q & A · Compare and contrast of theatre and government organization · Teacher observation of career research progress and media preparation - Build a production personnel flow chart adding personnel as each designer/crew is learned · Daily “Ticket out the Door” on mood and atmosphereSummative - Media presentation of selected research element · Personal reflection and evaluation · Presentation assessment by teacher-made rubric · Teacher and student-made quiz · Student reflectionAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Theater Organization Structure –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of technical theatre organization by participating in and researching professional theater companies, completing a graphic organizer, and writing what they want to learn more about in technical theatre.Theater as an Organization – Students compile information and construct a flow chart showing the organization of the US government and compare it to the flow chart of a theatrical organization.Create a T-chart showing similarities and differences.Theater Company PowerPoint - Hierarchy, Safety, and Design: Class discussion of the multiple aspects of a theatre production from a leadership point of view. Highlighting Theater hierarchyBasic Theater Organization job responsibilitiesTechnical director or group leader, Scenic designer, Lighting designer, Costume designer, Sound designer, Props master Maintain a daily journal of progress on the project.Section Two: Basics of Design – SUGGESTED ACTIVITIESStudents research and develop an understanding of how to design technical theatre components, such as, costumes, sets, props, make-up, lighting and sound. Develop a theatre personnel flow chart; include the designer, chief, and crew for each major element of theatre production. Introduce the various types of stage spaces and areas for each type of stageDraw a simple floor plan for a selected piece of production script.Investigate theater and technical opportunities within the school, after-school programs and performance options.Create a marketing poster for a show with an identifiable dominant image.Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).Create a crew check list for a week-long production schedule.Create a mini-design portfolio for a scene using collage, swatches, original drawings/diagrams, found objects/images, and writing. Respond to design elements in a theater performance, noting the elements of spatial relationships, symbols, patterns, dissonance and similarities by providing examples.Section Three: Career Research –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of theater organization careers by participating in and researching professional theater job.What’s Your Career Path? Select one of the careers in theatre – with each student having a different career – and research ;Educational requirements, Career opportunities, Possible income, etc. of the selected career.Producer, Director, Technical director or group leader, Scenic designer, Lighting designer, Costume designer, Sound designer, Props master, etc. Career PresentationsPrepare a presentation to introduce the selected theatre career. Include some type of audio-visual as well as a vocal presentation.PowerPoint videoWell constructed posterShort scene (perhaps a mock interview for a job in the field selected).Students will share with the class the prepared presentation about the selected career. Discuss – Students will reflect on the different theatre careers including;Job requirements and careers in related fields requiring the same education and/or abilities. Students will finish the unit with a quiz or reflection covering each career presented.JOURNAL - Write a journal entry about the theatergoing experience to share with family and friendsAMISTAD EDUCATIONExploring Black Theater Companies – This site seeks to highlight African American artists and Black Theatre both in the United States and abroad. It's designed to be a combination of article reposting’s, quick hits on hot topics, essays and videos clips. It is an excellent look into the inner working of a theater house run by Black artists and contributors! EDUCATIONTheater during the Holocaust – A performance and the facts from the era. Students should watch the theater piece and be introduced to the idea of suppressed creative expression in the cultural ghettos. Discuss, reflect, analyze, interpret and formulate the importance of storytelling. EDUCATIONSetting the StageAny dramatic play area should be inviting. Presentation alone should inspire creative and imaginative play. This should be an area where the children can immediately take on a role and begin pretending. In establishing these areas, you will want to consider the following.1. Each area should incorporate a variety of materials that encourage dramatic play, such as hats, masks, clothes, shoes, tools, vehicles, etc. You can include both teacher-made and commercial materials. The types of materials you supply will depend on the “theme” of the area.2. Part of your materials list for each area should include items that stimulate literacy activities, like reading and writing. Paper, pencils, a chalk board, wipe-off board, address books, and greeting cards are all examples of materials that might be used to promote the development of literacy skills.3. Materials should be developmentally appropriate and allow for both creativity and flexibility in play. This includes materials that can be used by all children (unisex) and those that may be used in more than one way (a table as a table, or with a blanket over it, as a dog house).4. The goal of all areas should be to reinforce grade level appropriate physical, cognitive, and social skills.Finally, try to change the materials (or props, as they are sometimes called) on a regular basis. Different materials on occasion will enhance the area, spark new interest in a much used area, and allow the children to incorporate new experiences in their play.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.Using a theater playbill, identify the theater jobs listed and research the responsibilities and training required. Create a theater company organizational chart to demonstrate how various workers interact. Invite technical theater professionals such as costumers, or wig, makeup or lighting designers to demonstrate their skill to the class. Create a student-made theater career wall with pictures and short job descriptions, focusing on theater careers front of house, onstage and backstage. Contrast and compare the role of the actor in live theater and in film and television.Investigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews). Attend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company.Use online resources to deepen students understanding of theater organization by researching historical and cultural design structures. ResourcesAMISTAD: Spaces - Black/Proscenium (Compilation of tips for classroom drama productions) (Guidance on various production roles and responsibilities)STAGE CRAFT DIRECTORY , I.E. STAGECRAFTERS’ HANDBOOK: A GUIDE FOR THEATRE TECHNICIANS HYPERLINK "" \t "_blank" Glossary of Technical Theatre Terms?()?Hundreds of British (and American) technical theatre terms, explained. In alphabetical order. Soon to be sorted by category, too. HYPERLINK "" \t "_blank" Stagecraft Frequently Asked Questions?()?Frequently asked questions from the rec.arts.theatre.stagecraft and alt.stagecraft newsgroups.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1Careers in theatreTheatre Organization structuredemonstrate an understanding of technical theatre organization by participating in and researching professional theater companies, completing a graphic organizer, and writing what they want to learn more about in technical theatre11Careers in theatreBasics of designresearch and develop an understanding of how to design technical theatre components, such as, costumes, sets, props, make-up, lighting and sound21Careers in theatreCareer Researchdemonstrate an understanding of theater organization careers by participating in and researching professional theater job1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)4Unit Plan Title:2: Portraying the World of FictionCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThere is an increasing urge to expose our students to the fantastical world of our imaginations, and the drama classroom is the perfect place to help develop budding creativity! This unit intends to broaden the viewpoint of students as they observe, read and perform multiple character representations. Also, conflict, culture and character all play a role in developing an understanding of how historical patterns can be depicted through fictional performance. Students will read fictional literature/historical fictional literature in order to make connections between their inexperienced view point, with that of a larger world. Students will endeavor to explore their imaginations by diving headfirst into age appropriate fictional literature. This unit focuses on teaching the fundamentals of reading comprehension, and thusly, characterized performance.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.1.4.5.Cr1c: Imagine how a character's inner thoughts impact their actions and collaborate to determine how characters might move and speak to support the story and given circumstances in drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.1.4.5.Cr2b: Participate and identify defined responsibilities required to present a drama/theatre work informally to peers/audience and participate in the process.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3a: Collaborate with peers to revise, refine, adapt and improve ideas to fit the given parameters of an improvised or scripted drama/theatre work through self and collaborative review.1.4.5.Cr3b: Use and adapt sounds and movements in a guided drama experience.1.4.5.Cr3c: Refine technical choices by creating innovative solutions to design and technical problems that arise in rehearsal for a drama/theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.1.4.5.Pr4b: Identify and utilize basic technical/design elements that can be used in drama/theatre work to demonstrate an understanding of the elements.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5a: Describe and apply dramatic elements of dialogue, action, character emotion, and theme in the performance and/or creation of a drama/theatre work.1.4.5.Pr5b: Physically and intellectually investigate how movement and vocal choices are incorporated and make meaning in drama/theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.5.Re7a: Identify, explain and demonstrate an understanding of both artistic choices and personal reactions made in a drama/theatre work through participation and observation.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.5.Re8c: Evaluate and analyze how a character’s choices and character's circumstances impact an audience’s perspective in a drama/theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.5.Re9a: Compare and contrast multiple personal experiences when participating in or observing a drama/theatre work and justify responses to drama/theatre work based on personal experience.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Identify, respond to and investigate connections to global issues including climate change and other content areas in a dramatic/theatrical work.1.4.11b: Compare the drama/theatre conventions of a given time period with those of the present.1.2 Media Arts Standards by the End of Grade 51.2.5.Cr1a: Generate ideas for media artwork, using a variety of tools, methods and/or materials.?1.2.5.Cr1b: Develop individual and collaborative artistic goals for media artwork using a variety of methods.Technology Standard(s)9.4.5.CI.1: Use appropriate communication technologies to collaborate with individuals with diverse perspectives about a local and/or global climate change issue and deliberate about possible solutions9.4.5.CT.3: Describe how digital tools and technology may be used to solve problems.9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifactNew Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA.L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?How, when, and why do theatre artists’ choices changeWhat happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How does an acting performance communicate with us?Enduring UnderstandingsTheatre artists work to discover different ways of communicating meaning.Theatre artists rely on intuition, curiosity and critical inquiry.Observations of historical events can inform non-stereotypical improvisation enhancing the understanding of multiple perspectives for character representations.Patterns of tension and conflict across cultures communicate essential information about characters through time in order to make personal connections between history and current events.Interesting, dramatic compositions employ a range of emotions in order to accurately portray a spectrum of perspectives.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesWrite and/or speak expressively in order to communicate a range of emotions resulting from historical conflicts and situations.Use documents to inform artistic choices in ensemble situations to create historically accurate scenes or tableaux.Identify the plot devices such as conflicts and emotion, within primary source pare and contrast the dramatic interpretations of various historical sources and their corresponding cultural base. AssessmentsPre and Formative – SGO pre-assess examinations, Open discussion · Small group discussion · Creative drama activities Written response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Observations: Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Pre-Assess students’ prior knowledge of fables. Assess students’ understanding of the terms “problems” and “solutions”. Create lists of examples of major characters’ problems and solutionsBenchmark/Authentic AssessmentParticipation in brainstorming activities and classroom discussions. Active recall post story reading.Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.SummativePerformance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Portfolios Portfolios may contain many different types of documentation for what students know and are able to do. Items in a portfolio may be teacher-selected, student-selected, or a combination of these.Ability to verbally summarize story Ability to identify main characters’ problem and solution Ability to offer various solutions to the main problems in the story T-Charts of characteristics and goalsAlternative assessments – see appendix ATeaching and Learning ActionsWord WallD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Analyzing Fictional FablesStudents will analyze literary texts (fables) and performances in order to distinguish the setting, characters, sequence of events, main idea, problem, and solution for a variety of stories. Fable Read – Students will endeavor to identify setting, character, main idea, and sequence of events in fables. Introduce fables as a literature genre. Read a selected fable: Identify and describe setting, character, main idea, sequence of events in the fable.Fable Fun – Students will review the fable and discuss various ways to resolve the problem and to determine different solutions.2 Minute Scenes:Small groups act fables out with dramatic play, acting centers, and/or reader’s theatre. Have students apply the different ways to resolve the problem to create alternate endings.Apply skills gained with the first fable to additional fables by repeating the process at least one time.Evaluation: Assess student understanding of both process and skill through the informal presentation of a Readers Theatre or dramatic presentation of the fable.Relationships and Conflict – Students will recognize interrelationships between setting, character, and culture as they identify conflict, character goals and emotion.Just So Stories: Choose a Fable. Have students retell the story through dramatization Discuss the “lore” qualities of the story. Explain that students will be creating their own original Just So Stories. Divide students into groups (4 or 5 students). Give each group a card with a Just So Story title on it. Ask group to create and share a story dramatization of their original lore to match their titleStudents make inferences about various characters and their feelings in the given situation. Compare these feelings to feelings the students might have in a similar situation.Identify the problem and possible solutions to the pare these solutions to those suggested or preferred by the students.Act out the story and various alternate stories using different suggested solutions to create different endings.Section Two: Creating Imagination about Societal IssuesStudents will gain an appreciation of how literature can influence society through a shared reading of a story about the environment.Analyzing Literary Characters: Students will read The Lorax and begin to diagram character. Students will discuss and create a list of the changes in the environment shown in the story.Pollution, Deforestation, extinctionIn small groups, students will create and perform a creative theatre presentation of the selected children’s story by assuming and acting out the roles identified.Character portraits, biographies, outlooks diagrams can be created to use as learning devices. Discuss: Students will discuss and write a reflection on how this activity has affected each one’s personal attitude on the environment and what each could do to help our environment.Recognizing Society Issues in LiteratureReader’s Theater – Choose a story reflecting an experience of a societal issue that can influence a child’s experience.Students will identify and discuss the issue and how it relates to our world.Distinguish the ideas and outlooks of the different characters as expressed in the story.Discuss and list issues and changes as shown in literature.Play the ImaginationStudents will use creative dramatics to act out a story about a societal issue.Students must include; Imaginative ways that each student could help the environment.Creative Invention to solve the problem.Portray creative characters with at least one costume piece and one prop. Section Three: Creating Reader’s Theater with ImaginationStudents will analyze texts or scripts in terms of specific character traits and relationships among them. They will also critique choices made about characters, settings, and events as seen, or portrayed in, formal and informal productions .What is Reader’s Theater? – PowerPointReader’s Theater help us;Create staging/blockingLearn how to diagram a script Develop and enhance our dramatic reading ability.Let’s Read!Read a selected piece of literature then examine characters for traits and relationships. Suggested books: Anansi and the Sky KingThe Sword in the Stone Loki and the Magic HammerClassify characters from the literature selection as;Major characterMinor characterSupporting characterCharacter Venn Diagramming Compare and contrast literary characters with self and other students for traits.Illustrate the importance of character development and variety. On with the Show! - Students will illustrate understanding of characters through improvised scenes and/or stories from the literature.In small groups, using student developed character descriptions, students will improvise scenes from the story.Focus on;Character CreativityStrong traits and attitudesStructured beginning, middle, end.Discuss: How can you successfully interpret the character and events of this story? How can you improve your understanding and performance?Beginning Playwrighting – Students will review the tenets of basic story structure and create original works of fictional literature. In a small groups, using a part of the literature selection, create a short Readers Theatre play.Students must adhere to Basic Plot Structure Guidelines from previous units. Groups will;Brainstorm story themesCreate “NEW” characters with strong personality traitsWrite rough draft, revised and final script, Rehearse then share student Readers Theatre plays with the class.EVALUATION: Students will evaluate their own work and the work of their classmates during informal presentations using the Readers Theatre Rubric and in journal writing.Section Four: Using History to Portray FictionStudents will recognize universal themes in stories and plays from different periods and places through dramatic activity. They can also recognize that theatre styles vary according to culture, time, and place.A Fictional World: Script CollaborationStudents collaborate to create scripts dramatizing different cultural versions of similar stories from around the world.Variations of the Cinderella story from France, China, Africa, and AmericaUtilizing the 5 w’s (who, what, where, when, why). In groups, students make lists of characters and outlines of each plot. Then they improvise and record appropriate dialogue to tell each story.Students enact stories from classroom literature utilizing a variety of emotions.Music Around the WorldStudents pantomime improvisatory scenes using a variety of musical selections to stimulate emotional creativity Beethoven, Gershwin, mariachi, ragtime When they first hear a selection of music, they improvise corresponding movements. They then use the movements they have invented to inspire characters, emotions, and situations to act out to the music.Setting the World of FictionAfter viewing a cultural/historical play or film (animated or live action), students identify how sound and visual elements are used to establish mood and setting.Kabuki, American Musical, Shakespearian Globe Theater, Italian Opera, etc…Students devise simple set designs for a play with a structured “worldly” theme.Through cooperative teams students create first;Drawings of the set Three-dimensional modelAMISTAD EDUCATIONAnansi and the Sky King – Students can read and participate in performance activities which center around this legendary African Folk Tale. Lessons could include analyzing and devising culturally inspired costumes, curating makeup schemes which reflect African Tribal culture, as well as performing sections of the fable in it’s original African musical format. EDUCATIONReader’s Theater Play - The White Rose. ?A true story of freedom in?Nazi?Germany where students study?of the?Holocaust?in Drama. Student can learn the conventions of character, line reading, stage blocking, all portraying the lives of fictional Holocaust survivors. – See Appendix B for specialized programs that reflect the needs of students and community.Students attend a live theatrical performance and a talk-back where actors (as themselves) interact with students.Students conduct a survey of media preferences (newspaper, Internet, TV, radio, video, video games) among family and friends to determine any artistic patterns.Reading fables Acting out stories using creative dramaticsCreate a new fable where a character (or student) has to face a problem and learns a lesson through the solution to the problemListing ways individuals can participate in societyResourcesWebsites:AMISTAD: : database of fables video of “Aesop Fables”: yD2uG8yo&safety_mode=true&persist _safety_mode=1&safe=active Video of “Aesop’s Fables” for kids: or hpFree Scripts Online: of various children’s plays Creative Drama Activities: Children’s Favorite Poems: avourites/index.htm)Books: Reader’s Theater SeriesAnansi and the Sky KingThe Sword in the Stone Loki and the Magic HammerBailey, Debbie LET’S PRETEND, Willowdale, Ont., Annick Press, 1999Bany-Winters, Lisa SHOW TIME!: MUSIC, DANCE, AND DRAMA ACTIVITIES FOR KIDS, Chicago, Chicago Review Press, 2000.Hoffman, Mary A FIRST BOOK OF MYTHS: MYTHS AND LEGENDS FOR THE VERY YOUNG FROM AROUND THE WORLD, New York, DK, 1999.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996.Ratliff, Geral Lee INTRODUCTION TO READERS’ THEATRE: A GUIDE TO CLASSROOM PERFORMANCE, Colorado Springs, Meriwether Publishers, 1999.*Se Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Portraying FictionAnalyzing fictional fablesanalyze literary texts (fables) and performances in order to distinguish the setting, characters, sequence of events, main idea, problem, and solution for a variety of stories12Portraying FictionCreating imagination about societal issuesgain an appreciation of how literature can influence society through a shared reading of a story about the environment22Portraying FictionCreating reader’s theatre with imaginationanalyze texts or scripts in terms of specific character traits and relationships among them22Portraying FictionUsing history to portray fictionrecognize universal themes in stories and plays from different periods and places through dramatic activity2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)4Unit Plan Title:3: The Greek Chorus: Exploration Collaboration!Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleCollaboration in the Theater Arts is an integral component in the development of a young actor. Students will have the opportunity to work closely with one another as they investigate and discover historical content through means of dramatic reenactment. Representing historical figures, reenacting culturally dynamic periods of time, or exploring “home based” history benefits students greatly. Historical dramatizations, which focus on group collaboration and ensemble participation will grant students the opportunity to problem solves not only physically, but emotionally as well. Utilizing the study of Greek Theater (the foundation of drama) gives students the opportunity to discover the origins of Ensemble (chorus) as well as other collaborative forms of entertainment. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.1.4.5.Cr1c: Imagine how a character's inner thoughts impact their actions and collaborate to determine how characters might move and speak to support the story and given circumstances in drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.1.4.5.Cr2b: Participate and identify defined responsibilities required to present a drama/theatre work informally to peers/audience and participate in the process.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3a: Collaborate with peers to revise, refine, adapt and improve ideas to fit the given parameters of an improvised or scripted drama/theatre work through self and collaborative review.1.4.5.Cr3b: Use and adapt sounds and movements in a guided drama experience.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.1.4.5.Pr4b: Identify and utilize basic technical/design elements that can be used in drama/theatre work to demonstrate an understanding of the elements.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5a: Describe and apply dramatic elements of dialogue, action, character emotion, and theme in the performance and/or creation of a drama/theatre work.1.4.5.Pr5b: Physically and intellectually investigate how movement and vocal choices are incorporated and make meaning in drama/theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.5.Re7a: Identify, explain and demonstrate an understanding of both artistic choices and personal reactions made in a drama/theatre work through participation and observationAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.5.Re8a: Develop and implement a plan to evaluate drama/theatre work.1.4.5.Re2b: Analyze technical elements from multiple drama/theatre works and assess how the technical elements may support or represent the themes or central ideas of drama/theatre works.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.5.Re9a: Compare and contrast multiple personal experiences when participating in or observing a drama/theatre work and justify responses to drama/theatre work based on personal experience.1.4.5.Re9b: Explain responses to characters based on cultural perspectives when participating in or observing drama/theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations:1.4.10a: Explain how drama/theatre connects oneself to a community or culture and identify the ways drama/theatre work reflects the perspectives of a community or culture.Anchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Identify, respond to and investigate connections to global issues including climate change and other content areas in a dramatic/theatrical work.1.4.11b: Compare the drama/theatre conventions of a given time period with those of the present.1.2 Media Arts Standards by the End of Grade 51.2.5.Cr2a: Collaboratively form ideas, plans and models to prepare for media artwork.?1.2.5.Cr2c: Brainstorm goals and plans for a media art audience.Technology Standard(s)9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifactNew Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.SL5.Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA.L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)What is ‘theater’ and why do individual cultures place so much value on continuing its growth?How are the theatre artist’s processes and the audience’s perspectives impacted by analysis and synthesis?What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?Enduring UnderstandingsTheatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.Investigation and discovery of historical content influences a dramatic reenactment.Dramatic performance can effectively convey investigation and discovery of scientific content.Collaboration within an acting ensemble facilitates accurate creative dramatization.Examples of thoughtful creative dramatization of significant historical events from NJ/North American history, and major scientific concepts from the 4th grade content.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesReenact historical events and portray authentic characters through dramatic presentation.Portray scientific concepts from the 4th Grade content in dramatic form.Work collaboratively to enhance content accuracy and the effective portrayal of significant historical events from NJ history.Exercise the benefits of effective collaboration through creative dramatization (such as give and take, respect, sharing, teamwork).AssessmentsPre and Formative - Discussion about Greek Theatre and identifying the characters · Discussion on storytelling components and history · Discussion of theatre as storytelling using three main components: beginning, middle, and endBenchmark/Authentic Assessment - Classroom monitoring · Creating basic costume crafts · Full class discussion on “theatre is storytelling” · Side-coaching character decisions · Practicing good audience behaviorSummative - Verbal quiz on names of characters from Greek mythology · Performances · Directing efforts/participation · Verbal reflection with class BrainPop, SMART Assess, Reflect & Response PapersCharacterization RenderingsPeer Critiques Greek Gods Assessments – Gods/Goddesses Booklets, Quiz/Test (SMARTBoard)Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Intro to Greek Theater –SUGGESTED ACTIVITIESStudents discover the basic origins of theater as it pertains to its Greek beginnings.PowerPoint/SmartBoard Presentation: Greek HistoryGeographical, Historical and cultural background informationGreek Theater BeginningsTheater of DionysiusIntroduction and influence of the Greek EDY v. TRAGEDYStudents may create mosaics of images and/or physicallyconnect visual images with the words on the word wall.The Greek Chorus (ensemble)Students will be read the stories of Greek mythology() Students will identify the characters in the stories.Students will review that stories always have a beginning, middle, and end. Students will also learn that storytelling also needs an audience and a narrator (Chorus) for it to be a story.Influence and Importance of the Greek Chorus.Section Two: The Mask – SUGGESTED ACTIVITIESStudents will understand the traditional usages of the Mask and how it was used to portray story and plot through the Greek Chorus. PowerPoint/SmartBoard Presentation: The MaskTypes of Masks – Stock charactersFool, King, Woman, Warrior, etc...Mask Making - Students will create headpieces, masks and/or accessories to help portray CHORUS characters in re-enactments of the stories.Story Influences – Icarus, Medusa, Zeus and the TitansGroups of Greek Choruses will collaboratively develop narrate a story through; Improvised/teacher guide movement.Scripted, unison dialogueGreek Chorus PerformancesStudents will direct their own stories, then help the teacher decide how to share the story with an audience by deciding how each character will act.Each group will take turns being the audience, the actors, or the director who helps the actors remember from previous sessions how they should portray each character. DISCUSS - The teacher will then lead the class into a question/answer discussion that defines the audience, the actors and the performers.Section Three: The Gods– SUGGESTED ACTIVITIESStudents will understand the role society and religion of the Greek Gods influenced the ever growing presentation of theatrical tradition and culture. PowerPoint/SmartBoard Presentation: The Greek GodsWhy were there so many Gods?The 12 Olympians of OlympusWho were they? What were they responsible for?How was theater used to honor the Gods?Theater of DionysiusThespis (role of featured player)Mythological Biographical Poems Biographical poem, or biopoem, uses a simple but specific structure to describe the most important facts about someone. Write a biopoem about one of the gods or goddesses you have studied. The blanks on this page are for your rough draft. Website template: Commercials Greek Chorus Groups are responsible for making a video commercial for a chosen god/goddess. Examples include Athena's Smart Pills, Demeter Cereal, Aphrodite Make-up. All students participate in the commercial by making a storyboard, making props and acting.?Section Four: Greek Reader’s Theater– SUGGESTED ACTIVITIESStudents will be introduced to the importance of Greek God/Goddess culture through interactive story telling.Explaining the Unexplainable - Students will understand that myths were created to explain the natural world around them. Prometheus, Pandora’s Box , Demeter and PersephoneGuided Reading, Performance, Comprehensive assessment.Cautionary Tales - Students will recognize that mythical creature were used to inspire a people’s sense of morality and that visual images/character portray their idea of themselves through values and beliefs.Design a Creature - Minotaur, Harpies, Cyclopes, etc. They must develop, describe, and design at least three physical characteristics such as hair, head, body, hands, etc. They must give the creature character traits: helpful to humans, can't go out in daylight, eats mice, etc. Name and perform the creature!Discuss: Why is your Greek creature used to influence societal behavior and morals?Section Five: Theater and Mythology – SUGGESTED ACTIVITIESStudents will understand the role myths have in defining social customs and beliefs, explaining natural and psychological phenomena, and providing a way for people to discuss things that cause anxiety.What is Myth? – POWERPOINTMyths are a way of understanding the world.Days of the Week, Astronomy, Popular Trends and companiesMyth Creates Story - Disciplines affected and influences by myth makingMusic, Art, Movies, TVCreate a flow chart of examples of how myth influences modern society.Create Your Own Myth – Using collaborative principles of Greek Chorus (ensemble) and featured player (thespian).Create your own myth to explain some natural phenomenon or land formation.Story must involve at least two Olympian gods or goddesses. Story must explain some natural phenomenon (such as a weather event) or some geological feature (a mountain range, a large valley, a sea, an ocean, a polar ice cap, etc)Story should clearly indicate usage of Greek Chorus as a foundation of story narration.Include details about the Olympian gods and goddesses that show you know their powers, symbols and personalities.Reflect back on the ideas in your brainstorming Greek Mythology graphic organizer. Think about what you have learned about how Greek myth tradition compare to modern day culture.AMISTAD EDUCATIONAn Investigation of Black Figures in Classical Greek Theater – You can take your students on a trip back in time to discover the prevalence of black culture and its position in ancient Greek society. Research papers, blog reports, photo slideshows can help showcase the role of black culture in ancient times. EDUCATIONGreek Chorus Rehearsals: Rhythm Is Your FriendThere is a focus in special education (especially with autism intervention) on structuring the student's visual environment. What about auditory information? Verbal instructions and dialog can also be overwhelming for students who have difficulty filtering for the important information they should attend to. Rhythm helps emphasize key words, add a predictable cadence, and naturally gets the body in sync with and tuned into the activity.Try this simple greeting chant:Let’s go 'round in a circle.Let’s go 'round in a game.When I get to you, tell me, what’s your name?Students can tap the syllables to their name on a drum to help with their articulation and pacing. Tapping a rhythm on the table, a knee, or a drum is also a great tool for students who speak too fast or are difficult to understand.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Visit the school library and identify the section on Greek theater and drama.Use online resources to deepen students understanding of theater performance by researching historical and cultural setting, period dress and customs.Take a virtual tour of a ancient performing arts complex, theater or theater workshop. Identify and download images related to the original Greek Theater experience. Perform interactive Chorus/Thespian productions for the school or other classes, parents and families.Explore options to perform Regional Performing Arts Centers/Festivals.Take trips to libraries or museums (art, cultural, history and natural history) for research purposes.ResourcesWebsites:AMISTAD: , age-level appropriate Youtube Videos on Greek culture, theater, God/Goddess traditions.Stories of Greek Mythology: ( /greeks/ ) (printable Greek myths for kids)heroes/heroes.html (on-line readings of Greek myths)Books:Student copies of Elements of Greek Mythology graphic organizerEncyclopedia Mythologica?by Matthew Reinhart and Robert SabudaHeroes In Training?series by Joan HolubOlympians?series by George O’ConnorD’Aulaires Greek Mythology?by?Ingri and Edgar Parin d’AulaireD’Aulaires’ Book of Greek Myths by Ingri and Edgar Parin D’Aulaire The Mighty 12: Superheroes of Greek Myths by Charles Smith Greek Myths and Legends by Cheryl Evans*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3CollaborationIntro to Greek Theatrediscover the basic origins of theater as it pertains to its Greek beginnings13CollaborationThe Maskwill understand the traditional usages of the Mask and how it was used to portray story and plot through the Greek Chorus13CollaborationThe Godsunderstand the role society and religion of the Greek Gods influenced the ever growing presentation of theatrical tradition and culture23CollaborationGreek reader’s theatreExplore the importance of Greek God/Goddess culture through interactive story telling23CollaborationTheatre and mythologyunderstand the role myths have in defining social customs and beliefs, explaining natural and psychological phenomena, and providing a way for people to discuss things that cause anxiety2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)4Unit Plan Title:4: Dramatic Snapshots: Exploring RelationshipsCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus on this unit is grounded in the young actor’s ability to create, perform and ultimately critically respond to specific dramatic choices. Critical observation is a necessary tool in the actor’s repertoire. The incorporation of tableau study allows students to fully analyze and decrypt the subtle nuances of character relationship. Specific patterns of mood, body language, vocal intonation and physical spacing are impressed upon, as students discover how the smallest of choices can influence the production as a whole. Illustrating these “exploration checkpoints” through critical observation is vital in the development of the young actor’s sense of self-reflection and personal assessment. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.1.4.5.Cr1c: Imagine how a character's inner thoughts impact their actions and collaborate to determine how characters might move and speak to support the story and given circumstances in drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.1.4.5.Cr2b: Participate and identify defined responsibilities required to present a drama/theatre work informally to peers/audience and participate in the process.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3a: Collaborate with peers to revise, refine, adapt and improve ideas to fit the given parameters of an improvised or scripted drama/theatre work through self and collaborative review.1.4.5.Cr3b: Use and adapt sounds and movements in a guided drama experience.1.4.5.Cr3c: Refine technical choices by creating innovative solutions to design and technical problems that arise in rehearsal for a drama/theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.1.4.5.Pr4b: Identify and utilize basic technical/design elements that can be used in drama/theatre work to demonstrate an understanding of the elements.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5a: Describe and apply dramatic elements of dialogue, action, character emotion, and theme in the performance and/or creation of a drama/theatre work.1.4.5.Pr5b: Physically and intellectually investigate how movement and vocal choices are incorporated and make meaning in drama/theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.5.Re7a: Identify, explain and demonstrate an understanding of both artistic choices and personal reactions made in a drama/theatre work through participation and observation.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.5.Re2b: Analyze technical elements from multiple drama/theatre works and assess how the technical elements may support or represent the themes or central ideas of drama/theatre works.1.4.5.Re8c: Evaluate and analyze how a character’s choices and character's circumstances impact an audience’s perspective in a drama/theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Identify, respond to and investigate connections to global issues including climate change and other content areas in a dramatic/theatrical work.1.4.11b: Compare the drama/theatre conventions of a given time period with those of the present.1.2 Media Arts Standards by the End of Grade 5?1.2.5.Cr1b: Develop individual and collaborative artistic goals for media artwork using a variety of methods.?1.2.5.Cr2a: Collaboratively form ideas, plans and models to prepare for media artwork.?1.2.5.Cr2c: Brainstorm goals and plans for a media art audience.Technology Standard(s)9.4.5.CT.3: Describe how digital tools and technology may be used to solve problems.9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifactNew Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)What inner and outer factors influence how we express ourselves through acting?What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?Enduring UnderstandingsTheatre artists allow awareness of interrelationships between self and others to inform their work.As theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Effective composition of characters within a dramatic tableau enhances overall expression.Critical observation of key ideas within a scene illuminates emotions within a frozen picture.Actors can communicate the nature of a character through decisions in vocal expressions and intonation.Using a still image in a theatrical performance requires knowledge of how to portray the essential components of a pinnacle moment in time.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCreate tableaus that can inform movement in a future scene.Create tableaus that effectively show relationships between characters using spacing, facial expressions, body positioning, and frozen movement/energy.Express characters and relationships using vocal techniques within tableaus.Create a set of criteria for critiquing characters and relationships in pictures effectively. Work in groups to successfully complete a task.AssessmentsPre and Formative – Discussion of theatre organization · Sharing of governmental organization · Discussion of research requirements and AV methods · Discussion of presentation skills , Open ended Questioning, Pre Assessment Quizzes for Knowledge. Students will perform the scripted play from memory that incorporates multiple technical elements.Benchmark/Authentic Assessment – Performance · Class Q & A · Compare and contrast of theatre and government organization · Teacher observation of career research progress and media preparation - Build a production personnel flow chart adding personnel as each designer/crew is learned · Daily “Ticket out the Door” on mood and atmosphereSummative - Media presentation of selected research element · Personal reflection and evaluation · Presentation assessment by teacher-made rubric · Teacher and student-made quiz · Student reflectionAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: The Empty SpaceStudents will understand how to effectively explore creative movement and sound in the empty space.Body Language in the Empty Space - Students will convey basic emotional expression (e.g., happy, sad, excited, worried etc.) through body language/movement. Brainstorm examples of body language.Students can begin to evaluate and consider the power of this non-verbal form of communication.Students may use wordless picture books listed in teacher resources as bases for practicing/demonstrating these expressions.Students may participate in a guided movement exercise can utilize Costume Centers, puppets or picture boxes to augment their body language/movement.Mirror Frames – Space and movement is utilized to help students explore creativity in the body. Students create and match each other’s specific movements as if looking into a mirror. Adding sounds which will be mirrored emphasizes a true, partnership in the empty space. Suggest ideas such as; animals, machines, ages, cartoons, specific tasks. Animal Actions – Students will be asked to provide peer observations intended to help their fellow performers develop their animal characters. They will pay particular attention to the most effective ways to convey animal characters! Students will fil the stage space with teacher prompted animal expressions and movements.Students will begin their character journal by documenting (drawing) one animal movement/facial expression and writing about the expression they have depicted.Animals in Setting - Animal characters are personified through informed actions within their environments.Students can create animal and human characters, through movements and actions which help construct environments.Fill the setting of the;Farm, Ocean, Jungle, Desert, Forest, etc. (Farm animal sounds) (Various animal sounds in different contexts)Further ExpressionStudents may draw their own idea of the character and setting before acting out the scene. Students may warm up with a “cross the circle” game to prepare for shifting environments and character reactions.Section Two: Stage Directions and PositionStudents will understand how to effectively diagram a stage space and how to use body position to express character motivations. Body Language in the Empty Space - Students will convey basic emotional expression (e.g., happy, sad, excited, worried etc.) through body language/movement. Brainstorm examples of body language.Section Three: Creating Tableaus Students will review acting basics such as how to use creativity, the body, and the voice to portray characters in stock setting. Tableaus Statues - Students will convey basic emotional expression (e.g., happy, sad, excited, worried etc.) through body language/movement. Students will take turn molding each other into statues.Assign specific attributes such as;Familiar animals, peopleScenes from familiar stories.Freeze Frames – Working in ensemble based activities, students work cooperatively to create one Freeze Frame picture of actionStudents brainstorm simple scenes such as; Baseball Game, Doctor’s Office, At the BeachStudents add one element of the picture, one at a time. Teacher snaps a photo and the class discusses the creative use of ensemble partnerships. Brainstorm examples of body language.Performing the PaintingStudents will receive a picture. Each picture has a specific setting, character(s) and emotion that it evokes. Students will work together in groups of two to perform a two person scene that is inspired by the picture that they will perform for an audience.Collaborate and Rehearse - Students should apply a range of appropriate vocal tones and physical mannerisms in order to communicate mood.Students may memorize dialogue for informal performances.Journal - How did the actors’ voices and mannerisms help create the mood or emotion? Students will write reflections as both an audience member and as an actor in the scenes based upon the teacher-directed questions.Section Four: Sounds in the Space Students will understand that verbal communication varies in direct relation to the type of theatrical space used for performance. Voice and Diction - Students will learn proper diaphragmatic breathing, and use Tongue Twisters and other exercises which focus on volume, articulation and pitch.Watch Your Distance – Students practice supplementing their vocal ability by discovering key concepts such as projection and articulation. Partnered students distance themselves on opposite end of the stage.Students portray many different character archetypes that directly influence how you sound.Girlfriend, Elderly Person, Sick Friend, Angry boss, etc…Discuss: The distance you place yourself from others transfers meaning. Enrichment: Establish distance ad reenact the character scenes, but do so nonverbally. Discuss: How does space help us interpret relationships and perceptions. Students will take turn molding each other into statues.Voice Dubbing – Students learn how language and sound, when used appropriately in space, allow actors to react to given circumstances and situations. Students will group up and improvise scenes from fairy tales/morality plays such as;Cinderella, Snow White, Reader’s Theater selections, etc…Half the group will move physically in the space, while the other half will anticipate the actor’s movement and synchronize their dialogue or sound effects with the action.Discuss: How does sound from outside sources influence the action in a given scene or story?Say What? – Students learn how language can be explored and influenced by a variety of situations. With a focus of verbal expression, students will brainstorm simple situations;Fighting with a brother/sister, finalizing a business deal, etc...Teach guides student groups with different emotions to dialogue with.Students can switch roles and repeat with new situation/emotions. Differentiation: Students may audio record their journal entry variations. They could also perform these variations in front of the class and create journal entries describing the phrase and its variations.Section Five: Establishing Mood Students will be introduced to discuss mood and atmosphere as they relate to the creating the world of the theater space. Musical Mood Rings - Students will convey various moods and environmental elements by interpreting different types of musical underscore through body language/movement. Students take turns improvising dialogue and movements as the teacher introduces different musical compositions which vary the mood of the scene. Discuss – How are your characters and intentions directly influenced by the mood created by music? How can this be used to enhance a dramatic presentation?Mood in Literature - Introduce and discuss mood and atmosphere as they relate to theatrical literature.Divide students into small groups. Have students select or assign short scenes.Students should read the scene and then create a human tableau to depict the mood of each scene. Allow classmates to observe the tableaus by having ? of the groups perform followed by the other ?. Discuss: Have the observers write a journal entry describing the mood depicted by each group observed. Share the observations.Enrichment: Illustrate the atmosphere of your scene on paper or create a soundscape or soundtrack to depict the mood and/or atmosphere of your scene.Designing Mood – Review and then discuss how mood can impact an “environment” for a performance.Make a list with students of performance places. Talk about the word environment – brainstorm the meaning and then apply it to a performance. Help the students realize that “environment” is related to mood of the scenery as a concept.Read a simple fairytale to the class, for example “Wizard of Oz”. Prompted by the teacher, make a list of all of the areas.Once the list is complete, have the students brainstorm (with guidance) and think about what kind of area each character live in. After diligent discussion, have students decide on a “look” for each scene and draw a color representation. Using large cardboard boxes, props, linens, lights, set pieces to transform the sets to match the moods for the story.Performing Mood – Introduce the concepts of scripted monologue and how mood can directly enhance the dramatization of a character or plot. Using the lines from various scenes of a play, and deleting lines spoken by other characters, create a monologue representative of a favorite and appropriate character.Students can apply appropriate gesture and vocal interpretation. Rehearse the planned monologue. Each monologue should be between 30 and 45 seconds long and show the character in at least two different moods or emotions.Journal - Evaluate each student’s performance in the monologue for mood, atmosphere, gesture, through journal writing.AMISTAD EDUCATIONFreeze Framing – Students can participate in this activity where they are tasked to recreate famous moments from Black history and culture, i.e I have a Dream Speech in D.C., Rosa Parks on the Bus, as well as Jackie Robinson playing baseball. Class commentary and reflection would be a welcomed addition. HOLOCAUST EDUCATIONCreating Holocaust Tableaus Students will review acting basics such as how to use creativity, the body, and the voice to portray characters memorialized in stock photography from the ear of the Holocaust. Ensure that students avoid simplistic characterizations of the sort unfortunately encountered in some plays written about the Holocaust. Jews should not be presented as passive victims or perpetrators as sadistic monsters – all involved in the Holocaust were human beings much like ourselves. EDUCATIONFavorite Songs as a Teaching Tool: For students who have limited interests or are difficult to engage, try creating a lesson plan around one of their favorite songs. Let's take the earlier example of the song "Happy." Given printed or digital lyric sheets, students can read the song lyrics out loud, identify unfamiliar vocabulary, circle key words, and discuss the song's meaning. Afterward, students can complete a related writing activity based on the central themes in the song.For younger students, provide pictures or photos that relate to the main characters, animals, objects, or actions from a song. Engage the student in selecting the correct pictures as you sing the words from the song, or have them sequence the pictures in order from memory after listening to the song.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Students tour the performance space in their own school, or at a high school, local or professional theater, with particular emphasis on the front of house, backstage, box office and seating areas.Explore live theater through a teacher-guided process of inquiry to identify connections to their own lives and the lessons of the story. Guided discussion can include:Select an important moment in the performance and create a pose to reveal what the character was feeling.Measure the stage and performance spaces for area and perimeter. Mark off the downstage edge of the playing area in one-foot increments from either side of center stage.Using a digital camera, photograph student tableaux showing character responses and setting. Create a PowerPoint slide show using the tableaux photographs.ResourcesWebsites:HOLOCAUST: (Communication Skills strategies) (Facial and body language cues) (Non-verbal dictionary) (A how-to guide for body language) (Images of body language) (List of wordless picture books) rbc.htm e.html) (Drama games listed)Other Media:Computers with internet access to read script samples Camcorder to record performance Television to share performancesBroadway Set design videos – Brainpop, Youtube, SMART DesignBooks: Reader’s Theater Collections – Grades 3-5 lexicon ratingSpeaking Rules!: Classroom Games, Exercises and Activities for Creating, Cathy MiyataIntro to Theater Arts, ZimmermanThe Drama Resource Guide or *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Exploring relationshipsThe empty spaceunderstand how to effectively explore creative movement and sound in the empty space24Exploring relationshipsStage directions and positionsunderstand how to effectively diagram a stage space and how to use body position to express character motivations24Exploring relationshipsCreating tableausreview acting basics such as how to use creativity, the body, and the voice to portray characters in stock setting24Exploring relationshipsSounds in the spaceunderstand that verbal communication varies in direct relation to the type of theatrical space used for performance24Exploring relationshipsEstablishing mooddiscuss mood and atmosphere as they relate to the creating the world of the theater space2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)4Unit Plan Title:5: Creating Convincing CharactersCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleCreating characters from scripts or improvisation using voice, gestures and facial expressions is a vital component of the young actor’s skill set. Learning how to analyze character, break down script and interpret dramatic scenes/function allows students to discover how to place themselves, “in someone else’s shoes”. Fourth grade students understand conflict and resolution. They can look at situations from different points of view, so the process of creating characters with various goals, thoughts, or needs is an excellent way to capture this budding curiosity. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.1.4.5.Cr1c: Imagine how a character's inner thoughts impact their actions and collaborate to determine how characters might move and speak to support the story and given circumstances in drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3a: Collaborate with peers to revise, refine, adapt and improve ideas to fit the given parameters of an improvised or scripted drama/theatre work through self and collaborative review.1.4.5.Cr3b: Use and adapt sounds and movements in a guided drama experience.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5a: Describe and apply dramatic elements of dialogue, action, character emotion, and theme in the performance and/or creation of a drama/theatre work.1.4.5.Pr5b: Physically and intellectually investigate how movement and vocal choices are incorporated and make meaning in drama/theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.5.Re7a: Identify, explain and demonstrate an understanding of both artistic choices and personal reactions made in a drama/theatre work through participation and observation.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations:1.4.10a: Explain how drama/theatre connects oneself to a community or culture and identify the ways drama/theatre work reflects the perspectives of a community or culture.1.2 Media Arts Standards by the End of Grade 5?1.2.5.Pr4a: Practice combining various academic arts, media forms, and content into unified media artworks such as animation, music, and dance.?1.2.5.Pr4c: Create media artworks through integration of multiple contents and forms. Technology Standard(s)8.1.5.A.2 Format a document using a word processing application to enhance text and include graphics, symbols and/ or pictures.8.1.5.D.3 Explain the need for individuals and members of the global community to practice cyber safety, cyber security, and cyber ethics when using existing and emerging technologies8.1.5.C.1 Engage in online discussions with learners of other cultures to investigate a worldwide issue from multiple perspectives and sources, evaluate findings and present possible solutions, using digital tools and online resources for all steps.New Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA.L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)How, when, and why do theatre artists’ choices changeWhat happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How is character explored? How can you recognize the cultural and historical context of a dramatic work?What kinds of responsibilities does an actor have to an audience?Enduring UnderstandingsTheatre artists work to discover different ways of communicating meaning.Theatre artists rely on intuition, curiosity and critical inquiry.Various dramatic gestures, tones, and movements further develop elements of a literary plot.Effective composition of characters within a dramatic tableau enhances overall expression.Actors can communicate the nature of a character through decisions in vocal expressions and intonation.Spacing, gesture and vocal qualities reveal character relationships.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationETCivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesInteract with other characters in scene work and melodramatic presentations.Develop melodramatic and stock characters.Perform quality improvisation and scripted performance in a sequenced drama setting. Characteristics of dramatic character (such as: hero, heroine, villain, protagonist, antagonist)Develop individualized characters that have strong foundations of archetype development. AssessmentsPre and Formative : Discussion on character development and creating characters · Review of objectives, tactics, character motivations · Review of acting and rehearsing responsibilities · Creative drama activities Benchmark/Authentic Assessment- Classroom monitoring · Full class discussion after each movement rehearses · Students perform script with blocking and directions written down.Summative Students will perform/convey basic non-verbal movements and /or vocal intonations related to a particular scene in the story.Students will continue their character journal (choosing one animal character and describing the ways in which the unique attributes of that animal contribute to the story.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Puppets – Developing the CharacterFourth graders are introduced to role-play and the foundations of character development by utilizing the art of puppetry.History of Puppets PowerPointCultural references, traditions and pop culture influences. Types of PuppetsMaking the Puppet: Students will make either a sock / glove / rod puppet in which to begin developing improvised character.Students initiate improvised dialogue and the action of a story line through the puppets.Simple sets for puppet stages as puppet productions become more elaborate.Puppet Autodramas: Students will work individually and in small groups by diagraming a life background for the created puppet.Students will focus on…Family HistoryHobbies/Likes/DislikesPersonality/Physical AttributesStudents will describe and discuss ways dramatic problems in their “puppet life” story line are resolved through the action and dialogue.Discussion: Discussing ways to creating substantial, realized character, students develop critical and creative thinking skills, form judgments, and provide rationales for their opinions.Shadow Play Presentations: Shadow play and shadow puppetry are new media for creative thought and action.Shadow puppets are flat and two-dimensional and cast a shadow or form a silhouette against a white screen. Students recreate a famous fairy tales of their groups choosing.The presentation should include at least one prop, two developed characters, and a musical introduction. The dialogue should sound like the dialogue in the version being re-created.Section Two: Expressing Character (Non-Verbal)Students will continue their understanding of how to express emotion and ideas without using words (non-verbal).Creative Dramatics: Students will practice using movement to express teacher supplied characters.Gesture Games / Pantomime review will with prompted characters will display a student’s ability to show distinction between character profiles. Students need to be aware of how facial expression & movement communicate characters.Emotion LocomotionPartnered/Whole class participation where students are tasked to display an ever-changing range of nonverbal emotions. Musical PantomimeStudents create expressive movements to enhance their character’s dramatic mood, while adding external elements, such as;MusicSound effects Environmental/Animal soundsChaplin Study – The Fool Section Three: Expressing Character (Full Voiced)Students should be able to identify character and emotions as they are communicated verbally. Improvisational scenes and Poetry reading will assist in student’s understandings of character development. Voice and Diction LessonHow Does your Voice Work? – PowerPointBreath Control, Diaphragm ControlRelaxation exercises - Geared to enhance concentration and imagination skills and to overcome stage fright. As a group, students take a series of deep breaths from the diaphragm They should feel their stomachs expand as they inhale.Blowing Up a Balloon imagery techniqueThen they close their eyes and imagine themselves in a calm, comforting environment as they practice saying their teacher prompted lines of dialogue.Vocal VarietiesStudents will tell a story and portray their unique character effectively by using vocal variety and movement. Students can implement techniques of;AccentDialectVocal InflectionVocal Cadence and DictionDiscuss: How can we identify & apply vocalization techniques to fit a character?Voice the Improv!Talk Show – Students focus on displaying cooperative interaction, verbal expression and role-playing.Students role play as Host/Guest and perform a talk show after topics are designated by the class. Enrichment – The Mumbo Jumbo GameThe guest must speak in a “made-up” language”Journal: How do actors use pitch, rate, and tone to communicate a specific character?The Questions Game – Students are tasked with producing a Questions only conversation with a partner.Student must develop two characters in a “like” setting.Dialogue must continue towards a concrete ending using character motivations. Sound Effects – Student will work in tandem teams to create characters working a conflict in a given situation.Each tandem team has one performer and one sound effect maker.Sound effects will assist in influencing character decisions and plot direction. DISCUSS: How can environmental sounds influence the actions of motivations of the characters that we play?Poetry Portraits – Students will demonstrate how a script comes to life by using previous stories such as literature, poetry and speeches. Students will work together to collaborate poetry into character scripts. Some Children’s Favorite Poems: avourites/index.htm)Students will choose a poetry piece of their ability and liking. Each student will be responsible for diagraming their character through the context of the poem. Students will perform collaborative scripts from poetry and municate characters effectively through movement and dialogue. Journal - How is dialogue and character creation used to bring a story to life?Section Four: Commedia dell’ArteThe style of Commedia is characterized by its use of masks, improvisation, physical comedy, and recognizable character types. Students will benefit greatly by learning the basics of stock/stereotypical characters and what they are used to communicate.The Traditions and History of Commedia dell’Arte Teacher Guided PowerPointsFamous Character TypesZanni, Old Men, Captain, Lover (Friends)Importance of the MaskImprovised ComedyIntroduction of the ActressCharacter WalksStudents walk around the room as a character of their (or your) choice.When you call out “TAKE,” students should freeze. Now as they are walking, ask them to imagine that an invisible string is attached to the top of their head. The string is going to pull them through space, causing their head to lead them. Have students explore walking this way. What happens to the rest of their body? Do they speed up or slow down? Encourage students to think about who these characters might be: what’s their name and/or profession? where are they going? etc.Then call “TAKE.” The imaginary string is reintroduced within a few seconds, only now it’s pulling a different part of their body. Explore leading with the nose, chin, chest, stomach, hips, and knees.Encourage students to discover the voice of the different characters. Emotion LevelsTeacher calls out an emotion, like “sad.” Students to take one step forward and show us with their bodies, faces, and voices someone sad at level 1. Then have someone else step forward and show us sad at a level 2.Have them increase their portrayal of sadness by exaggerating it and stepping forward at a Level 3, then 4, and so on up to 10. By 10, encourage students to be over the top and dramatic, perhaps screaming and crying on their knees. Go through this progression several times with different emotions, like happy, jealous, or heartbroken.Discuss: How the emotions change as they increase? If you were sad at a 1, what emotion were you portraying at a 10? Despair? Distraught? Once students get the hang of exaggerating the emotions step-by-step, this can become a game by calling out the numbers and emotions out of order. Simple ScenariosPartner students into pairs of two. Give each pair a simple scenario from the list below. Scenario #1: An Old Man and his Servant Zanni, the servant, is very hungry. Every time he is about to eat his dinner, his master gives him a new task to complete. Scenario #2: The FriendsA young boy and a young girl are best friends. They discover their fathers are enemies and will never let them be friends. They decide to run away together. Scenario #3: The Captain A soldier comes to a foreign city with his servant. He brags about how he has fought bravely in a war. The soldier then sees a mouse, and they are both scared away.Have them improvise the scene Encourage them to find three different ways of doing the task of their characters. The first time students typically rely on their voices and facial expressions to communicate the scenario. Section Five: Writing Your Character’s StoryStudents will work to apply learned physical and vocal skills to create a variety of characters, both real and imaginary, in a personal written story or play.The Hero’s Journey: Student’s will be introduced to the concept of the Hero’s Journey and brainstorm their own “Personal Journey”. Develop a real or imaginary character, and rehearse and perform as that character in a student-created, written scene.Brainstorm your character’s personality and background.Establish your character’s setting and influences.Interpret a character’s thoughts, feelings and wants. Share with and give focus to other actors in a scene. Plot Structure Review Exposition/Rising Action/Climax/Falling Action/ResolutionStudents will construct a frame of their Hero’s Journey by working independently/cooperatively. DISCUSS: Strengths and weaknesses of a well-structured storyBe the Hero! – Students will be dramatizing their Hero’s Journey story into short scripts for performance. The presentation should include at least one prop, two characters in costume, and a musical introduction. The dialogue should be coherent and expression, whether it be verbal or non-verbal. AMISTAD EDUCATIONBlackface Minstrelsy in American Puppetry - This text can be modified to serve as a historical reflection point to which students can learn about the trials and tribulations of black culture during the Jim Crow Era. Students can recreate the puppets utilized during this time of theatrical minstrels. EDUCATIONLife is Beautiful: A Commedia Comparison - Students can view clips of the classic 1999 film, Life is Beautiful starring Roberto Benigni. Students should compare and contrast commedia-like physicalizations with that of the character of the Zanni and Masters. Student could also create small vignettes like the movie clips themselves. EDUCATIONGeneralization Is KeyAfter a scene/pantomime, ask the students "Wh" questions (who, what, when, where, why) about the scene content in spoken language.Use visual supports from the scene during related non-music activities. You might use pictures from a hand-washing scene cues during actual hand washing at the sink.Use lyrics from the scene as cues throughout the week. If you have a behavioral scene cuing the student to keep their hands down, you might start by singing the "hands down" phrase at other times during the day when you see the student becoming restless. Later you can fade the singing into a spoken voice.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Visit the school library and identify the section on Greek theater and drama.Use online resources to deepen students understanding of theater performance by researching historical and cultural setting, period dress and customs.Take a virtual tour of a ancient performing arts complex, theater or theater workshop. Identify and download images related to the original Greek Theater experience. Perform interactive Chorus/Thespian productions for the school or other classes, parents and families.Explore options to perform Regional Performing Arts Centers/Festivals.Take trips to libraries or museums (art, cultural, history and natural history) for research purposes.ResourcesOnline: AMISTAD: : (Video with tips on writing a character backstory) (Video overview of writing a character sketch) mediabyfava.it sites.site/italiancommedia/plays-and-scenariwww1.american.edu/IRVINE/jenn/home.html carnival/html/commedia.html (A quick synopsis on steps for character development with pictures) (Overview of creating a persona to include guiding questions for consideration) (advice for what to do once you have been cast in a part)Books:Sierra, Judy FANTASTIC THEATER: PUPPETS AND PLAYS FOR YOUNG PERFORMERS AND YOUNG AUDIENCES, Bronx, H. W. Wilson Co., 1991. Thirty puppet plays adapted from nursery rhymes, folk songs, fables, poetry, folktales, and myths with instructional chapters on making and using rod and shadow puppets and puppet stages.Currell, David PUPPETS AND PUPPET THEATRE, Wiltshire, Crowood Press, 1999. A guide to making and performing with puppets, providing an intro to puppet theatre; exploring the designing and structure of stage types of puppets; looking at the materials and methods of creating heads; explaining construction techniques; and discussing staging, writing, and sound for performance.Gordon, Mel. Lazzi: The Comic Routines of the Commedia dell’Arte. PAJ, 2001. Grantham, Barry. Commedia Plays: Scenarios, Scripts, Lazzi. Nick Hern, 2006. Grantham, Barry. Playing Commedia: A Training Guide to Commedia Techniques. Heinemann, 2000.Fava, Antonio. The Comic Mask in the Commedia dell’Arte: Actor Training, Improvisation, and the Poetics of Survival. Northwestern UP, 2007.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*5Creating charactersPuppets-developing characterExplore role-play and the foundations of character development by utilizing the art of puppetry15Creating charactersExpressing character (non-verbal)continue their understanding of how to express emotion and ideas without using words25Creating charactersExpressing character (verbal)to identify character and emotions as they are communicated verbally25Creating charactersCommedia dell’Arte learn the basics of stock/stereotypical characters and what they are used to communicate15Creating charactersWriting your character’s storywork to apply learned physical and vocal skills to create a variety of characters, both real and imaginary, in a personal written story or play2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:Grade FiveGrade(s)5Unit Plan Title:Complete the CharacterCareer Ready Practice(s) CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleCreating characters from scripts or improvisation using voice, gestures and facial expressions is a vital component of the young actor’s skill set. Learning how to analyze character, break down script and interpret dramatic scenes/function allows students to discover how to place themselves, “in someone else’s shoes”. Fifth grade students understand conflict and resolution. They can look at situations from different points of view, so the process of creating characters with various goals, thoughts, or needs is an excellent way to capture this budding curiosity. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.1.4.5.Cr1c: Imagine how a character's inner thoughts impact their actions and collaborate to determine how characters might move and speak to support the story and given circumstances in drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3a: Collaborate with peers to revise, refine, adapt and improve ideas to fit the given parameters of an improvised or scripted drama/theatre work through self and collaborative review.1.4.5.Cr3b: Use and adapt sounds and movements in a guided drama experience.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5a: Describe and apply dramatic elements of dialogue, action, character emotion, and theme in the performance and/or creation of a drama/theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.5.Re7a: Identify, explain and demonstrate an understanding of both artistic choices and personal reactions made in a drama/theatre work through participation and observation.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations:1.4.10a: Explain how drama/theatre connects oneself to a community or culture and identify the ways drama/theatre work reflects the perspectives of a community or culture.1.2 Media Arts Standards by the End of Grade 5?1.2.5.Cr1a: Generate ideas for media artwork, using a variety of tools, methods and/or materials.?1.2.5.Cr1b: Develop individual and collaborative artistic goals for media artwork using a variety of methods.?Technology Standard(s)9.4.5.CT.3: Describe how digital tools and technology may be used to solve problems.9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifact9.4.5.CI.4 Engage in online discussions with learners of other cultures to investigate a worldwide issue from multiple perspectives and sources, evaluate findings and present possible solutions, using digital tools and online resources for all steps.New Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA.L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?How, when, and why do theatre artists’ choices changeWhat are gestures a universal language?How does pantomime tell a story?How do facial expressions tell a story?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists work to discover different ways of communicating meaning.Various dramatic gestures, tones, and movements further develop elements of a literary plot.Effective composition of characters within a dramatic tableau enhances overall expression.Actors can communicate the nature of a character through decisions in vocal expressions and intonation.Spacing, gesture and vocal qualities reveal character relationships.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesInteract with other characters in scene work and melodramatic presentations.Develop melodramatic and stock characters.Perform quality improvisation and scripted performance in a sequenced drama setting. Characteristics of dramatic character (such as: hero, heroine, villain, protagonist, antagonist)AssessmentsPre and Formative – SGO pre-assess examinations, Open discussion · Small group discussion · Creative drama activitiesBenchmark/Authentic AssessmentTeacher side-coaching to prompt establishing scene characters and character relationships Establish character-given circumstances through teacher questioningPerformances and Performance EvaluationsSummative - Classroom monitoring · Full class discussion · Small group discussion · RehearsalCharacter Exams – Blocking, Subtext, Body Positions, Voice and DictionBrainPop, SMART Assess, Reflect & Response PapersCharacterization RenderingsPeer Critiques Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Characterized Movement –SUGGESTED ACTIVITIESStudents will show their ability to understand how physical movement affects character.Character Blocking – Have students design and record blocking that fits their character’s qualities/persona.Physically interpret a scene, using gesture and facial expression.As an extension, student may bring the tableau to life through invented dialogue and movement.Mirroring Movement – Students can observe and mimic movement by successfully mirroring another student’s movement.Goal of this practice and discussion is to get students to think deeper about how movement can display many types of physical, emotional characteristics. Body Language/Posture - Students will demonstrate their understanding of body language and posture by being able to identify how a person is feeling based on their body language.Emotion, Age archetypes produce specific movements and body positions. Walk-About exercisesBody Positions - Students will demonstrate their understanding of body language and posture by being able to identify the 5 body positions on and off stage. Full Front, ? Turn, Profile, ? Turn, Full BackHow does each position communicate different intentions and meanings?Students practice positions of stage with mock scenes creating and guided by instructor. Section Two: Stage Directions and Blocking –SUGGESTED ACTIVITIESStudents will demonstrate their knowledge of stage directions and other basics by blocking and how it directly effects characterization.PowerPoint/SmartBoard – Stage Directions and BlockingThe Nine Stage Spaces C, CR, CL, UC, UL UR, DC, DL, DRThe Fourth WallImportance and characterization quality of each position.Stage Space Flash ExercisesTeach Proper abbreviations for each term and introduce the symbol when a character “crosses” to a different position.?Basic principles of “cheating out” to the audience, as well as not upstaging another actor unless you need to.Student Scene BlockingStudents observe, the teacher will help one partnership at a time to block the first half of a scene.When all scenes have had their first halves blocked, the partnerships will on their own block the second halves of their scenes.Students will present for the class the second halves of their scenes.Section Three: Pantomime –SUGGESTED ACTIVITIESStudents learn the movement/pantomime techniques of age, given circumstances, place and personality.PowerPoint/SmartBoard Presentation: Chaplin/BeanIntroduce students to the basic principles of pantomime.Chaplin’s, “The Kid”Mr. Beans, “At the Library”Use vocal and physical expression to interpret a character’s thoughts, feelings and wants.Gesture and Facial ExpressionSilent Skit - Whose Line Is It Anyway???Have one of the students who is a character be a host.??Instruct the four students that they are to impersonate their characters specifically through facial expressions and popular motions that they use.?Journal: What gestures did you see???What facial expressions did you see.Musical Pantomime - Students will demonstrate an understanding of how music and story can be connected.Students will complete brainstorming activities and participate in class activities and discussions.Dynamic Music Group – Create a short scene with the teacher provided music.Classical, Rock, Soft Jazz, etc…Discuss - What images, ideas, scenes, etc. come to their mind.??Play the clip and then share your thoughts with the class and ask what they thought about.Section Four: The Object Exercises –SUGGESTED ACTIVITIESStudents will demonstrate their understanding of Uta Hagen’s The Basic Object Exercises exercise by rehearsing and performing a 2-minute slice of their life.POWERPOINT/SMARTBoard - Object Exercises: Students will demonstrate understanding of various questions and how they relate to developing character from scripted works.Who am I?What time is it?Where am I?What surrounds me?What are the given circumstances?What is my relationship?What do I want?What’s in my way?What do I do to get what I want?Recreation Nation: Students will brainstorm and recreate a slice of their life utilizing the answers gleaned from the Object Exercises.Discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)Section Five: Voice and Diction –SUGGESTED ACTIVITIESStudents will demonstrate their ability to use projection and diction.POWERPOINT/SMARTBoard – Voice and Diction Vocal AnatomyProper Technique and ControlBreath StabilityTone, pitch, volume, rate, and diction Student will participate in breathing exercises and completing an anatomy diagram worksheet. They will demonstrate their knowledge of articulation and diction by writing and performing their own tongue twister.Learning Vocal Control: Breathing ExercisesRib Expansion and Diaphragm activities.Articulators – The art of clear vocal productionsTongue Twister exerciseSally sells seashells by the seashore.Cinnamon synonym Toy boat – toy boat – toy boatDiscuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)Vocal Characterization - Students will demonstrate their ability to use vocal techniques to establish character by performing a fairy tale scene using only their voices.Fairy Tale Voices: behind some sort of screen or wall so that they have to get the whole story across with their voices only.??Each person has to have a character and has to participate.Journal: What are some examples you saw of detailed vocal choices being made to establish character???How were each of the vocal techniques we have learned used to establish character?Dialect and AccentStudents will watch various videos showcasing accent around the world.New York, English, Irish, Southern, etc…Reconstruct famous accents by implementing play and story scripts. Section Six: Emotional Connection and Subtext –SUGGESTED ACTIVITIESStudents will demonstrate their ability to understand the context of their character (socially and emotionally).The Five Senses: Students will learn the skills of visualization by participating in an activity directed by the teacher, which will require students to use their five senses to visualize themselves in their scene as their character. Students will record their feelings in a journal.Introduce the concepts of text and subtext- what is the difference between the two and how do they impact performance? Does using subtext make your character more real/human?Subtext: ?Subtext is what the character is thinking and feeling but not saying. Pair up students, giving them 5 minutes to create an “improvised” dialogue. At end of time limit, place students in audience, and call up pairs to play out dialogue (have them sit or stand facing each other; vary distance of players). Journal - How does inputting subtext affect what you think while you speak? Instead of thinking… “What is my next line”, be thinking about what your character is feeling.Draw reflection questions from what took place during dialogue. Ask questions that draw attention to detail and possible points of tension. Ask questions about credibility of scene.Section Seven: Character Performances –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of beginning acting skills by performing a solo/duo scene.Student Created AutoDramas - Develop a real or imaginary character, and rehearse and perform as that character in a student-created, scripted or improvised scene, demonstrating the ability to:Students will be asked to showcase the following;Being free from inhibitionsProper stage directionsObjectives and tacticsCharacter developmentVocal use and varietyBeing natural onstage. In the Moment Scenes – Demonstrate an evolving ability to commit to truthful acting and responding “in the moment” within imaginary circumstances.Instructor will challenge students with a randomly generated conflict that his/her character must manipulate through.AMISTAD EDUCATIONRace and Representation in American Cinema – This link provides information on Lawrence Fishburn’s portrayal of Othello, and Denzel Washington’s portrayal of Malcolm X. Students can study their theatrical training methods and incorporate their model into their own training, create slideshows of famous black actors/actresses, or critique performances by black performance artists in film, stage and screen. EDUCATIONDynamic Music Groups - While participating in this activity, students can be challenged to create scenes inspired by Holocaust era specific music. This can lead to performing serious works of theater which can help highlight the struggles of the Jewish people during the Holocaust. Where possible, spend time focusing on characters’ lives prior to and, if appropriate, after the Holocaust. In addition to reflecting historical reality, this will help students as performers to develop well-rounded, three-dimensional characters rather than caricatures. EDUCATIONMusic + Visual Supports = Increased ComprehensionWhile music is an effective memory cue and learning modality, many students still perform best when visual cues are paired with auditory stimuli. Using flash cards, song story books, digital pictures, and even physical gestures can increase students' understanding of the lyrics they are hearing or singing.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Differentiate characters within a play Distinguish aspects of a given play through research Select appropriate sections of a character’s lines in a play to create a cohesive and representative monologue Analyze a character that supports the overall mood, period, and content of the play selected Score a selected monologueAttend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesBooks: Muir, Kathy, ed. CHILDSPLAY: A COLLECTION OF SCENES AND MONOLOGUES FOR CHILDREN, New York, Limelight Editions, 1995.Slaight, Craigh; Esty, THE SMITH AND KRAUS PLAY INDEX FOR YOUNG Jennifer & Monteleone, ACTORS GRADES 6-12, Lyme, Smith and Kraus, 1999.Kehret, Peg ACTING NATURAL: MONOLOGS, DIALOGS AND PLAYLETS FOR TEENS, Colorado Springs, Merriwether Publishers, 1991.Ratliff, Geral Lee THE THEATRE AUDITION BOOK: PLAYING MONOLOGS FROM CONTEMPORARY, MODERN, PERIOD, SHAKESPEARE, AND CLASSICAL PLAYS, Colorado Springs, Meriwether Publishers, 1998.Theatre Games for the Classroom A Teacher’s Handbook- Viola Spolin Theatre Games for Rehearsal: A Director’s Handbook- Viola SpolinA variety of magazines with pictures of people.WebsitesAMISTAD: : Lesson Plans -? HYPERLINK "" \t "_blank" ctl.byu.edu/home/tools/free-resources/The Actor Source -? HYPERLINK "" \t "_blank" TheatrGROUP Method Acting -? HYPERLINK "" \t "_blank" (Guide for general performances in theatre) 2012/improv-tips-and-tactics_52678.html (Improv tips and tactics article) (The Process of Drama) (Site with numerous improvisation exercises)\glossaryofterms (Online theatre terms glossary) (Lessons and resources for teaching improvisation) (Cards with “who”)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1Complete the CharacterCharacterized movementshow their ability to understand how physical movement affects character11Complete the CharacterStage Directions and Blockingdemonstrate their knowledge of stage directions and other basics by blocking and how it directly effects characterization21Complete the CharacterPantomimelearn the movement/pantomime techniques of age, given circumstances, place and personality21Complete the CharacterObject Exercisesdemonstrate their understanding of Uta Hagen’s The Basic Object Exercises exercise by rehearsing and performing a 2-minute slice of their life11Complete the CharacterVoice and Dictiondemonstrate their ability to use projection and diction21Complete the CharacterEmotional Connection and Subtextdemonstrate their ability to understand the context of their character21Complete the CharacterCharacter Performancesdemonstrate an understanding of beginning acting skills by performing a solo/duo scene2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)5Unit Plan Title: Designing the ProductionCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleA designer’s number one job is to capture the artistic essence of a production and translate its message with style and subtlety. Analyzing the various production design areas gives students an appreciation for the enormity of work that goes into each and every production. Creative expression with a clear vision, structure and design are all qualities that a collaborative production team must have in order to breathe life into any performance. Designing a show through respectful cooperation, hands-on construction/creation and positive critiquing are essential for the young actor’s growth on and off the stage. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.1.4.5.Cr2b: Participate and identify defined responsibilities required to present a drama/theatre work informally to peers/audience and participate in the process.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4b: Identify and utilize basic technical/design elements that can be used in drama/theatre work to demonstrate an understanding of the elements.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.5.Re8a: Develop and implement a plan to evaluate drama/theatre work.1.4.5.Re2b: Analyze technical elements from multiple drama/theatre works and assess how the technical elements may support or represent the themes or central ideas of drama/theatre works.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Identify, respond to and investigate connections to global issues including climate change and other content areas in a dramatic/theatrical work.1.4.11b: Compare the drama/theatre conventions of a given time period with those of the present.1.2 Media Arts Standards by the End of Grade 5?1.2.5.Cr2a: Collaboratively form ideas, plans and models to prepare for media artwork.?1.2.5.Cr2c: Brainstorm goals and plans for a media art audience.1.2.5.Pr4a: Practice combining various academic arts, media forms, and content into unified media artworks such as animation, music, and dance.?Technology Standard(s)9.4.5.CT.3: Describe how digital tools and technology may be used to solve problems.9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifact9.4.5.CI.4 Engage in online discussions with learners of other cultures to investigate a worldwide issue from multiple perspectives and sources, evaluate findings and present possible solutions, using digital tools and online resources for all steps.New Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.Essential Question(s)What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?How, when, and why do theatre artists’ choices changeWhat happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How can a play inspire positive action?Enduring UnderstandingsTheatre artists allow awareness of interrelationships between self and others to inform their work.As theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Shape, mood, texture, script context, etc… contribute to the visual interest of designer’s creation motivations for creation. Attention to details such as texture, shape, movement, and color in design leads to clear expression during collaboration regarding the vision of actors and directors for each character/scene or production.Planning an order of steps and forming a list of required supplies dictates the design and construction during the pre-production phase.The responsibilities of designers in the three stages of Pre-Production, Production and Performance.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCreate a rendering for one design concept of a production (costume, props, makeup)Fulfill their role as a theater practitioner in design teams.Work collaboratively on a design team.Design a concept for one design area (costume, props, makeup)Identify the essential qualities of a character in order to make informed artistic choices about color, shape, movement, and texture.AssessmentsPre and Formative: Informal questioning pertaining to students’ experiences with live performances to assess student prior knowledge. SGO pre-assess examinations, Open discussion · Small group discussion · Creative drama activities Written response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment: Ask questions pertaining to performance spaces and how to make them more interesting for a performanceObservations: Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.PerformancesSummative :Development of a design concept Execution and completion required illustrations based on assigned positionIdentify new performance spaces around the school campus Explore new ideas about costumes, props, masks, and set pieces with students Present stories the students already know in different spaces Specific questions directed by teacherAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: The Production Vision –SUGGESTED ACTIVITIESStudents further their understanding of design and technical theater by connecting design choices to the requirements of a script. Making the Artistic Choice – Have students discuss the setting needs: style, colors, shapes, etc. for a play adapted from a story; suggested: The Mystery of Biltmore House or The Mystery of Blackbeard the Pirate by Carole Marsh, or a story from The People Could Fly: American Black Folktales by Virginia Hamilton.Reference the short story to determine the technical needs for dramatic presentation.Discuss the needs for costumes, props, masks, set pieces, and lighting.Section Two: The Director’s Concept –SUGGESTED ACTIVITIESStudents will understand the position of a director on a production team, and his/her responsibilities, a director’s concept and how to develop a concept. Director PowerPoint/SMARTBoard - role of the director and the various responsibilities related toBlocking ConceptMovement and stage composition Coaching actors Communicating with actors, designers and technical crewsShow a video of a production meeting so students will understand that the Director is responsible for the team understanding the concept.Creating the Concept: Shape a small group tableau, deciding which student will take the role of director.Groups all work with the same script, i.e. Reader’s Theater Scripts. Each student will take turns recognizing and discussing set, prop, costume, lighting and sound design in theatrical productions.Create Group Tableaus, deciding which character will take focus in the scene.Written/Oral/Performance based discussions guided by teacher.Section Three: Costume/Prop Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices.Costume CreationsGroups make, model, explain their design creations. Collaborate to create simple costumes for acting out a drama.Read a play and create a costume rendering for a character.Designing the Play’s CostumesHave students select from an already collected group of costume pieces, fabric swatches, ribbons, and old hats to create a simple costume they can wear based on a characters from the story they read.Prop Design Explore props and how they can enhance creative play. Using the simple short story that was read to the class, and prompted by the teacher, make a list of all of the “props”, or things that the character might hold in their hand Once the list is complete, and after diligent discussion, have students draw a color representation to be used in their reenactment.Section Four: Set Design –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of set pieces and design by creating a model set for a play script of their choice.The Sets Around You: Measure a room and create a ground plan including furniture and other elements from the room. Renderings: Create a rendering for a stage backdrop and then execute the rendering to scale on a brown paper mural or painted backdrop.Design a Set: Collaborate to create simple sets for acting out a drama.Devise a scenic concept for a play read in class, including backdrops, props, furniture and other scenic elements.Using cardboard boxes, colored paper, tape, and crayons – create simple sets based on the short story the class read.Diorama DesignsMultimedia Renderings and designs. Section Five: Lighting/Sound Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of how to use light /sound to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play.Light and Sound PowerPoint/SMARTBoard - role of the light/sound designers and the various responsibilities related toSpatial relationships Color Patterns Mood ThemeShow a video of a sound designer/light designer meeting so students will understand what a day in the life of is like. Match the Music: Creating a sound plot and mimicking the mood/theme of a photograph.Create a tape or CD of music and sound effects for a scene.Light for Living- Lighting designers need to know how lighting affects a space.??Here you will be creating an overhead drawing of your living room at home, indicating sources of light and what directions the light goes in the room and where it creates shadow.??You will also write one paragraph describing how you think the lighting in your living room creates a mood for that room.??Is it different from any other room in the house?Section Six: Group Companies – SUGGESTED ACTIVITIESStudents will reenact the story they have been working on, using their newly created props and costume, light, set pany Presentations: Describing your design in detail, giving justification for each, as well as describing how it fits with the director’s concept.Students reenact the short story they read integrating sets, costumes, masks, and props.After each presentation, allow students to ask questions. Remind the students that they can ask questions about the creation process or any clarifications they might need. Remind the students that we are not critiquing the design; it is a time to understand the design process.AMISTAD EDUCATIONDesigning for Movies: Black Panther - Costume Designer Ruth E. Carter is behind some of the most famous looks in cinematic history. She explains the African, Afropunk and Afrofuture influences she drew on to design the costumes in "Black Panther" and "Do the Right Thing." Students can discuss the cultural implications of the designers inspirations and/or make designs of their own. EDUCATIONLight/Sound/Color Design in Schindler’s List: Students can analyze clips from Steven Spielberg’s , Schindler’s List. They can reflect on thematic choices through journal writings, web videos, or group discussions. Topics should include; “How does the use of black and white support the context of the film’s story” EDUCATIONPlay Creation: At the end of this lesson students will be able to read a text and re-write the text in play form, making changes and adding elements to make it work on stage. See Appendix B for specialized programs that reflect the needs of students and community.Theater House visits and tours.Youtube / Literary / Archival Play Production MediaInvestigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).Participate in the running of a show as part of the properties, deck, electrics and costume crews.ResourcesWebsites: AMISTAD: : Information Guides -? HYPERLINK "" \t "_blank" bath.ac.uk/~su2bc/infoguides/index.shtmlCareers in Stage Management & Technical Theater -? HYPERLINK "" \t "_blank" drama.ac.uk/lighting.htmlDesign & Technical Production for High Schools -? HYPERLINK "" \t "_blank" Lighting & Theatre Effects -? HYPERLINK "" \t "_blank" lteg.htmLighting Links -? HYPERLINK "" \t "_blank" linksStage Managers Handbook -? HYPERLINK "" \t "_blank" Broadway/Stage/2203/Smhandbook.htmlStage Managers Home Page -? Theater Resources -? HYPERLINK "" \t "_blank" Tools for Stagecraft -? HYPERLINK "" \t "_blank" index.htm (Compilation of tips for classroom drama productions) (Guidance on various production roles and responsibilities)STAGE CRAFT DIRECTORY of Technical Theatre Terms?()?Hundreds of British (and American) technical theatre terms, explained. In alphabetical order. Soon to be sorted by category, too. HYPERLINK "" \t "_blank" Stagecraft Frequently Asked Questions?()?Frequently asked questions from the rec.arts.theatre.stagecraft and alt.stagecraft newsgroups. HYPERLINK "" \t "_blank" Drama Department Links: Stagecraft?()?From the University of Exeter. The list includes costumes, staging, props, lighting, sound, and stage management. HYPERLINK "" \t "_blank" Association of British Theatre Technicians?()?Includes information about training, publications, and other information about several aspects of technical theatre. HYPERLINK "" \t "_blank" Entertainment Technology (ETEC)?()?This site provides access to the magazines "Entertainment Design" and "Lighting Dimensions" about show business art and technology.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Designing the productionProduction Visionconnecting design choices to the requirements of a script12Designing the productionDirector’s conceptunderstand the position of a director on a production team, and his/her responsibilities, a director’s concept and how to develop a concept12Designing the productionCostume/prop designdemonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices12Designing the productionSet Designdemonstrate an understanding of set pieces and design by creating a model set for a play script of their choice12Designing the productionLighting/Sound designdemonstrate an understanding of how to use light /sound to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play22Designing the productionGroup Companiesreenact the story they have been working on, using their newly created props and costume, light, set designs2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)5Unit Plan Title:Adapting the Dramatic StoryCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit focuses on unearthing the practical, artistic expression of our young actors. Here, we delve into how dramatic stories are adapted by means of design choice and collaborative vision. Students discover the elements of how stories are written, structured and then adapted to meet specific production needs. Students explore artistic choices in an adapted scene/play through ensemble improvisation of theatre professionals. Working effectively in a production team and/or ensemble to improvise a play/scene adapted from source material as is an effective way to allow students to express their creative qualities. Implementing historical and cultural research to authentically adapt source material will support the ideals of cultural representation. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2a: Devise original ideas for a drama/theatre work that reflect collective inquiry about characters, plots and their given circumstances.1.4.5.Cr2b: Participate and identify defined responsibilities required to present a drama/theatre work informally to peers/audience and participate in the process.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3a: Collaborate with peers to revise, refine, adapt and improve ideas to fit the given parameters of an improvised or scripted drama/theatre work through self and collaborative review.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.1.4.5.Pr4b: Identify and utilize basic technical/design elements that can be used in drama/theatre work to demonstrate an understanding of the elements.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5a: Describe and apply dramatic elements of dialogue, action, character emotion, and theme in the performance and/or creation of a drama/theatre work.1.4.5.Pr5b: Physically and intellectually investigate how movement and vocal choices are incorporated and make meaning in drama/theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.5.Re7a: Identify, explain and demonstrate an understanding of both artistic choices and personal reactions made in a drama/theatre work through participation and observation.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.5.Re8a: Develop and implement a plan to evaluate drama/theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.5.Re9a: Compare and contrast multiple personal experiences when participating in or observing a drama/theatre work and justify responses to drama/theatre work based on personal experience.1.4.5.Re9b: Explain responses to characters based on cultural perspectives when participating in or observing drama/theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations:1.4.10a: Explain how drama/theatre connects oneself to a community or culture and identify the ways drama/theatre work reflects the perspectives of a community or culture. 1.2 Media Arts Standards by the End of Grade 5?1.2.5.Cr1a: Generate ideas for media artwork, using a variety of tools, methods and/or materials.?1.2.5.Cr1b: Develop individual and collaborative artistic goals for media artwork using a variety of methods.?Technology Standard(s)9.4.5.CT.3: Describe how digital tools and technology may be used to solve problems.9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifact9.4.5.CI.4 Engage in online discussions with learners of other cultures to investigate a worldwide issue from multiple perspectives and sources, evaluate findings and present possible solutions, using digital tools and online resources for all steps.New Jersey Student Learning StandardsNJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.NJSLSA.R6. Assess how point of view or purpose shapes the content and style of a text.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA. W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA. W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.Essential Question(s)What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?What would the world be like if we weren’t able to artistically express ourselves?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists work to discover different ways of communicating meaning.Dramatic stories incorporate exposition, character, conflict, climax and resolution.Unifying a variety of elements in a production creates a complex and textured composition.Gestures, facial expressions, and sounds techniques influence believability of characters/scenes.Theatrical practitioners utilize techniques of pantomime, tableau, mood to artistically express moments in story.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesImprovise and imitate scenes from a story (historical or fictional)Use improvisation skills to reveal understanding of artistic choices.Critique artistic choices from source material as a theater/film practitioner.Explore artistic choices in an adapted scene through ensemble improvisation of theatre professional.Work effectively in an ensemble to improvise a scene adapted from source material as theatre professionals.Use historical and cultural research to authentically adapt source material.AssessmentsPre and Formative - · Monitoring students’ activities · Observing students’ activities · Review of guidelines for the assignments, Evaluate students’ experiences with script and stage compositions. Benchmark/Authentic Assessment - Guided questions · Memorization Quizzes, Review beginning, middle, end, conflict, and resolution · Writing dialogue leading into or resolving the action during a song · Teacher will evaluate students’ progress at memorizingSummative - Writing prompts on characteristics of a design elements, stage directions, etc. · Comprehension questions on the adaptation process of stores to stage · Final Performance ReflectionsAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Adapting the Plot Structure –SUGGESTED ACTIVITIESStudents will demonstrate understanding of exposition, conflict, climax and resolution by improvising, in small ensemble groups, alternative endings to a folk tale.Understanding Plot Structure POWERPOINT: Introduce the students of the definitions of the elements and how the dramatic structure of a play follows the graph Exposition – background information (who, what, where, why, when; normal lifeInciting Incident – an action that sets the conflict in action (normal life changes)Rising Action – the story thickens and obstacles arisesClimax – highest point of the play (most emotional, the choice, etc.)Denouement/Falling Action – the untying of the know or resolution.Improvised Plots Brainstorm: Students will continue their journaling process to brainstorm (cluster map tool below) and articulate the plot elements of a folk tale. What is the main conflict of the story? What are the main lessons of the story? Who are the main characters? What’s the difference between a script and a narrative story?Improvise the SceneStudents will devise improved action leading to a brand new resolutionResolution from a Hat – Students will choose and perform new resolution.Journal – Did your resolution fit? What worked? What didn’t?Section Two: Protagonist and Antagonist Tableaus –SUGGESTED ACTIVITIESStudents Will demonstrate understanding of the conflict between protagonist and antagonist in a tall tale tableaus.Tall Tale Tableaus - Student groups will create a series of at least 6 stage pictures (tableaus) that tell a recognizable story non-verbally between GOOD and EVIL. Journal: “What do you think is happing in in this tableau? What helped you to understand the message of the tableau? What confuses you in the tableau? What would you do if you were creating this idea through tableau?”Adapting a story into a theatrical composition requires investigation into the critical elements of the plot including specific character traits.Man Vs. Machine Tableau – Read and perform the conflict between protagonist and antagonist from the Tall Tale John Henry. Create a Flow Map of the John Henry story. Write an imaginary conversation between John Henry and the Machine using dialogue.How do we explore complex ideas and universal themes in literature and life when it comes to GOOD vs. EVIL?Section Three: Stage Directions and the Story –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of stage directions so that they can begin to identify additional performance elements within a script.Script to Stage - Students will use their journal (using a T-Chart) to identify performance elements within a script (e.g. stage directions, character notes)Stage Directions help describe;Story elements Theme and moral of the story Character motivation (T-Chart graphic organizer)Students may add in possible director notes to a script.Stage Direction Charades – Teacher will present a POWERPOINT of various stage directions from scenes/plays/skits.Story elements · Theme and moral of the story · Character motivationStudents must choose 5 different stage directions and interpret a scene out of them of their own design.Journal: What can stage directions tell us? How do we interpret them on stage from the page?Section Four: Blocking the Story – SUGGESTED ACTIVITIESStudents will demonstrate their knowledge of stage directions and other basics by blocking and how it directly effects characterization.Body Positions - Students will demonstrate their understanding of body language and posture by being able to identify the 5 body positions on and off stage. Full Front, ? Turn, Profile, ? Turn, Full BackHow does each position communicate different intentions and meanings?Students practice positions of stage with mock scenes creating and guided by instructor.Why do we adapt Body Position?Theme/idea Use of body positioning to display character emotionsCharacter Motivations and IntentionsStudent Scene BlockingStudents observe, the teacher will help one partnership at a time to block the first half of a scene.When all scenes have had their first halves blocked, the partnerships will on their own block the second halves of their scenes.Students will present for the class the second halves of their scenes. (T-Chart graphic organizer)Students may add in possible director notes to a script.Section Five: Breathing Life with Costume/Prop/Set– SUGGESTED ACTIVITIESStudent groups will work together to identify/compile a list of technical elements needed for each scene and costume / prop pieces for each character. Costume Creations - Students will collect/make all needed items and use in rehearsal processes. Teachers may use a 4-Column graphic organizer to connect characters, scenes, costumes and props. (Four column graphic organizer)Groups make, model, explain their design creations. The Master of Props – Students can devise and create an Online/Paper Catalog for props used in a show.Student will learn how to categorized the props for a play/story.Character, Scene, Theme, Functionality, etc…Lay out and label a prop table.Construct and repair basic props using a variety of materials and skills. Create props from papier-m?ché.Designing the Set - Students will apply their knowledge of set design by creating a simple set design as a group for a Tall Tale of Fairy Tale.Devise a scenic concept for a play read in class, including backdrops, props, furniture and other scenic elementsCreate a rendering for a stage backdrop and then execute the rendering to scale on a brown paper mural or painted backdrop.Build a mini-model of a proscenium theater with moveable scenic elements for the story/playDisplay Set Functions of Mood, Theme, Color, Practicality Section Six: Memorize the Lines– SUGGESTED ACTIVITIESTranslating a story to the stage relies upon students rehearsing and eventually memorizing the given script in order to expresses the story’s essential qualities.Memorization Tips and Hints – POWERPOINT/SMARTBoardMemory ImagesWritten WordsSing Out Your LinesSound RecordingsPartner Study.Get Your Lines! - Students will rehearse short scenes from the folktale without referring to the text.Utilize breath control and vocal tones to create mood and character within a dramatic improvisation.Students may refer to notecards or other visual aids as needed.Repeat that improvisation to the bet of your ability with your partner.Switch Roles! What did you remember? Did you speak VERBATIM?Students may perform multiple roles for the performance.Section Seven: Story to Stage Translations– SUGGESTED ACTIVITIESTranslating a story to the stage relies upon stage composition (i.e. scenery, blocking, and technical elements) to expresses the story’s essential qualities.Scripted Performance - Students will perform the scripted play from memory that incorporates multiple technical elements. Students may need support in finalizing their roles and responsibilities such as peers helping to run lines, using note cards as cues, and using checklists for entrances and exits.Journal: Students will reflect through discussion and/or journaling on the most important thing they learned about performing a scripted work.AMISTAD EDUCATIONChoose your African Fable - While writing for plays and/or fables, students can choose between a wide range of culturally specific, African Folktales. The following website in an excellent resource which contains dozens of African folktales to study, critique and eventually perform. EDUCATIONPerformance Poetry: Poems are, of course, commonly used as stimulus materials in Drama and can be profitably applied in the creation of pieces based on the Holocaust, both because of their expressive power and because of their openness to interpretation. Many striking poems were written during the Holocaust by Jews, especially in the Warsaw and Vilna Ghettos, and non-Jews, while the subject has proved to be of enduring interest to some of the greatest poets of the post-war era. Students can research and devise their own poems representations their interpretation of the struggles and trials during this time. IDEA EDUCATIONStory Boarding for Special Needs: Students will learn the elements of writing a short story. Students will plan, revise, and publish an original children's book after reading many other children's books to understand how they work. Students will utilize a variety of ways to express themselves in their story with drawings, the layout of their book and it's presentation. –See Appendix B for specialized programs that reflect the needs of students and community.In pairs, assume characters and write letters to each other.Develop scenes through improvisation, theater games or writing that have distinct character, clear relationships, conflict, setting, actions and beginning middle-end. Use situations from literature, history or current events to create tableaux, and then devise character monologues from that frozen moment.Dramatize an existing story with attention to sequence of events, conflict, character intent and resolution. Improvise a scene based on written material such as a newspaper article or journal. Improvise and then script a two-character dialogue that includes a conflict and resolution with clear character intent. Critique original peer-written works, using a rubric based on the elements of dramatic structure.Explore local and community theaters in your neighborhood, identifying the areas of the theater, the type of theater space and the intended audience. State the principal purpose of this theater and the types of performance(s) for which it was created.ResourcesBooks:12 Fabulously Funny Folktale Plays-Justin Mccory Martin Fables -Arnold LobelReally Good Readers' Theater - Folk Tales Book Set 1, Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN: Volume II: GRADES 4 – 6, Lyme, 1996.Plays, Inc. THE BIG BOOK OF FOLKTALE PLAYS: ONE ACT ADAPTATIONS OF FOLKTALES FROM AROUND THE WORLD FOR STAGE AND PUPPET PERFORMANCE, Boston, Plays, Inc., 1997.Slaight, Craigh; Esty, THE SMITH AND KRAUS PLAY INDEX FOR YOUNG Jennifer & Monteleone, ACTORS GRADES 6-12, Lyme, Smith and Kraus, 1999.Websites:AMISTAD: : (Site with several FolkTale renditions) (Site with lesson plan on modernizing folk tales) (Ideas for assigning various roles to students for performance preparation) (Compilation of tips for classroom drama productions) (Tips on memorizing lines) (Memorization strategies)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Adapting the Dramatic StoryAdapting the plot structuredemonstrate understanding of exposition, conflict, climax and resolution by improvising, in small ensemble groups, alternative endings to a folk tale13Adapting the Dramatic StoryProtagonist and antagonist tableausdemonstrate understanding of the conflict between protagonist and antagonist in a tall tale tableaus.13Adapting the Dramatic StoryStage directions and the storydemonstrate an understanding of stage directions so that they can begin to identify additional performance elements within a script.13Adapting the Dramatic StoryBlocking the storydemonstrate their knowledge of stage directions and other basics by blocking and how it directly effects characterization13Adapting the Dramatic StoryBreathing life with costumes/props/setidentify/compile a list of technical elements needed for each scene and costume / prop pieces for each character23Adapting the Dramatic StoryMemorize linesrehearsing and eventually memorizing the given script in order to expresses the story’s essential qualities13Adapting the Dramatic StoryStory to Stage translationsTranslating a story to the stage relies upon stage composition (i.e. scenery, blocking, and technical elements) to expresses the story’s essential qualities2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)5Unit Plan Title:Musical Theater: A Cultural MirrorCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleDemonstrating the understanding of historical and cultural context of scripts, scenes, and performances is a crucial component in the young actor’s development. This unit endeavors to integrate the histories and conceptual viewpoints from performances in the Musical Theater genre. Cultural perspectives from various periods of history influenced Musical Theater and in return, this stylized genre was able to mirror societal moods and trends. By exploring historically and culturally significant musical theater productions, students will be able to view the past not only through the pages of a script, but through the literal adaptation of a character’s point of view. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.5.Cr2b: Participate and identify defined responsibilities required to present a drama/theatre work informally to peers/audience and participate in the process.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4b: Identify and utilize basic technical/design elements that can be used in drama/theatre work to demonstrate an understanding of the elements.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.5.Re8a: Develop and implement a plan to evaluate drama/theatre work.1.4.5.Re2b: Analyze technical elements from multiple drama/theatre works and assess how the technical elements may support or represent the themes or central ideas of drama/theatre works.1.4.5.Re8c: Evaluate and analyze how a character’s choices and character's circumstances impact an audience’s perspective in a drama/theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.5.Re9a: Compare and contrast multiple personal experiences when participating in or observing a drama/theatre work and justify responses to drama/theatre work based on personal experience.1.4.5.Re9b: Explain responses to characters based on cultural perspectives when participating in or observing drama/theatre work.1.4.5.Re9c: Identify and discuss physiological changes connected to emotions on posture, gesture, breathing, and vocal intonation in a drama/theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations:1.4.10a: Explain how drama/theatre connects oneself to a community or culture and identify the ways drama/theatre work reflects the perspectives of a community or culture.Anchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Identify, respond to and investigate connections to global issues including climate change and other content areas in a dramatic/theatrical work.1.4.11b: Compare the drama/theatre conventions of a given time period with those of the present.1.2 Media Arts Standards by the End of Grade 51.2.5.Cr2a: Collaboratively form ideas, plans and models to prepare for media artwork.?1.2.5.Cr2c: Brainstorm goals and plans for a media art audience.Technology Standard(s)9.4.5.CT.3: Describe how digital tools and technology may be used to solve problems.9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifact9.4.5.CI.4 Engage in online discussions with learners of other cultures to investigate a worldwide issue from multiple perspectives and sources, evaluate findings and present possible solutions, using digital tools and online resources for all steps.New Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.R6. Assess how point of view or purpose shapes the content and style of a text.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA. W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.Essential Question(s)What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?What can the acting performances in other cultures teach us about ourselves and about life?Enduring UnderstandingsTheatre artists work to discover different ways of communicating meaning.Theatre artists rely on intuition, curiosity and critical inquiry.The different interpretations of history based upon individual or societal perspectives that are exhibited through Musical Theater performance.American musical theatre is one of the truly unique contributions to world theatre. Musical theatre developed from specifically American entertainment styles.The musical theater genre has the ability to show how diversity has impacted historical events and that it exists as an artistic mirror to societal trends and moods.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesPortray diverse cultural historical perspectives in a theatrical performance.Create characters that convey historical conflict from multiple perspectives.Identify and analyze different interpretations of History based upon individual or societal perspectives that are exhibited through theatrical performance.AssessmentsPre and Formative - · Monitoring students’ activities · Observing students’ activities · Review of guidelines for the assignments, Evaluate students’ experiences with musicals. (Heard of, seen live, performed in, seen videos)Written response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment - Guided questions · Review beginning, middle, end, conflict, and resolution · Writing dialogue leading into or resolving the action during a song · Teacher will evaluate students’ progress at memorizingConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Summative - Writing prompts on characteristics of a musical · Comprehension questions on the history of musicals · Mini-musical creation rubricPortfolios Portfolios may contain many different types of documentation for what students know and are able to do. Items in a portfolio may be teacher-selected, student-selected, or a combination of these.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Musical Theater –SUGGESTED ACTIVITIESStudents will demonstrate an understanding that musicals reflect the times in which they were created Musical Theater History – PowerPoint/SMARTBoard1950s – Showboat – 2000s WickedVaudeville, West Side Story, Pirates of Penzance, etc…Influence of TV/FILM/CINEMARepresentation of SocietyAssess - Complete a short worksheet and by using that worksheet as a guide in a game show-style quiz.Musical Theater Project (3 Choices)Students will present a particular decade in a group from 1920-2000 to the class (this will include a performance from their era).Select a musical from this era and perform a 2 minute scene from it with some dialogue.ORMake a Musical Theater TimelineORDesign a Costume Collage from at least 5 different Musicals Section Two: The Music of a Musical –SUGGESTED ACTIVITIESStudents will learn how music and singing come together in a performance. The Sound of Music in Theater – PowerPoint/SMARTBoardSilent Film Show the students a short movie clip on silent three times, each time with a different, varied musical selection behind it. After each clip the students will discuss what they thought was happening.What did music add to the clip and what does it add to theatre/film in general?Divide the students into small groups and ask them to create a short silent movie using one of the three musical selections as their background.Watch each other’s movies and discuss how each group used the music and what they thought was effective etc.Section Three: Dance for a Musical –SUGGESTED ACTIVITIESStudents will learn how dancing functions to come together in a performance. Dancing in Musical Theater - PowerPoint/SMARTBoardMovement has a purpose in musical theatre. 1) Furthers plot 2) Introduces/gives deeper analysis of characters 3) Expresses emotion.Improv Fairy Tale Dance: Students will demonstrate their understanding of how to communicate through movement by improvising a group dance.Divide the class into small groups and let them pick a slip with a fairytale on it. Give them time to briefly tell a fairytale using only movement. They can choose whether to use music or not. Cinderella, Rapunzel, The Three Little Pigs, Snow White and the Seven Dwarves, Little Red Riding HoodHave the class perform the dance all together and video tape it.?Section Four: Acting for a Musical –SUGGESTED ACTIVITIESStudents will learn how acting functions to come together in a performance. Musical Theater Acting - PowerPoint/SMARTBoardMusical Theater Acting is much different than play acting.Quick relationship development is needed.Natural Time is abridged and serves the arc of the musical.Immediacy of Emotions and Motivations Short Scene Snip-its: Student will perform a short scene from a musical in preparation for working on a longer scene from their group musical project.Little Shop of Horrors – Act I Scene 3, p. 38-40The Secret Garden – Scene 3 “The Greenhouse,” p. 32-34The Music Man – Scene 4 “The Library”, pg. 38-42Journal: How were they different from the dramatic and comedic scenes?Ask what observations they made about musical theatre acting.Characters must be developed offstage and through character analysis.Section Five: Making the Mini Musical –SUGGESTED ACTIVITIESStudents will combine dramatic lines, vocals, and choreography to create a short Revue of learned musicals.Broadway Revue - Students are presented a program with a loose order so that the students have a choice as to what they perform. Students are grouped in three categories;Actors, Singers and dancersAll are responsible for creating, rehearsing and performing specific their musical theatre piece.Dress Rehearsals - Students will go through, one more time the logistics for their performance.?How do we collaborate to put the play section together?How do we combine rhythm, movement and words to create the play scene?How do we complete the play?Final Performance: Students perform their pieces and present musical theater genres. Journal: Discuss with the students what they’ve learned through studying Musical Theatre. How is it different from straight theatre? How is it similar? What do they like/dislike about it? Has their appreciation for musical theatre grown over the unit??AMISTAD EDUCATIONThe Best of Black Musical Theater Performances! – Students can watch, critique, and reflect upon incredible musical theater performance from a vast selection of black artists. EDUCATIONFiddler on the Roof Study: Fiddler on the Roof is not actually a Holocaust movie but the theme is still the persecution of the Jews but this time in the early 1900's in Russia. Student can watch choice clips, reenact scenes, perform musical numbers and dances. Pst reflection is paramount to connecting the persecution stories told in the musical with that of the real event of a Holocaust era struggle. EDUCATIONIncorporating rules with pictures, and using schedules, can help students independently follow the flow of the lesson. By having pictures connected to each rule—students are able to see what the expectation looks like. By having a schedule, students will be able to see what will happen first, next, and so on. This can be extremely useful for students who are on the autism spectrum, or have anxiety. Teachers can reuse this schedule for each lesson, to help build a strong routine so students will know the order of every lesson. For example, in each lesson: first is set-up, then is warm-up, then is method book work, etc.Teachers can incorporate several strategies to help connect to OT/PT skills:Finger warm-upsBody warm-ups (ex: breathing, stretching)Incorporating breaks if necessaryUsing alternative objects to develop muscle memory (e.g., pencils to shape bow hand, rulers with dots to practice fingering)Color-coding drum mallets or spots on the drum to help alternate left/right handsExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.View and respond to a variety of live performances representing a range of styles (classical, contemporary, non-Western, musical theater, puppetry, etc.) and venues (Broadway, off-Broadway, college, high school, etc.)Create original music or use found music in a student performance for entrance music, underscoring or interludes.Create original choreography for a scene in a musical or drama. Participate in and create stage combat and fight choreography for a scene.Attend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesSelected scenes from: Annie, Hairspray, Oklahoma, The Secret Garden, The Music Man Willy Wonka, etc.Textbook: Exploring Theatre- pages on history of musicals · DVDs of various musicals · CDs of various songsWebsites:AMISTAD: : : Musical Theater for Kids - ' Musical Theatre Collection - Volume 1 (Vocal Collection) Book with online audioKids' Musical Theatre Collection - Volume 2: With a CD of Piano AccompanimentsKids' Musical Theatre Anthology Book/CD (Broadway Presents!)Broadway Presents: Teens' Musical Theatre Anthology Female Edition CD Included PVGMusical Theatre: A HistoryBroadway Musicals, Show-by-Show: Eighth EditionSilver, Fred AUDITIONING FOR THE MUSICAL THEATRE, New York, New Market Press, 1985. A New York vocal coach provides tactics for auditions in musical theatre.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Musical TheatreMusical theatre historydemonstrate an understanding that musicals reflect the times in which they were created24Musical TheatreMusic of a musicallearn how music and singing come together in a performance24Musical TheatreDance for a musicalhow dancing functions to come together in a performance24Musical TheatreActing for a musicallearn how acting functions to come together in a performance24Musical TheatreMaking the mini musicalcombine dramatic lines, vocals, and choreography to create a short Revue of learned musicals2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)5Unit Plan Title:Greek ExplorationCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleCollaboration in the Theater Arts is an integral component in the development of a young actor. Students will have the opportunity to work closely with one another as they investigate and discover historical content through means of dramatic reenactment. Representing historical figures, researching the fundamentals of ritualistic theater and dance, reenacting culturally dynamic periods of time, or exploring “home based” history benefits students greatly. Historical dramatizations which focus on group collaboration and ensemble participation will grant students the opportunity to problem solves not only physically, but emotionally as well. Utilizing the study of Greek Theater (the foundation of drama) gives students the opportunity to discover the origins of Ensemble (chorus) as well as other collaborative forms of entertainment. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.5.Cr1a: Create roles, imagined worlds and improvised stories in a drama/theatre work articulating the physical qualities of characters, visual details of imagined worlds, and given circumstances, of improvised stories in a drama/theatre work.1.4.5.Cr1b: Imagine, articulate, and design ideas for costumes, props and sets that support the story, given circumstances, and characters in a drama/theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.5.Cr3a: Collaborate with peers to revise, refine, adapt and improve ideas to fit the given parameters of an improvised or scripted drama/theatre work through self and collaborative review.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:1.4.5.Pr4a: Participate in, propose, and practice a variety of physical, vocal, and cognitive exercises that can be used in a group setting for drama/theatre work.1.4.5.Pr4b: Identify and utilize basic technical/design elements that can be used in drama/theatre work to demonstrate an understanding of the elements.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.5.Pr5a: Describe and apply dramatic elements of dialogue, action, character emotion, and theme in the performance and/or creation of a drama/theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.5.Pr6a: Practice drama/theatre work and share reflections individually and in small groups, and informally with an audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.5.Re8a: Develop and implement a plan to evaluate drama/theatre work.1.4.5.Re2b: Analyze technical elements from multiple drama/theatre works and assess how the technical elements may support or represent the themes or central ideas of drama/theatre works.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.5.Re9a: Compare and contrast multiple personal experiences when participating in or observing a drama/theatre work and justify responses to drama/theatre work based on personal experience.1.4.5.Re9b: Explain responses to characters based on cultural perspectives when participating in or observing drama/theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products.Performance Expectations:1.4.10a: Explain how drama/theatre connects oneself to a community or culture and identify the ways drama/theatre work reflects the perspectives of a community or culture.Anchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Identify, respond to and investigate connections to global issues including climate change and other content areas in a dramatic/theatrical work.1.4.11b: Compare the drama/theatre conventions of a given time period with those of the present.1.2 Media Arts Standards by the End of Grade 51.2.5.Cr1b: Develop individual and collaborative artistic goals for media artwork using a variety of methods.?1.2.5.Cr2a: Collaboratively form ideas, plans and models to prepare for media artwork.?Technology Standard(s)9.4.5.CT.3: Describe how digital tools and technology may be used to solve problems.9.4.5.DC.4: Model safe, legal, and ethical behavior when using online or offline technology9.4.5.TL.3: Format a document using a word processing application to enhance text, change page formatting, and include appropriate images graphics, or symbols9.4.5.TL.5: Collaborate digitally to produce an artifact9.4.5.CI.4 Engage in online discussions with learners of other cultures to investigate a worldwide issue from multiple perspectives and sources, evaluate findings and present possible solutions, using digital tools and online resources for all steps.New Jersey Student Learning StandardsNJSLSA.R1 Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences. NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA. W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA. SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA. L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)How are the theatre artist’s processes and the audience’s perspectives impacted by analysis and synthesis?What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?How does an audience communicate with actors?Enduring UnderstandingsTheatre artists allow awareness of interrelationships between self and others to inform their work.As theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Investigation and discovery of historical content influences a dramatic reenactment.Dramatic performance can effectively convey investigation and discovery of scientific contentCollaboration within an acting ensemble facilitates accurate creative dramatizationUnderstand the traditions, roles, and conventions of theatre as an art form.Greek History is the foundation of modern drama.Dramatic performance as an ensemble/individual derived from Greek fundamentals of theatrical presentation.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesReenact historical events and portray authentic characters through dramatic presentation.Portray historical concepts from the 5th Grade content in dramatic form.Work collaboratively to enhance content accuracy and the effective portrayal of significant historical events from Greek history.Exercise the benefits of effective collaboration through creative dramatization (such as give and take, respect, sharing, team work).AssessmentsPre and Formative Teacher-led discussion to assess students’ knowledge of myths and their purpose in a specific society.Teacher-led discussion to assess the students’ knowledge of improvisation techniques Teacher-led discussion to assess students’ knowledge of characters that appear in the selected myths.Benchmark/Authentic AssessmentInformal performance for peers by improvisation groups Performance graded by teacher using project specific rubric Peer evaluation through reflection and journaling Self-evaluation through reflection and journalingExhibit proper audience etiquetteUnderstand basic characterization Recognize play literatureSummativeTeacher-guided round robin readings of selected myths Assess student time-on-task and understanding during the group myth selection .Engagement level of the students to their group’s improvisation development.Discussion of theatre as storytelling using three main components: beginning, middle, and end.Perform a story in front of an audience Portray the role of audience member, the actor, and the director while working with others.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Theater as Historical Ritual Students will gain general knowledge from the readings and discussions about rituals.Rituals of Theater– Students will gain general knowledge from the readings and discussions about rituals.What is Ritual Theater? - PowerPointRepeated ActionSymbolic SignificanceEmotion EvokingCultures used Ritual, dance and storytelling to communicate.The First Drama – PowerPointStudents will gain general knowledge about the location and culture of ancient Egypt.Ancient Egyptian “theater” – Abydos Passion PlayOsiris and the Ritual of Death/Life OverviewStudents will use creative dramatics to act out the story of Isis and OsirisRitual Tableaus Students will create and perform groups of motionless scenes portraying figures from a story of ancient ritual. Examples of ritual include;Achiece success in battle and huntEnsure adequate sun and rainExpress duty to community.Discuss: In what ways do our rituals become traditions? Do you have any traditions in your family or community you can share with the class?Theater Ritual and Dance Students will understand that dance was born out of;Animal imitation, natural gymnastics, pantomime and rhythmic movementVisual Examples:Fijian Warrior DanceThe Haka – Dance of War: The Maori HakaTheyyam: Dance of IndiaStudents will work in collaborative groups to create a ritualized performance based on a primitive dance style.Critique the performances by classmates and self.Section Two: Exploring Greek Myth Students will understand how to effectively explore cooperative movement and sound in the empty space.Greek Mythos and Theater Origins – Study of Greek myths and how they were used to teach the culture, history, moral lessons, and appropriate social behaviors to the younger generation. Greek Theater History: PowerPointFocus on;Greek Chorus (ensemble)The Chorus MaskWhy were myths important?Students can begin to evaluate and consider the power of this non-verbal form of communication.Round Robin Myth Reading Students can read various Greek Myths including;Zeus and the TitansDemeter and PersephoneThe Fall of IcarusReader’s Theater Performance PiecesTeacher selected improvisation groups: students select a myth from the teacher provided stories to improvise.Students develop a structured improvisation of the myth for informal presentation.Journal: Students write personal reflections on performance quality and success of the presentation of the myth and the function of the chorus.Discuss: In what ways do our rituals become traditions? Do you have any traditions in your family or community you can share with the class?Section Three: Ensemble Story Telling Students will study the foundation of Greek storytelling and review the fundamentals of plot structure.Story Telling Creation – Students will review that stories always have a beginning, middle, and end. Storytelling also needs an audience and a narrator to share for it to be a story. Students will create headpieces, masks and/or accessories to help portray characters in re-enactments of the stories out of craft supplies.Parts of the Story ReviewExposition, Rising Action, Climax, Falling Action, ResolutionDirecting Story - PowerPointTeacher will review;Theatre is storytelling with an audienceThe narrators (Greek Chorus) are actorsThe director tells the actors how to tell the story. The director helps the actors understand what they need to do to create the characters to tell the story. The students will then help the teacher decide how to share the story with an audience by deciding how each character will act. The teacher will point out that this is like directing.Greek Story PerformanceTeacher will divide the class into groups of 5-6 to perform each story of Greek Mythology. Each group will take turns being the audience, the actors, or the director who helps the actors remember from previous sessions how they should portray each character. Discuss: Reflect on reasons that defines the audience, the actors and the performers.Section Four: Ensemble PantomimesStudents will take part in cooperative role-playing through recorded improvisation, where they will demonstrate the ability to utilize the body and voice (e.g., breath control, diction, concentration, and isolation) for creative self-expression in thought, feeling, and character.Making the Machine! (or animal)Students are divided into groups. Each group has fifteen seconds to agree on how to present a pantomime of a machine in action Telephone, a car, a blender, a clockEach student has to participate in some part of the machine. Groups who fail to have their machines ready on time fail to gain points in this game. Rather than machines, the object might be to put together any system of interrelated parts. Solar System, the Water Cycle, the process of photosynthesis, the continents.Scenes from our Past!Students are divided into groups with one “director” in charge of each group’s performance. Each group is assigned a scene from history to dramatize.Columbus’s audience with Ferdinand and IsabellaSigning of the Declaration of IndependenceApollo Moon Landing to dramatize. They plan collaboratively on how to present it, but the “director” makes all final decisions.Discussion: Students observe the dramatic skit and list two positive comments and two suggestions for improvement.They must justify their comments, explaining why they liked certain elements.Theater AdaptationsStudents adapt a favorite TV/Movie to show to a different time and report on the changes required.Students work in cooperative groups, create miniscripts and perform them.Students can also work within their group separate groups to devise ideas/renderings for; Set design, costumes, and make-up.Journal - Working in small groups, students create a list of effective and ineffective artistic choicesAMISTAD EDUCATIONTop 10 Africans in Greek Mythology – This is an intriguing analysis of African deities, characters and artists who contributed to the vastness of Greek Mythos. Students can discuss the roles they played in Greek culture and how it has influence the Greek culture of the present. EDUCATIONActing: Mask Work Lesson Plan For Special Needs Kids – See Appendix B for specialized programs that reflect the needs of students and community.Students attend a live theatrical performance and a talk-back where actors (as themselves) interact with students.Listening to teacher-shared storytelling of Greek myths and legends Analyzing Greek myths for intended morals and lessons Improvising using stories found in Greek mythsCollaborating to create characters and to develop a structured improvisation based upon selected Greek myths Performing a student developed structured improvisation Reflecting on process and product of self and peers. Applying information gained from reading and teacher sharing to a structured improvisation, story analysis and reflectionsResourcesOnline:AMISTAD: (Student interactive resource for building a character bio) wit/mff/greektheater.htm philip-ardagh/greekmyth-and-legends.htm yths.html nPlays.html onies/theatre.htm ient-egyptian-games-online/Students may conduct research regarding the history of Fairytales. (You tube video from National Theatre-summary of the history of fairytales)Books:Henry Gilfond’s adaptation: The Readers Theatre Folklore Plays Roger Ellis’ edited collection: Multicultural Theatre II Numerous websites containing Greek myths/folktalesCassady, Marsh THE THEATRE AND YOU: A BEGINNING, Colorado Springs, Meriwether Publishers, 1992.Oates, Whitney J. & SEVEN FAMOUS GREEK PLAYS, New York, Vintage, O’Neill, Jr., Eugene, Editors 1950.Ratliff, Geral Lee THE THEATRE AUDITION BOOK: PLAYING MONOLOGS FROM CONTEMPORARY, MODERN, PERIOD, SHAKESPEARE, AND CLASSICAL PLAYS, Colorado Springs, Meriwether Publishers, 1998.McCullough, L. E. PLAYS FROM MYTHOLOGY: GRADES 4-6, Lyme, 1998. Presents twelve original plays that are dramatic adaptations of myths from around the world.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*5Greek ExplorationTheatre as historic ritualgain general knowledge from the readings and discussions about rituals.15Greek ExplorationExploring Greek Mythsunderstand how to effectively explore cooperative movement and sound in the empty space25Greek ExplorationEnsemble storytellingstudy the foundation of Greek storytelling and review the fundamentals of plot structure25Greek ExplorationEnsemble pantomimestake part in cooperative role-playing through recorded improvisation, where they will demonstrate the ability to utilize the body and voice2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order. Content Area:Grade SixGrade(s)6 Unit Plan Title:Acting the Part: Scripted Scenes & MonologuesCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit introduces our students to the fundamental concepts of scripted scene and monologue work. The primary focus will be surrounded around individual/group based characterization throughout a scripted or improvised scene. Our study allows students the ability to manifest various character archetypes from an original idea, story or other form of literature grants. We intend to instill confidence in characterization skills as students discover the technical conventions of script and scene study. By utilizing primary source texts and cross-curricular models, this unit aims to use cultural backgrounds to promote and encourage performers’ exploration of character choices in scripted material.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.1.4.8.Cr1c: Explore, describe and develop given circumstances of a scripted or improvised character in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2a: Articulate and apply critical analysis, extensive background knowledge, sociohistorical research, and cultural context related to existing or developing original theatrical work.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.8.Cr3a: Demonstrate focus and concentration in the rehearsal process by analyzing and refining choices in a devised or scripted theatre performance.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.1.4.8.Pr5b: Use various character objectives and tactics in a theatre work to identify the conflict and overcome the obstacle.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.8.Re7a: Describe and record personal reactions to artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.8.Re8a: Investigate various critique methodologies and apply the knowledge to respond to a theatrical work.1.4.8.Re8b: Justify the aesthetic choices created through the use of production elements in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.8.Re9a: Analyze how personal experiences affect artistic choices in a theatrical work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Research the story elements of a staged drama/theatre work about global issues, including climate change, and discuss how a playwright might have intended a theatrical work to be produced.1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate ideas for media artwork, using a variety of tools, methods and/or materials.?1.2.8.Cr1b: Develop individual and collaborative artistic goals for media artwork using a variety of methods.?1.2.8.Cr2a: Collaboratively form ideas, plans and models to prepare for media artwork.?Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.New Jersey Student Learning StandardsNJSLS.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.NJSLSA.R6. Assess how point of view or purpose shapes the content and style of a text.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently.NJSLSA.W1. Write arguments to support claims in an analysis of substantive topics or texts using valid reasoning and relevant and sufficient evidence.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA. SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA. SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.L6. Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when encountering an unknown term important to comprehension or expression.Essential Question(s)What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?How, when, and why do theatre artists’ choices change What makes a good script?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists work to discover different ways of communicating meaning.How scripts differ in terms of reading, design and notation, i.e. Beats, Measure, Direction, SubtextParts of a play script, such as exposition, conflict, climax, and resolution (Aristotle Plot Design, Freytag’s Plot Structure)Influential character relationships create complexity for character development.Character’s perspectives and expressions reveal cultural values to other characters within a scene.Cultural backgrounds and experiences promote and encourage performers’ exploration of character choices in scripted material.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesIdentify the tension and conflict in a script.Associate how different characters in a play have motives which can impact plot.Perform a scripted production and/or scene with the intent of the playwright.Perform scripted work with the use of technical elements to enhance the performance.Identify and interpret parts of a play script, such as exposition, conflict, climax, and resolution.Employ character choices (such as; vocal expression, physical characteristics, subtext) to create a believable productionsAssessmentsPre and Formative: Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Preliminary Written Response : The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment : Monologue Performance, Peer Critique Session and DiscussionsPerformance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Summative: Students will demonstrate competency in:Documentation Portfolio: This type of portfolio is often called a “working” portfolio. This is a collection of work over time showing growth and improvement. It reflect the student’s learning of specific and identified objectives and outcomes. The documentation portfolio may include brainstorming activities, rough drafts and final products. Showcase Portfolio: this is the best type of portfolio for a summative assessment of a student’s mastery of curricular objectives. It should only include examples of the student’s best and most complete work, as determined through a combination of student and teacher input.Across the unit students will keep notes through journaling, using appropriate theatre terminology/vocabulary, about characterization.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Deconstructing the Script –SUGGESTED ACTIVITIESStudents will learn and/or review how to analyze and deconstruct a playwright’s work to effectively perform a fully developed character using scripts from teacher selected play(s).Reading for Analysis: Students will demonstrate understanding of various emotional levels connected to specific experiences by journaling key information found in the climatic monologues such as:Historical/Cultural context around the selected theatrical work. Students will write a character sketch that reflects a well-developed character. Extended Enrichment: Students may give examples orally from the activity or in classroom discussion share thoughts and ideas about what they have viewed.Students may create a role play around an emotional topic (e.g. anti-bullying) that reflects the emotions everyday people.Section Two: Acting the Basics –SUGGESTED ACTIVITIESStudents will apply their knowledge of Characterization and interpreting their character from The Odd Couple or The Odd Couple (Female Version) by completing a Characterization worksheet.Utilizing the Basics: Remember acting basics and further create successful characters using the foundation of acting basics.Analyze playwright’s ideas and student’s own interpretation of the character and implement them into a selected scene.REMEMBERBlocking/Crossing Three tools of an actor: mind, body, and voiceStudents will write a character sketch that reflects a well-developed character. Acting the Scene: Students will perform the scenes for peer and teacher evaluation that shows a fully developed and rehearsed character and shows a sense of effort.Verbal and written feedback will be given to the students after the performance.Section Three: The Object Exercises –SUGGESTED ACTIVITIESStudents will demonstrate their understanding of Uta Hagen’s The Basic Object Exercises exercise by rehearsing and performing a 2-minute slice of their life.POWERPOINT/SMARTBoard - Object Exercises: Students will demonstrate understanding of various questions and how they relate to developing character from scripted works.Who am I?What time is it?Where am I?What surrounds me?What are the given circumstances?What is my relationship?What do I want?What’s in my way?What do I do to get what I want?Recreation Nation: Students will brainstorm and recreate a slice of their life utilizing the answers gleaned from the Object Exercises.Discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)Section Four: The Monologue –SUGGESTED ACTIVITIESStudents will select and develop a character analysis of one character from the play and translate it into a monologue.Monologue PowerPoint: Highlight famous speeches from movie, tv, filmDisplay character importance and history.“You Can’t Handle the Truth” from A Few Good Men, Atticus Finch’s courtroom sceneClass/group discussion lead to determining key elements of characterization through improvised/scripted monologues. Create the Monologue: Structure a short monologue from a chosen character’s lines. Verbal and written.Peer Cooperative Groups willAnalyze the created monologue for beats and blocking.Determine an effort made to answer the Object Exercises. Memorize the Monologue: Follow the previously developed scoring and blocking plan to prepare the monologue for in-class performance.Perform the Monologue: Observe student performances and complete performance rubricsAssess performance strengths and weaknesses through journal writing.AMISTAD EDUCATION12 Poems to Read for Black History Month - Students can research and utilize some of the famous black history poems/monologues for the performance work. EDUCATIONFilm/TV/Stage Monologues Slideshow: Students can compile a collection of famous quotes, phrases, monologues or lines from popular entertainment featuring issues of the Holocaust. Monologues can be analyzed from films like, “Schindler’s List,” “Life is Beautiful,” and “Fiddler on the Roof”LGTBQIA EDUCATIONThe Coming Out Monologues: This a collection of theatrical scripts, sides, monologues, comedy sketches, stories with a focus on the LGBTQIA community. Use this as a quick reference or as printable for your classroom.architect. – The Coming Out Monologues DownloadIDEA EDUCATIONThe Glass Menagerie – Student can read and or perform excerpts from the Tennessee Williams classic. Discussion and reflection should focus on the characters and how disabilities can impact an individual’s outlook. ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Differentiate characters within a play Distinguish aspects of a given play through research Select appropriate sections of a character’s lines in a play to create a cohesive and representative monologue Analyze a character that supports the overall mood, period, and content of the play selected Score a selected monologueAttend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesBooksPlays, Inc. THE BIG BOOK OF FOLKTALE PLAYS: ONE ACT ADAPTATIONS OF FOLKTALES FROM AROUND THE WORLD FOR STAGE AND PUPPET PERFORMANCE, Boston, Plays, Inc., 1997Cohen, Lorraine, Editor SCENES FOR YOUNG ACTORS, New York, Avon Books, 1973.Kehret, Peg ACTING NATURAL: MONOLOGS, DIALOGS AND PLAYLETS FOR TEENS, Colorado Springs, Merriwether Publishers, 1991.Ratliff, Geral Lee THE THEATRE AUDITION BOOK: PLAYING MONOLOGS FROM CONTEMPORARY, MODERN, PERIOD, SHAKESPEARE, AND CLASSICAL PLAYS, Colorado Springs, Meriwether Publishers, 1998.Everything About Theatre!: The guidebook of theatre Fundamentals Robert L. Lee Theatre Games for Rehearsal: A Director’s Handbook- Viola SpolinShulman, Michael & THE ACTOR’S SCENEBOOK: SCENES AND Mekler, Eva MONOLOGS FROM THE CONTEMPORARY PLAYS, New York, Bantam, 1984.Uta Hagen’s?Respect for ActingSlaight, Craigh; Esty, THE SMITH AND KRAUS PLAY INDEX FOR YOUNG Jennifer & Monteleone, ACTORS GRADES 6-12, Lyme, Smith and Kraus, 1999WebsitesAMISTAD: - architect.\glossaryofterms (Online theatre terms glossary) Lesson Plans -? HYPERLINK "" \t "_blank" ctl.byu.edu/home/tools/free-resources/The Actor Source -? HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" Game Guide -? HYPERLINK "" \t "_blank" Get Your Act Together -? HYPERLINK "" \t "_blank" getyouracttogether.htmImprovisational Theatre Structures -? HYPERLINK "" \t "_blank" National Storytelling Network -? HYPERLINK "" \t "_blank" New Actors Workshop -? HYPERLINK "" \t "_blank" Story Theater -? HYPERLINK "" \t "_blank" The Spolin Center -? HYPERLINK "" \t "_blank" TheatrGROUP Method Acting -? HYPERLINK "" \t "_blank" *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1Scripted Scenes and MonologuesDeconstructing the scriptlearn and/or review how to analyze and deconstruct a playwright’s work to effectively perform a fully developed character using scripts from teacher selected play(s)11Scripted Scenes and MonologuesActing Basicsapply their knowledge of Characterization and interpreting their character from The Odd Couple or The Odd Couple (Female Version) by completing a Characterization worksheet11Scripted Scenes and MonologuesThe Object Exercisesdemonstrate their understanding of Uta Hagen’s The Basic Object Exercises exercise by rehearsing and performing a 2-minute slice of their life11Scripted Scenes and MonologuesThe Monologueselect and develop a character analysis of one character from the play and translate it into a monologue3* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)6Unit Plan Title:The Art of Improvisation!Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleIn order to break down the intricacies of a scene, we must break it down to its most fundamental levels. Improvisation allows the individual to disseminate vast amounts of scene/monologue information into categorized areas. Utilizing the “Five W’s of Improvisation”, students will learn how to analyze the who, what, where, when, and why of devised scenes. This process ultimately makes it easier to create more “believable”, or multi-dimensional characters. The goal of this unit is to instill in our young actor’s that barriers towards creation are apparent, and it is through the “process” of improvisation when we learn how to break out of our shells. Once the “stop signs” are removed, our relationships, characters and intentions can be fully realized into a pure form of acting. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.1.4.8.Cr1c: Explore, describe and develop given circumstances of a scripted or improvised character in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2a: Articulate and apply critical analysis, extensive background knowledge, sociohistorical research, and cultural context related to existing or developing original theatrical work.1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.8.Cr3a: Demonstrate focus and concentration in the rehearsal process by analyzing and refining choices in a devised or scripted theatre performance.1.4.8.Cr3c: Develop effective physical and vocal traits of characters in an improvised or scripted theatrical workPERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.1.4.8.Pr5b: Use various character objectives and tactics in a theatre work to identify the conflict and overcome the obstacle.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.8.Pr6a: Perform a rehearsed theatrical work for an audienceRESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.8.Re7a: Describe and record personal reactions to artistic choices in a theatrical work.1.4.8.Re7b: Compare recorded personal and peer reactions to artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.8.Re8a: Investigate various critique methodologies and apply the knowledge to respond to a theatrical work.1.4.8.Re8b: Justify the aesthetic choices created through the use of production elements in a theatrical work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:1.4.10a: Examine a community issue through multiple perspectives in a theatrical work.1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.?1.2.8.Cr1b: Organize and design artistic ideas for media arts productions. Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.New Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How, when, and why do theatre artists’ choices changeWhat happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How do groups productively problem solve in collaboration?What influence does character, relationship, time, setting and conflict have on improvisation?Enduring UnderstandingsTheatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.Collaboration creation is often inspired by the influence of characters, relationships, setting and conflict.Expression in improvisation and group collaboration with prompts demands personal reflection and group problem solving techniques.Discovery of the setting and character is often revealed through the practice of improvisation.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationCivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDiscover a well - defined character through improvisation.Create performances based on a prompt that show conflict and character development at an introductory level.Justify choices in creating setting and time in improvised performance.Describe and/or demonstrate the five W’s (who, what, where, when, why) through performance of final scene.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process.Preliminary Written Response : The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviewsBenchmark/Authentic AssessmentTeacher side-coaching to prompt establishing scene characters and character relationships Establish scene-given circumstances through teacher questioningPerformance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Summative : Students will demonstrate competency in:Performance Assessments such as observation and correction for discreet skill attainment.Showcase Portfolio: this is the best type of portfolio for a summative assessment of a student’s mastery of curricular objectives. It should only include examples of the student’s best and most complete work, as determined through a combination of student and teacher input.Across the unit students will keep notes through journaling, using appropriate theatre terminology/vocabulary, about characterization.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: The Do’s and Don’ts ! –SUGGESTED ACTIVITIESStudents will apply their understanding of the basics of improvisation by identifying improv skills in a film and defining guidelines.PowerPoint/SmartBoard Presentation: The Do’s and Don’ts:DO:1. Commitment 100%2. Listen to the other players3. Support your team members4. Forward the ActionAVOID:1. Denial2. Telling rather than showing3. Forcing funniness4. Worry about making mistakes The Power of Yes: Accept the improvisation given circumstances when given to you and your partner. Improv Implementation: Collaborate with improvisation partners and create an improv sceneApply self-control Understand and apply “yes, and…” Create and Apply non-verbal characterizationsAccept the improvisation given circumstances Character identification Character relationships Time PlaceSection Two: The Questions! –SUGGESTED ACTIVITIESStudents involved in activities geared to create and build collegiality so that students can begin to develop a sense of ensemble and risk-taking comfort.Ask Questions! Students do improvisation with emphasis on naming the other character and establishing a relationship between the two characters.Pairs of students create scenes where they must accept the given circumstances of character identification, time, and place. The two student actors collaborate to find workable objectives for their scene characters.Justify choices in creating setting and time in improvised performance.Students may reflect on different interpersonal communication styles and perspectives within groups Students may lead an ensemble activity for the class.PowerPoint/SmartBoard Presentation: Questions Who am I? Who are you? What are we? Why are we here?Questions Activity: Students will create and perform a “Who, What, When, Where, Why” activities such as the following;In small groups of 4-5, students will generate situations ofCharacter traitsStudents may create a character independently from the character trait work and perform created character in small groupsAction phrases Using a picture, students create and perform the scene based on the photo that takes either before or after the photo was takenSituations of TimeStudents may find a variety of pictures and make a collage that shows a timeline for a sceneSetting TableausStudents may tell, write, or perform a familiar fairytale in a new locationWhy Motivations Students may write the varied emotions viewed in the scene and what are possible justifications for said emotions Following the activity, students will independently reflect on the group the specific question definition and what influenced their improve decisions and why. This information can be collected through class discussion and/or written reflection journals.Section Three: Objective and Tactics –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of the use of strong objectives and tactics as well as the use of a variety of tactics when trying to achieve their objective by exploring levels and using a contentless scene.?Contentless Scene: A scene where there is not set context. The students create their own subtext. Ask for students to review and define what their chosen goals. Use given circumstances to establish a scene objective.What was effective? Did they use a variety of tactics? Allow students to perform, leaving 5 minutes for wrap-up and filling out worksheet.Theatre Games – Supplemental ActivitiesFour Corners It is Tuesday Taxicab Celebrity Interview Further EnrichmentResearch and find examples of improvised scenes Students develop a scene script from a successful improvisationSection Four: Variety is the Spice of Improv –SUGGESTED ACTIVITIES Students will demonstrate their understanding of how the style can change a scene by playing “Style Changing” activities.Times, They Are a-Changing: Students perform in a program of scenes, monologues and structured improvisations that includes works from a variety of styles, periods, genres and cultures (including their own) demonstrating the ability to: Create a variety of vivid, idiosyncratic characters Play dramatic objectives truthfully Make imaginative, expressive use of props, costumes, and the imagined world of the playUse improvisation as a performance techniqueUse the voice and body expressively in the service of the play Respond and concentrate as part of an ensemble Work given circumstances to establish a scene objective.Use the body to demonstrate a command of physical energy, space, time, patterns, composition, contrast and period movement.Silent Movie ImprovStudents using the acquired acting skills from the previous lessons create a silent movie scene that establishes the at least 3 separate character identification, character relationships, time, place, and scene objective through physical characterization and non-verbal communication.Students may perform activities that are more advanced such as including subtext or subplots.Section Five: Show, Don’t Tell! –SUGGESTED ACTIVITIESStudents will apply their understanding of showing in improv by participating in improve activities and pantomime workshops and reflecting on their experience.PowerPoint/SmartBoard Presentation: Chaplin/BeanIntroduce students to the basic principles of pantomime.Chaplin’s, “The Kid”Mr. Beans, “At the Library”Compare and Contrast similarities and differences.Movement ActivitiesSpace Objects, Tug of War, Apple PickingStudents work cooperatively with each other to display improve motivations of;RelationshipSizeTime in SpaceExaggerationExpression in improvisation and group collaboration with prompts demands personal reflection and group problem solving techniques.Section Six: Improv Performance –SUGGESTED ACTIVITIES Students will demonstrate their understanding of the rules of improv by participating in a final improv performance/competition. ComedySportz CompetitionVarious improv games are played. Points are awarded accorded to the specific game. Focus on…Discover a well - defined character through improvisation. Create performances based on a prompt that show conflict and character development at an introductory level. Justify choices in creating setting and time in improvised performance. Demonstrate the five W’s (who, what, where, when, why) through performance of final scene.Improv Reflection: Students will write/journal a self-assessment of their performances of how they; Used the 5 W’sHow they collaborated with othersHow they used improvisational skills in their performances during the showcase assessment.AMISTAD EDUCATIONThe Black Version is a completely improvised show that started at the Groundings Theatre in Los Angeles in 2010 to sold out crowds and great reviews. With proper vetting students can witness an exclusive group of Black artists perform improvisation to a vast array of audiences1 EDUCATIONExploring Survivor Stories: This activity uses drama techniques to explore the experiences of Holocaust and genocide survivors. This lesson provides drama activities pioneered by Bertolt Brecht, which help the audience to learn facts about what happened and protect performers from trying to re-enact traumatic situations. EDUCATIONOpenly Gay in Improv: Mike Kosinski, current cast member for the Second City talks about being Openly Gay in Improv, and at Second City. Student can watch the video and reflect in small group/ large group discussions. EDUCATIONImprov in the Special Needs Community: The following links showcase how improvisation can serve not only as a teaching device, but as a therapy tool for the special need’s community. Use the tactics and skills showcased in your own classroom or share the videos with your students and discuss the context within. The Improvaneers! The world's first all Down syndrome improv troupe!: Therapy – Transforming Lives in the Special Needs Community – See Appendix B for specialized programs that reflect the needs of students and community.Participate in group exercises, drills, improvisations and theater games. Rehearse and perform a scene in front of others. Rehearse and perform the same scene in three distinct styles or genres. Research and portray a character, using at least one appropriate costume piece, prop, gesture, need and physical shape. Track character development and emotional changes in a scripted sceneResourcesBooksImprov! A Handbook for the Actor - Atkins, Greg The Ultimate Improv A Complete Guide to Comedy Improvisation - Nevraumont, Edward J. and Nicholas Hanson (ed).Improvisation for the Theatre- Viola Spolin Theatre Games for the Classroom A Teacher’s Handbook- Viola Spolin Theatre Games for Rehearsal: A Director’s Handbook- Viola SpolinA variety of magazines with pictures of people.WebsitesAMISTAD: : : : episodes of “Whose Line is it Anyway” DVD – Popular TV show based on improvisation starters, episodes available on YouTube (Guide for general performances in theatre) 2012/improv-tips-and-tactics_52678.html (Improv tips and tactics article) (The Process of Drama) (Site with numerous improvisation exercises)\glossaryofterms (Online theatre terms glossary) (Lessons and resources for teaching improvisation) (Cards with “who”)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Art of ImprovisationThe Dos and Don’tsapply their understanding of the basics of improvisation by identifying improv skills in a film and defining guidelines12Art of ImprovisationThe Questionsdevelop a sense of ensemble and risk-taking comfort12Art of ImprovisationObjectives and Tacticsdemonstrate an understanding of the use of strong objectives and tactics as well as the use of a variety of tactics when trying to achieve their objective by exploring levels and using a contentless scene22Art of ImprovisationVariety is the Spice of Improvdemonstrate their understanding of how the style can change a scene by playing “Style Changing” activities22Art of ImprovisationShow, Don’t Tellapply their understanding of showing in improv by participating in improve activities and pantomime workshops and reflecting on their experience22Art of ImprovisationImprov Performancedemonstrate their understanding of the rules of improv by participating in a final improv performance/competition2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)6Unit Plan Title:Theater’s Historical TraditionsCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleTheatre of today has traditions rooted in the historical cultures of Asia, Africa, Europe, and the Americas. From the Greek Chorus, to the Shakespearean Theater, to the American Musical, it is apparent that theater has become one of the most transcendent art forms in human history. While performative elements are present in every society, it is customary to acknowledge a distinction between theatre as an?art form?and entertainment and theatrical?or?performative?elements in other activities. By studying current entertainment forms such as Television/Film and comparing/contrasting the elements found in theatrically based art forms, students will be able to make cultural and historical connections. Using theater history as a means to introduce cultural, societal, political, and racial issues of various historical periods allows students to have a broader sense of the world. Theatre can be used to represent knowledge, to persuade and to educate and there’s no better way to teach this then learning from what the past has taught us.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.1.4.8.Cr1c: Explore, describe and develop given circumstances of a scripted or improvised character in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2a: Articulate and apply critical analysis, extensive background knowledge, sociohistorical research, and cultural context related to existing or developing original theatrical work.1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.8.Re8a: Investigate various critique methodologies and apply the knowledge to respond to a theatrical work.1.4.8.Re8b: Justify the aesthetic choices created through the use of production elements in a theatrical work.1.4.8.Re8c: Assess the impact of a theatrical work on a specific audience.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.8.Re9a: Analyze how personal experiences affect artistic choices in a theatrical work.1.4.8.Re9b: Identify and interpret how different cultural perspectives influence the evaluation of theatrical work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Research the story elements of a staged drama/theatre work about global issues, including climate change, and discuss how a playwright might have intended a theatrical work to be produced.1.4.11b: Identify and examine artifacts from a time period and geographic location to better understand performance and design choices in a theatrical work. 1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1b: Organize and design artistic ideas for media arts productions.Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.New Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL4 Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.Essential Question(s)What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?How does acting influence storytelling and storytelling influence acting?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists work to discover different ways of communicating meaning.Theater through the ages has acted as an educational tool for communicating cultural beliefs, societal shifts, religious affiliations and political propaganda.Unifying a variety of elements in a production creates a complex and textured composition.Cultural references and relationships are embedded within scripted scenes and influence character development.Actors’ cultural perspectives and expressions influence character choices which, in turn, affect the other actors in a scripted scene.There is a clear distinction between theatre as an?art form?and entertainment and theatrical?or?performative?elements in other activities. Cultural diversity helps us to create compelling theatre experiences.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesImprovise and imitate scenes from a story (historical or fictional).Critique artistic choices from source material as a theater/film practitioner.Work effectively in an ensemble to improvise a scene adapted from source material as theatre professionals.Create characters that convey historical conflict from multiple perspectives.Analyze script and performance content from a multicultural point-of-view.Portray diverse cultural historical perspectives in a theatrical performance.AssessmentsPre and Formative – POWERPOINT/ SMARTboard pre-assessments, Class led discussions, Teacher observation of research progress, Teacher observation of project development, Teacher assistance and preview of technology usageWritten Response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment- · Student multimedia presentations · Self-assessment · Peer assessment · Final visual representations assessment · Teacher assessment of knowledge gainedObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative: Students will demonstrate competency in: Using a test developed from the material presented, the teacher will assess knowledge gained from the student presentations.Documentation Portfolio: This type of portfolio is often called a “working” portfolio. This is a collection of work overtime showing growth and improvement. It reflects the student’s learning of specific and identified objectives and outcomes. Process Portfolio: This documents all facets of the learning process. This type of portfolio is particularly useful in documenting a student’s overall learning process. It should show how the student integrates knowledge and/or skills during progress towards mastery of the selected objectiveAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Cultural Traditions –SUGGESTED ACTIVITIESStudents will identify and participate in cultural traditions from students’ own cultures.PowerPoint/SMARTBoard- Around the World of TheaterStudents take participate in an interactive tour of theater style, tradition and history ranging from…Commedia del Art, Greek Theater, Elizabethan Theater, Modern Musicals, etc…Theater History PyramidsDistribute Theatre History Charts and briefly go over periods included. Show pictures. Divide class into groups for each period. Groups will do additional research and plan ways to share information.Ancient Greece, Egypt, China, and West Africa.Reflections: How can your family traditions be shared with future generations? What can you do personally to help?Section Two: Greek Theater Traditions –SUGGESTED ACTIVITIESStudents will identify and Will gain a basic understanding of the ancient Greek theatre tradition.PowerPoint/SMARTBoard- Greek Gods and their Influence on TheaterStudents take participate in an interactive tour of Greek theater style, tradition Greek GodsFoundations of the Greek Chorus, ThespisTheater of DionysusMask PlayThe Greek MythPowerPoint/SMARTboard presentation.Make your own Greek Myth surrounding around conflict.Love, War, Hate, Disease, Famine, Etc…Utilize Greek Gods and foundations of scripting to create your own myth.Performing Greek Myths and LegendsDistribute famous Greek plays and briefly go over legends included. Show pictures. Divide class into groups for each period. Groups will do additional research and plan ways to share information.Demeter and PersephoneIcarus and the MinotaurThe OdysseyStudents will present their stories to the class. Group discussions and FLOWCHARTS will aide in identifying Greek style and traditions. Section Three: Japanese Theater Traditions –SUGGESTED ACTIVITIESStudents will identify and will gain a basic understanding of Japanese theatre traditions.PowerPoint/SMARTBoard- Kabuki/Noh and their Influence on TheaterStudents take participate in an interactive tour of Japanese theater style, tradition Noh TheaterKabuki TheaterBunraku TheaterStudents will reflectively discuss and write down their favorite types of Japanese Theater and how it effects the culture of theater. Japanese Movement TheaterPractice kata (performance techniques) of maruhon (puppet-like movements) ad shosagoto (controlled, dignified dance with frozen pose at end).Use audio-visuals and/or real manipulative to build understanding of the art form.Kabuki ReconstructionUsing the legend, The Oldest of Trees, students are divided into groups to stage it in the Kabuki style.Journal: Describe how the techniques and style of Kabuki theatre differ from realistic western style acting.Section Four: COMMEDIA DELL’ARTE –SUGGESTED ACTIVITIESStudents will identify and will gain a basic understanding of Commedia Dell’Arte traditions.PowerPoint/SMARTBoard- Commedia dell’arte and their Influence on TheaterStudents take participate in an interactive tour of Commedia dell’arte style, traditionsStock CharacterScenesImprovisationCharacter ArchetypesCharacter choices: Each student selects one character and one prop; rehearse movement and attitude for character.Partners: Combine different characters and assign an objective that will cause conflict such as: Isabella wants to have a huge wedding while Pantalone wants to protect and increase his wealth, Columbina wants to find a way to live away from Pantalone’s house while The Captain wants to find a rich girl to marry, Arlecchino wants money and Lelio wants him to help him get money for a wedding.Journal: Describe in detail the character you have chosen. Include objectives, motivations, relationships with other characters.Improvisation Practice - Improvise from sample scenarios using teacher provided stock characters.Create your own improvised scenes using the previously learned character archetypesWhich scenario did you like best? Why? Which scenario worked best for your character?Section Five: SHAKESPEAREAN THEATRE –SUGGESTED ACTIVITIESStudents will identify and will gain a basic understanding of Shakespearean theatre traditions.PowerPoint/SMARTBoard- Shakespeare and his Influence on TheaterStudents take participate in an interactive tour of Shakespeare style, traditionsElizabethan TheaterGlobe TheaterPlaywrightingProse and PoetryCharacter developmentLiterary conventions – Monologue, soliloquy, asidesShakespearian Insults Student can develop a taste for Shakespearian dialogue by using imagery, metaphor in insults.Character walks: Develop walks for various Shakespearean characters.Pantomime: Working simultaneously and individually, pantomime various activities as a variety of characters.Romeo, Juliet, Macbeth, Hamlet, etc…Section Six: Musical Theater –SUGGESTED ACTIVITIESStudents will demonstrate an understanding that musicals reflect the times in which they were created Musical Theater History – PowerPoint/SMARTBoard1950s – Showboat – 2000s WickedTrue American art formInfluence of TV/FILM/CINEMARepresentation of SocietyMusical Theater Research ProjectStudents will present a particular decade in a group from 1920-2000 to the class (this will include a performance from their era).Select a musical from this era and perform a 15 minute scene from it with some dialogue and at least one musical number that can be choreographed.Historical Connections with the Musical?Did the creators of the musical get their facts straight, and accurately reflect actual events? Does the song accurately reflect the history behind it? Why or why not?Section Seven: Theater and Modern Society –SUGGESTED ACTIVITIESStudents will demonstrate an understanding that theater traditions reflect the times in which they were created Non-Western genre project preparationUsing the information collected and an understanding of the culture from which the genre developed, each student will prepare a multi-media project for in-class presentation that both informs and entertains. Presentations should include, but not be limited to, the following: genre development, history, current situation, training, relationship to national culture, and performers.Each student, using available technology, will complete an in-class informal presentation of the selected Non-Western theatre genre. The informal presentation should inform and entertain. In scope, it should be both comprehensive and substantive.Creating visual representations of knowledge gainedStudents, using notes and with access to multimedia presentations, will create charts, graphs, diagrams, posters and pictures showing similarities and differences among the various Non-Western theatre genres presented and Western theatre.Whole class assessmentUsing a test developed from the material presented, the teacher will assess knowledge gained from the student presentations.What did we just watch???What are these trailers made for???Did this trailer accomplishAMISTAD EDUCATIONA Brief History of African Americans/Blacks in Theatre: Students can read excerpts describing the impact of Black Theater in America. Students can also create informational timelines representing the rise of Black theater culture in the US. EDUCATIONThere’s a long history of Jews playing Nazis on screen: This is an introspective look on the more satirical side of film. Students can read, analyze, discuss and view clips of movie/stage/TV. This is an eye-opening experience for most, so care and respect must always be employed while covering this taboo topic. EDUCATIONThe History of Homosexuality in Theatre: A compilation Prezi presentation highlighted homosexuality in theater throughout history. Students can view, discuss or even create their own information packet projects concerning the issue. EDUCATIONThe introspective video from Michigan State Universitie’s ollege of Arts and Letters, focusing on the factors that make Theater for the Speical Needs Community successful. Theater and Autism: – See Appendix B for specialized programs that reflect the needs of students and community.Locate and identify theater artifacts from contemporary or historical theater using original documents or reprints, including programs, articles, posters, and photos of notable theater professionals. Use online resources to deepen students understanding of theater performance by researching historical and cultural setting, period dress and customs.Visit museums or use a museum’s website to view resources related to a play, the performance tradition, or the historical period of the work. For example, study the representations of performers in ancient Greece and Rome on urns or friezes at the Metropolitan Museum of Art to inform a production of Medea.In groups, assemble multimedia biographies of notable performers, such as Paul Robeson, Eleanor Duse, James O’Neill or Marcel Marceau. Investigate the question: “Why this artist is notable within his/her own culture or time period.View and respond to a variety of live performances representing a range of styles (classical, contemporary, non-Western, musical theater, puppetry, etc.) and venues (Broadway, off-Broadway, college, high school, etc.).ResourcesWebsitesAMISTAD: : : : Theater and Autism: Hall: article/the_basics/art_tours.html Centerline Scenic Studios/Works in progress: progress. html The Kennedy Center: about/virtual_Access to for videos on…Kabuki TheaterGreek MythPantomime and Improv HistoriesMusical Theater Innovations. Books:Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN: Volume II: GRADES 4 – 6, Lyme, 1996.Beard, Jocelyn, Editor SCENES FROM CLASSIC PLAYS, 468 B.C. TO 1970 A.D., Newbury, Smith and Kraus, 1993.Cassady, Marsh THE THEATRE AND YOU: A BEGINNING, Colorado Springs, Meriwether Publishers, 1992.Oates, Whitney J. & SEVEN FAMOUS GREEK PLAYS, New York, Vintage, O’Neill, Jr., Eugene, Editors 1950.Papp, Joseph & SHAKESPEARE ALIVE!, New York, Bantam, 1988. Kirkland, Elizabeth Describes London during Shakespeare’s time, Elizabethan theatre, how plays were produced, music of the time, where Shakespeare got his plots, and how he transformed them.Woofin, Ruper INTRODUCING ARISTOTLE, Totem Books, LTD, 2001.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Theatre’s Historical TraditionsCultural Traditionsidentify and participate in cultural traditions from students’ own cultures13Theatre’s Historical TraditionsGreek Theatre traditionsIdentify and gain a basic understanding of the ancient Greek theatre tradition13Theatre’s Historical TraditionsJapanese Theatre traditionsidentify and gain a basic understanding of Japanese theatre traditions13Theatre’s Historical TraditionsCommedia Dell’Arteidentify and will gain a basic understanding of Commedia Dell’Arte traditions13Theatre’s Historical TraditionsShakespearean Theatre traditionsidentify and will gain a basic understanding of Shakespearean theatre traditions13Theatre’s Historical TraditionsMusical Theatredemonstrate an understanding that musicals reflect the times in which they were created13Theatre’s Historical TraditionsTheatre and modern societydemonstrate an understanding that theater traditions reflect the times in which they were created1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)6Unit Plan Title:Forming the Theater Company! Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleIntroduced in the 5th grade, and further developed in the 6th grade, students will focus on producing a play from scratch. It is important to instill a culture of collaboration that will create a cohesive design (directing, producing, costume, makeup, props, etc.) demonstrating order/form. The process of theatrical production often relies upon a synergy of traditional practical theatrical roles, which students will have the opportunity to take ownership over. This unit aims to teach what successful collaboration looks like in the professional theater world. The focus will the 4 stages of Production; the Pre-Production Phase (design choice, budgetary financing, script structuring, auditioning), to the Production Phase (design construction, direction, acting study), to Performance Phase, (stage managing, crew cooperation, FoH), to finally Post Production (reflective analyzis, financial issues). Students who can collaboratively work towards a single, unified goal will gain a level of respect for theater as a demanding art form, but as a viable career choice. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2a: Articulate and apply critical analysis, extensive background knowledge, sociohistorical research, and cultural context related to existing or developing original theatrical work.1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.8.Cr3b: Implement and refine a planned technical design using simple technology during the rehearsal process for devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing and interpreting work.Performance Expectations:1.4.8.Pr4b: Use a variety of technical elements to create a design for a rehearsal or theatre production.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.8.Pr6a: Perform a rehearsed theatrical work for an audienceRESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.8.Re8a: Investigate various critique methodologies and apply the knowledge to respond to a theatrical work.1.4.8.Re8b: Justify the aesthetic choices created through the use of production elements in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Research the story elements of a staged drama/theatre work about global issues, including climate change, and discuss how a playwright might have intended a theatrical work to be produced.1.4.11b: Identify and examine artifacts from a time period and geographic location to better understand performance and design choices in a theatrical work. 1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.?1.2.8.Cr1b: Organize and design artistic ideas for media arts productions.?Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.9.4.8.TL.2: Gather data and digitally represent information to communicate a real-world problemNew Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.Essential Question(s)What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?Why is the united-performance effort considered the true artistic endeavor?How does design, art, cultural, economic and technical elements in settings of plays affect the performance of scripted material?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Attention to detail in creating theatrical design (costume, props, make-up) enhances the overall effectiveness of composition. Culture of collaboration will create a cohesive design (costume, makeup, props) demonstrating order/form. Theatrical production designs often rely upon a synergy of traditional practical theatrical roles.Roles of theater practitioners, (including director, costume designer, prop master, actors, makeup designer) listing their responsibilities and contributions to a production.How a design concept fits into a production and what specific skills are needed to meet that concept. Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesHow sets differ in terms of artistic, technical and cultural design.Identify and disseminate the different parts of a set, such as culture, time period, social status, costumes, and technical components make up a cohesive idea.Design various sets to accompany a script, to give different meanings.Work collaboratively on a design team.Identify the history, place, time, and social structure of the script environment.Brainstorm, collaborate, practice and produce a unified, theatrical vision.Perform scripted work with the use of technical elements to enhance the performance.Determine how differing stage sets communicate various information to the audience, i.e. mood, time, setting, relationship, etc…AssessmentsPre and Formative – POWERPOINT/ SMARTboard pre-assessments, Class led discussions, Teacher observation of research progress, Teacher observation of project development, Teacher assistance and preview of technology usageWritten Response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment - · Student multimedia presentations · Self-assessment · Peer assessment · Final visual representations assessment · Teacher assessment of knowledge gainedObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative: Students will demonstrate competency in: Using a test developed from the material presented, the teacher will assess knowledge gained from the student presentations.Documentation Portfolio: This type of portfolio is often called a “working” portfolio. This is a collection of work over time showing growth and improvement. It reflects the student’s learning of specific and identified objectives and outcomes. Process Portfolio: This will document all facets of the learning process. This type of portfolio is particularly useful in documenting a student’s overall learning process. It should show how the student integrates knowledge and/or skills during progress towards mastery of the selected objectiveAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord Wallto learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Technical Theater Intro –SUGGESTED ACTIVITIESStudents will demonstrate understanding of the members of a theatre production team and their responsibilities by participating in class activities, discussions.PowerPoint/SMART Intro:??Students will learn about the various roles of the production team and their subsequent duties/responsibilities. Review with students what technical jobs are available in the theatre including: stage management, technical director, and design elements, such as lighting, sound, costumes and props.Tech Theater Chart: Create a time line and flow chart to demonstrate an understanding of the tenets of the production processes.Section Two: Pre-Production –SUGGESTED ACTIVITIESStudents will demonstrate a basic knowledge of the processes that take place during the pre-production phase of a show.Publicity:??Students will learn how hired to publicize the play they have been reading in class.Instruct students to create a rough draft of a poster advertising the play.Poster Competition displaying important facets of effective advertising. Auditioning: Students will gain an understanding of what a formal/professional audition entails by viewing a sample audition and identifying its elements.Auditioning is a necessary and important part of any theatrical production and is the gateway you must pass through in order to attain any more theatrical pile a list of things that are appropriate/necessary/good for formal auditions as well as a list of things that are not.?Mock AuditionsStudents will take turns holding and performing in auditions in front of the class. Reading the Script: Students will demonstrate understanding of the importance of reading the script in developing a production concept by reading a summary of a play, participating in activities and discussions and by selecting a particular scene on which they will base their director’s concepts and design elements for their production book.Section Three: Production Phase –SUGGESTED ACTIVITIES Students will understand the position of theater leadership on a production team, and his/her responsibilities, a director’s concept and how to develop a concept. Design Concepts:??Students will demonstrate understanding of a director’s concept and how to develop a concept by participating in activities and discussions and by creating a director’s concept for their chosen scene from.Students will assume the role of Director, Technical Director, or one of the designers for an in class.Each student will produce the required paper work to complete the task assumed. Example: Stage Manager-rehearsal schedule, call board, contact list, prompt book, etc. The student will assist the director or teacher with management of other students involved in the production based upon selected position.Example: Technical Director-members of the build crew, the paint crew, as well as working directly with the designers and the director to create a concept-driven and cohesive production.Journal Reflection: Students will maintain a journal throughout the process and write a reflection on the strengths and/or personal needs discovered during the leadership process.Section Four: Costume Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices.Pull costumes from existing stock or one’s own wardrobe. Label and catalog the items. Sew on a button, or sew a hem by hand or using a machine.Costume CreationsGroups make, model, explain their design creations. Designing the Play’s CostumesGroups are assigned specific plays/productions to fully design a costume pieces or pieces. Section Five: Set Design –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of set pieces and design by creating a model set for a play script of their choice.Measure a room and create a ground plan including furniture and other elements from the room. Design a scene in a classroom using found objects. Spike the set and furniture pieces from a student-generated ground plan for a scene or school production. Work with teacher or technical director in constructing scenery for a production.Diagram and build a flat. Section Six: Forming the Company –SUGGESTED ACTIVITIESStudents will demonstrate understanding of the members of a theatre production team and their responsibilities by taking on specific theater roles in class activities, discussions.Hierarchy, Safety, and Design: Class discussion of the multiple aspects of a theatre production from a leadership point of view. Group Companies: Students will take on the roles of the various theater jobs. Technical director or group leader, Scenic designer, Lighting designer, Costume designer, Sound designer, Props master Give each group a one-act script. They are to read the script first. The scenic designer is in charge of analyzing script for scenic requirements and producing a ground plan; lighting designer is in charge of writing lighting cues and when they occur; the sound designer is responsible for writing in sound cues, when they occur and developing a list of sound cues; the costume designer is in charge of creating a costume plot; and the props master is responsible for developing a list of props required by the script. The technical director will collaborate with all aspects. Maintain a daily journal of progress on the project.Section Seven: Post-Production –SUGGESTED ACTIVITIESStudents will demonstrate understanding of a theatrical production manager, house manager, and stage manager as well as their responsibilities and will demonstrate their knowledge by answering questions and participating in learning activities.Stage Managing:??Students will learn how to become a stage manager and their subsequent responsibilitiesCreate and post cast sign-in sheets. Take blocking notes in a working rehearsal. Generate daily rehearsal schedules under the director’s guidance. FOH PowerPoint Presentation Duties, ResponsibilitiesSection Eight: Group Company Final –SUGGESTED ACTIVITIESStudents will demonstrate their understanding of the role of a theatre production team.Group Assessments: Definition of each member, and his/her responsibilities, talents/skills by taking a test Working in a Production Book (portfolio) which is based on a chosen scene of their choice.Includes hands-on, creative projects for specific positions on a production team and similar to what they would do if working an actual production.?Company Presentations: Describing your design in detail, giving justification for each, as well as describing how it fits with the director’s concept.After each presentation, allow students to ask questions. Remind the students that they can ask questions about the creation process or any clarifications they might need. Remind the students that we are not critiquing the design; it is a time to understand the design process.AMISTAD EDUCATIONAll-Black Theater present OKLAHOMA!: This article introduce you to an all black version of Oklahoma!. Students should read the article, watch the supplied clips and compare and contrast them with the original version. EDUCATIONALLIANCE FOR JEWISH THEATRE: is made up of theatre-artists, theatres, and other people connected to theatre to promote the creation, presentation, and preservation of both traditional and non-traditional theatrical endeavors by, for, and about the Jewish experience. Classes can explore the shows, missions, productions, and teaching seminars located within their website for further study. EDUCATIONQueer Youth Theater: Use this site as a window into the vast network of LGBTQIA supported, youth theater companies across the United States. EDUCATIONETC!: Exceptional Theater Company is an all inclusive theater program for teens and adults with special needs. Through the power of theater our actors learn life skills that teach them to be the best versions of themselves! Use this in your classroom to introduce students to varied means of theater! – See Appendix B for specialized programs that reflect the needs of students and community.Investigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. n Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews). Create a crew check list for a week-long production schedule. Create a mini-design portfolio for a scene using collage, swatches, original drawings/diagrams, found objects/images, and writing. Respond to design elements in a theater performance, noting the elements of spatial relationships.ResourcesWebsites: AMISTAD: : : : Costumes -? HYPERLINK "" \t "_blank" Costume History & Research -? HYPERLINK "" \t "_blank" theatre/costume.htmlElizabethan Costuming Page -? Theatrical Supply -? HYPERLINK "" \t "_blank" Graftobian Theatrical Makeup -? HYPERLINK "" \t "_blank" The Costume Gallery -? HYPERLINK "" \t "_blank" The Costume Page -? HYPERLINK "" \t "_blank" Costume Site -? HYPERLINK "" \t "_blank" costumeStage Managers Handbook -? HYPERLINK "" \t "_blank" Broadway/Stage/2203/Smhandbook.htmlStage Managers Home Page -? Theater Resources -? HYPERLINK "" \t "_blank" The Costume Gallery Rosco Rose Brand USITT (U.S. Institute for Technical Theatre) , I.E. STAGECRAFTERS’ HANDBOOK: A GUIDE FOR THEATRE TECHNICIANS, Studio City, Players Press, 1995.How to Start Your Own Theater Company by Reginald NelsonTheatre Management by David M. ConteRunning Theaters by Duncan M. WebbProducing Theatre by Donald C. FarberAnderson, Barbara, and Cletus Anderson. Costume Design. Buckman, Herman. Stage Makeup. Langley, Stephen. Theatre Management and Production in America. How to Run a Theater: A Witty, Practical, and Fun Guide to Arts Management*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Forming the theatre companyTechnical Theatredemonstrate understanding of the members of a theatre production team and their responsibilities by participating in class activities, discussions14Forming the theatre companyPre-Productiondemonstrate a basic knowledge of the processes that take place during the pre-production phase of a show14Forming the theatre companyProduction phaseunderstand the position of theater leadership on a production team, and his/her responsibilities, a director’s concept and how to develop a concept14Forming the theatre companyCostume Designdemonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices14Forming the theatre companySet Designdemonstrate an understanding of set pieces and design by creating a model set for a play script of their choice24Forming the theatre companyForming the companydemonstrate understanding of the members of a theatre production team and their responsibilities by taking on specific theater roles in class activities, discussions24Forming the theatre companyPost-Productiondemonstrate understanding of a theatrical production manager, house manager, and stage manager as well as their responsibilities and will demonstrate their knowledge by answering questions and participating in learning activities24Forming the theatre companyGroup Company Finaldemonstrate their understanding of the role of a theatre production team2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:Grade SevenGrade(s)7Unit Plan Title:All the World’s A Stage: Shakespeare Study! Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleStudying Shakespeare is an excellent way to introduce students not only to a highly regarded style of characterization and acting, but also to the fundamentals of playwrighting, language and written prose. Student will study how Shakespeare’s ability to summarize the range of human emotions in simple, yet profoundly eloquent verse was perhaps the greatest reason for his enduring popularity. The evolution of stock characters, particularly his tragic heroes, is unequalled in literature and presents a superb opportunity for character study. In terms of cross-curricular education, Shakespeare improved upon the basic structure of the English language and students will have the chance to?analysis plot structure, poetical design and grammatical development at its highest forms. Historically, students will be introduced to the Elizabethan Era, a virulent era of European history where political upheaval was represented in theatrical contexts. Shakespeare serves young actors in ways un-paralleled and fosters an appreciation for not only theater history, but theater conventions as a whole. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2a: Articulate and apply critical analysis, extensive background knowledge, sociohistorical research, and cultural context related to existing or developing original theatrical work.1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.PERFORMINGAnchor Standard 4: Selecting, analyzing and interpreting work.Performance Expectations:1.4.8.Pr4a: Rehearse a variety of acting techniques to increase skills in a rehearsal or theatrical performance that assist in the development of stronger character choices.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.8.Pr6a: Perform a rehearsed theatrical work for an audienceRESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.8.Re8a: Investigate various critique methodologies and apply the knowledge to respond to a theatrical work.1.4.8.Re8b: Justify the aesthetic choices created through the use of production elements in a theatrical work.1.4.8.Re8c: Assess the impact of a theatrical work on a specific audience.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.8.Re9b: Identify and interpret how different cultural perspectives influence the evaluation of theatrical work.1.4.8.Re9c: Examine how the use of personal aesthetics, preferences and beliefs can be used to discuss a theatrical work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Research the story elements of a staged drama/theatre work about global issues, including climate change, and discuss how a playwright might have intended a theatrical work to be produced.1.4.11b: Identify and examine artifacts from a time period and geographic location to better understand performance and design choices in a theatrical work. 1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.?1.2.8.Cr1b: Organize and design artistic ideas for media arts productions.?Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.9.4.8.TL.2: Gather data and digitally represent information to communicate a real-world problemNew Jersey Student Learning StandardsNJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation. NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.NJSLSA.L5. Demonstrate understanding of figurative language, word relationships, and nuances in word meaning.Essential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists transform and edit their initial ideas?How do theatre artists fully prepare a performance or design?What cultures, history, and experiences can actors draw from to create a character? How does language, prosody, tone or dialect enhance real-world communication and conflict within scripted material?Enduring UnderstandingsTheatre artists, through a shared creative experience with an audience, present stories, ideas and envisioned worlds to explore the human experience.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Shakespeare’s work influences modern day theater in terms of plot structure, character design and language development. Actors’ cultural perspectives and expressions influence character choices which, in turn, affect the other actors in a scripted scene.The different parts of a script, such as exposition, conflict, climax and resolution form plot.The impact that character development can have on the story line The universality of the themes and plots of Shakespearean plays transcends theatrical conventions. Shakespeare invented and extended vocabulary and syntax common to Elizabethan language.Playwrights express scripted language (Shakespearean) rhythmically.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesIdentify the history, place, time, and social structure of the script environment.Analyze biographical information about Shakespeare.Analyze and critique the universality of the themes and plots of Shakespearean plays.Interpret the different parts of a script, such as exposition, conflict, climax and resolution.Identify the emotion of the characters in the script.Perform scripted work with the use of technical elements to enhance the performance.Study and gain proficiency on the Shakespearean language and rhythmic techniques.AssessmentsPre and Formative – Open ended Questioning, Pre Assessment Quizzes for Knowledge. Students will perform the scripted play from memory that incorporates multiple technical elements. Improvising exercises based on Renaissance acting style and Iambic Pentameter · Shakespeare worksheets (worksheet s/iambic-pentameter) · Scene analysis · Scene scoring · Character sketch · Monitoring of rehearsals by teacher and students · Journal of character progression by students throughout rehearsal processWritten Response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment: Shakespeare Timelines, Creating Costume Designs, Research Projects· Daily “Ticket out the Door” on mood and atmosphereObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative – Students will demonstrate competency in: Class Discussions, Research Projects, Cooperative Group Designs ProjectsDocumentation Portfolio: This type of portfolio is often called a “working” portfolio. This is a collection of work over time showing growth and improvement. It reflects the student’s learning of specific and identified objectives and outcomes. Process Portfolio: This will document all facets of the learning process. This type of portfolio is particularly useful in documenting a student’s overall learning process. It should show how the student integrates knowledge and/or skills during progress towards mastery of the selected objectiveAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Intro to Elizabethan Theater –SUGGESTED ACTIVITIESStudents will gain a basic understanding of Shakespearean theatre traditions.PowerPoint/SMART Intro:??Students will learn about William Shakespeare and the theatre history of the Renaissance Period. Prior knowledge assessment of Shakespeare will be given. DVD’s and handouts from “Shakespeare in American Communities” provided to teachers involved in Shakespeare to Go presentations will be presented to class. Other handouts from The Drama Sourcebook can be used to help further information about Shakespeare. Shakespearian Timelines: Focus on creating timelines surrounding…Shakespeare Life, Work and Elizabethan EraSection Two: The Language of Shakespeare –SUGGESTED ACTIVITIESStudents will learn the fundamental language devices incorporated in Shakespeare’s works. Iambic Improvisations: Complete worksheets using Iambic pentameter and universal truths (worksheets/i ambic-pentameter). Other handouts from The Drama Sourcebook can be used to help further information about Shakespeare. Play Analysis: Break down a teacher chosen scene from any appropriate Shakespeare play. The students will analyze, evaluate, and create motivations, subtext and objectives for each beat in the scene; as well as score the script. Students will learn to apply iambic pentameter or the rhythm of prose to the scoring.Language of Shakespeare: Students learn about world in which he lived and created plays. Apply Shakespeare’s universal truths and rhythms in his writing to the modern stage.Metaphor, Simile, Imagery, etc…Shakespearian Insults! Section Three: Building Shakespearean Character –SUGGESTED ACTIVITIESStudents will gain the techniques required in order to produce well rounded Shakespearian character.Creating Character: Students will apply acting basics and period style to the building of a renaissance-style character to perform for their peers. Students will write a character sketch that reflects a well-developed character. Students will discuss the differences in modern and Renaissance period style acting after watching teacher selected scenes from various Shakespearean plays. Prior knowledge assessment of Shakespeare will be given.Masks and EmotionsStudents made two (or more) masks: one to represent the surface emotion, and one to represent the hidden emotion(s)Suggest that there are patterns in the seeming welter of emotions, definite relationships and transformations--out of which literature is born.Analyze Shakespeare’s: Students formulate ideas and own interpretation of the character and implement them into the selected scene.Remember how to build a character through a character sketch. Apply Renaissance period acting style to character development.The Shakespeare Scene: Students will rehearse the scenes in read through, blocking, working, polishing, technical, and dress rehearsals in order to perform for their peers. Apply the steps of rehearsals in order to successfully build to a performance.Scenes should incorporate the acting style of the Renaissance. Scene are directed by the teacher or the teacher may elect to choose student directors.Section Four: Voice and Diction in Shakespeare –SUGGESTED ACTIVITIESStudents will actively engage in voice and diction, “quality control”, activities geared towards generated the strength necessary to project Shakespearian work. Vocal Quality and Tone: Students will demonstrate their ability to change their vocal quality/tone by performing scenes using only changes in tone. Pitch: Students will demonstrate their ability to derive meaning from vocal pitch by performing a mini scene twice with different pitch (and thus meaning) each time.Volume and Rate: Students will demonstrate their ability to use volume and rate to enhance/change meaning by performing a skit using several different volumes.Utilize fundamentals of character development to enhance the quality of change within an actor’s instrument. Diction: Students will apply their ability to have diction in their speech by practicing a word list.Shakespearian Insults GeneratorEstablishing Character through Voice: Students will demonstrate their ability to use vocal techniques to establish character by performing a fairy tale scene using only their voices.Disney Fairy Tale, Grimm Fairy Tales can work well for the beginning voice and diction trainee. Shakespearian Insults GeneratorVocal Review and Assessment: Students will apply their ability to use a variety of vocal techniques to create a character by rehearsing their final assessment.Monologue with character trait/age written on it—1 per studentSection Five: Rehearsing Shakespeare –SUGGESTED ACTIVITIESStudents will actively engage in rehearsal of various Shakespearian works.Rehearsal Process: Students will rehearse the scenes in read through, blocking, working, polishing, technical, and dress rehearsals in order to perform for their peers.Students will demonstrate their understanding of movement in a performance piece by blocking and providing business for their Shakespearean monologue or scene. Scenes should incorporate the acting style of the Renaissance. Scene are directed by the teacher or the teacher may elect to choose student directors.Apply the steps of rehearsals in order to successfully build to a performance.Character Refinement: Students will continue their character work by visualizing a day-in-the-life of their Shakespearean character and by searching for more information in a Shakespeare Secondary Source.Shakespeare Previews: Students will demonstrate their knowledge of characterization, blocking, and interpretation by performing a preview of their Shakespeare monologue or scene.Shakespeare monologues/short scenes/written prose can be used for student use.Romeo and Juliet, Midsummer’s Night Dream, Macbeth, Hamlet, etc…Students will demonstrate their understanding of rehearsing by making and working on one specific acting goal for the Shakespearean monologue or scene.Assessed by their participation in rehearsing their performance pieces, their written acting goalSection Six: Performing Shakespeare –SUGGESTED ACTIVITIESStudents will actively engage in final performance of chosen and rehearsed Shakespearian works.Final Performance: Students will perform the scenes, showing a fully-developed, rehearsed character and a sense of effort towards using period acting style, for peer and teacher evaluation. Verbal and written feedback will be given to the students after the performance. Assessed through their final performances and by their written Shakespeare play analysis and Cliff Notes outline.AMISTAD EDUCATIONAfrican America Shakespeare Company: Why stop at Othello when portraying Black artists in Shakespeare? African-American Shakespeare Company opens the realm of classic theatre to a diverse audience; and provides an opportunity and place for actors of color to hone their skills and talent in mastering some of the world’s greatest classical roles. Research the company, contact them and find a network of actors of color who you can learn everything you need to know about Shakespeare! EDUCATIONHolocaust Themes Add Historical Significance to ‘Romeo and Juliet’: After reading/performing sections of the original work, students should be presented with this alternate version of Romeo and Juliet, which is centered around our star crossed lovers during the Holocaust. Lesson ideas could be free writes, scene studies, character studies, as well as historical compare and contrast discussions and costume designing. EDUCATIONSpark Discussion - Was Shakespeare gay, and does it matter? Although not a new question, its re-emergence is germane to the interpretation of his plays, and not just a scholars’ spat. Have students discuss this taboo subject and debate the issue with referential facts and textual evidence. Cite his plays, sonnets and histories as a means of defending your case in class! EDUCATIONAutism and Shakespeare: Lesson Plan: This plan focuses on building the kinesthetically based motor functions of the special needs students, all under the guise of teaching Shakespeare. Utilize some of these teaching methods in your own classroom, regardless of whether you teach for special needs. – See Appendix B for specialized programs that reflect the needs of students and community.Watch various professional Shakespearean scenes and critique acting choices.Research Renaissance and Shakespearean terminology not used in today’s English.Visit a working rehearsal for a professional or non-professional theater company.Take a backstage tour with lecture/ demonstration of basic production elements. Participate in lecture/demonstration sessions on various theater-related topics, such as design for theater.Write critiques and reviews of productions, and send them to theater press offices or education departments to spark an ongoing correspondence. Visit design studios and theater production shops to interact with designers, technicians and other backstage theater professionals. Interview by e-mail or in person a staff member at a theater or theater education organization.ResourcesBooks Welcome to the Globe! By Peter Chrisp, All the World’s a Stage by Michael BenderShulman, Michael & THE ACTOR’S SCENEBOOK: SCENES AND Mekler, Eva MONOLOGS FROM THE CONTEMPORARY PLAYS, New York, Bantam, 1984.Papp, Joseph & SHAKESPEARE ALIVE!, New York, Bantam, 1988. Shakespeare by Michael Wood, A Shakespeare Sketchbook by Renwick St. James, Tales from Shakespeare by Tina Packer, Eyewitness Shakespeare by Peter Chrisp,William Shakespeare & the Globe by Aliki, Scenes from Romeo and Juliet and Twelfth NightWebsites: AMISTAD: : : : sheets/iambic-pentameter -10-theater-superstitions/.uk/elizabethan-theatreaudiences.htm Shakespeare Library -? HYPERLINK "" \t "_blank" folger.eduProper Elizabethan Accents -? HYPERLINK "" \t "_blank" Language/index.htmlMr. William Shakespeare & the Internet -? Links -? HYPERLINK "" \t "_blank" as.miami.edu/english/jshoulson/431_99/shakelinks.htmlShakespeare Magazine -? HYPERLINK "" \t "_blank" Shakespeare Online -? HYPERLINK "" \t "_blank" nyu.edu/classes/jeffreys/links.htmShakespeare on the Internet -? HYPERLINK "" \t "_blank" sogang.ac.kr/~anthony/Shcontacts.htmShakespeare at eNotes -? HYPERLINK "" \t "_blank" Shakespeare Illustrated -? HYPERLINK "" \t "_blank" emory.edu/ENGLISH/classes/Shakespeare_Illustrated/Shakespeare.htmlPlays of William Shakespeare -? HYPERLINK "" \t "_blank" shakespr.shtmlSurfing with the Bard -? HYPERLINK "" \t "_blank" shakespeareWelcome to Shakespeare’s 3D Globe -? HYPERLINK "" \t "_blank" acslink..au/sandhurst/globeVisual Media“Shakespeare in American Communities” DVD’s: A&E’s Biography: Shakespeare Hamlet Romeo and JulietYoutube Shakespeare*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1All the World’s a StageIntro to Elizabethan Theatregain a basic understanding of Shakespearean theatre traditions11All the World’s a StageThe Language of Shakespearelearn the fundamental language devices incorporated in Shakespeare’s works11All the World’s a StageBuilding Shakespearean Charactergain the techniques required in order to produce well rounded Shakespearean character21All the World’s a StageVoice and Diction in Shakespeare actively engage in voice and diction, “quality control”, activities geared towards generated the strength necessary to project Shakespearian work21All the World’s a StageRehearsing Shakespeareactively engage in rehearsal of various Shakespearean works21All the World’s a StagePerforming Shakespeareactively engage in final performance of chosen and rehearsed Shakespearean works2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)7Unit Plan Title: Technology & Theater Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleTechnology is becoming more prevalent in the daily lives of our students. In the theatrical world, it is no different. This unit focuses on the study of technical theater in terms of Lighting, Sound, Scenic and Front of House. Students will have the opportunity to discover how a culture of collaboration will create a cohesive demonstrating order/form. Students can collaboratively utilize current technological devices to create and construct elements of the play which add the overall production value. Keying in on student interests of social media, the unit will turn its focus to the business side of theater, teaching the ideals of advertising, publicity and theater management. The study of these theatrical conventions will give students the skills necessary to work collaboratively on a design team not only on stage, but in the real world as well. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2a: Articulate and apply critical analysis, extensive background knowledge, sociohistorical research, and cultural context related to existing or developing original theatrical work.1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.8.Cr3b: Implement and refine a planned technical design using simple technology during the rehearsal process for devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing and interpreting work.Performance Expectations:1.4.8.Pr4b: Use a variety of technical elements to create a design for a rehearsal or theatre production.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.8.Re8a: Investigate various critique methodologies and apply the knowledge to respond to a theatrical work.1.4.8.Re8b: Justify the aesthetic choices created through the use of production elements in a theatrical work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Research the story elements of a staged drama/theatre work about global issues, including climate change, and discuss how a playwright might have intended a theatrical work to be produced.1.4.11b: Identify and examine artifacts from a time period and geographic location to better understand performance and design choices in a theatrical work. 1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.?1.2.8.Cr1b: Organize and design artistic ideas for media arts productions.?Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.9.4.8.TL.2: Gather data and digitally represent information to communicate a real-world problemNew Jersey Student Learning StandardsNJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.L6. Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when encountering an unknown term important to comprehension or expression.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How do different components contribute to the overall theatrical performance? How do symbolism and metaphor contribute to meaning in the arts?Enduring UnderstandingsTheatre artists reflect to understand the impact of drama processes and theatre experiences.Theatre artists apply criteria to investigate, explore, and assess drama and theatre work.Attention to detail in creating theatrical design (sound, lighting, scenic and effects) enhances the overall effectiveness of composition.Design (sound, lighting, scenic and effects) style impacts an audience’s discovery of a performance.Culture of collaboration will create a cohesive design (sound, lighting, scenic and effects) demonstrating order/form. Traditional technical theatrical roles (director, technical director, lighting designer, sound designer, scenic artist) provide unique contributions for a successful production.Cohesive design (costume, sound, light, scenic, film) reflects authentic collaboration and demonstrates order/form.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationAFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCreate a rendering for one design concept of a production (costume, light, sound, scenic, film)Fulfill their role as a theater practitioner in design teams.Design a concept for one design area (costume, light, sound, scenic).Demonstrate an understanding and appreciation of the roles of theater practitioners (including director, stage manager, designers, operators, actors, producers), listing their responsibilities and contributions to a production.Articulate cultural/historical influences of particular eras/genres to a design team and/or concept.AssessmentsPre and Formative: Open ended Questioning, Pre Assessment Quizzes for Knowledge. Students will perform the scripted play from memory that incorporates multiple technical elements.Benchmark/Authentic Assessment: Build a production personnel flow chart adding personnel as each designer/crew is learned · Daily “Ticket out the Door” on mood and atmosphereObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative: Students will demonstrate competency in: Class Discussions, Research Projects, Cooperative Group Designs ProjectsWritten response The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Process Portfolio: This documents all facets of the learning process. It should show how the student integrates knowledge and/or skills during progress towards mastery of the selected objective. It should include student reflections upon the learning process, such as, reflective journal entries, think logs and other forms of metacognitive processing. Showcase Portfolio:It should only include examples of the student’s best and most complete work, as determined through a combination of student and teacher input. The showcase portfolio should also include student written analysis and reflections upon the learning and the selection processes of the works included in the portfolio.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Technical Theater Tour –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of technical theatre terms and parts by participating in a theatre tour, completing a graphic organizer, and writing what they want to learn more about in technical theatre.Technical Notations:??Now divide the class into 4 groups.???We will be going into the auditorium to label some of the things we have just learned the names for.??Each group will be given a list of ten terms along with 10 notecards, labeled 1-10.??You task is to attach the correct number label to the actual item on stage.???Tech Job Descriptions: Instruct them to put a short description of each job as you talk about it.??Start at the top and ask students to identify the jobs that they know, and if they don’t then you can provide a definition.Tech Theater Video: Have students write things about technical theatre they would like to learn more about.??As they watch it, what intrigues them, what would they like to do.Section Two: Basics of Design – SUGGESTED ACTIVITIESUnderstand how to design technical theatre components, such as, costumes, sets, props, make-up, lighting and sound. Develop a theatre personnel flow chart; include the designer, chief, and crew for each major element of theatre production. Introduce the various types of stage spaces and areas for each type of stageDraw a simple floor plan for a selected piece of production script.Investigate theater and technical opportunities within the school, after-school programs and performance options.Create a marketing poster for a show with an identifiable dominant image.Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).Create a crew check list for a week-long production schedule.Create a mini-design portfolio for a scene using collage, swatches, original drawings/diagrams, found objects/images, and writing. Respond to design elements in a theater performance, noting the elements of spatial relationships, symbols, patterns, dissonance and similarities by providing examples.Section Three: Costume Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices.Pull costumes from existing stock or one’s own wardrobe. Label and catalog the items. Sew on a button, or sew a hem by hand or using a machine.Costume CreationsGroups make, model, explain their design creations. Designing the Play’s CostumesGroups are assigned specific plays/productions to fully design a costume pieces or pieces. Section Four: Lighting/Sound Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of how to use light to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play.Station 1:??Sound Design - Explore how a sound designer reads a script for sound cues.?? Station 2:??Light for Living- Lighting designers need to know how lighting affects a space.??Here you will be creating an overhead drawing of your living room at home, indicating sources of light and what directions the light goes in the room and where it creates shadow.??You will also write one paragraph describing how you think the lighting in your living room creates a mood for that room.??Is it different from any other room in the house?Station 3:??Key/Fill/Top Light-This is the standard procedure for lighting on stage.??In groups of three within your group, you will try to imitate the lighting of photographs by using flashlights on a group member.??After experimenting with white light, you will use gels (color) to create a specific mood for scene you create.??You will write one paragraph describing you key and fill lights, the colors you used, and the resulting mood of the scene.?Light A Scene - In a classroom using a variety of found lights, such as flashlights, clip lights and lamps. Use portable lighting units such as Par Can 30s in a classroom or theater. Operate school auditorium lighting using existing or rented lighting board. Sound Design - Make a CD or audio tape to score a scene. Practical Practice - Run the sound for a show, including CD or tape player, microphone and speaker set-up.Section Five: Set Design –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of set pieces and design by creating a model set for a play script of their choice.Measure a room and create a ground plan including furniture and other elements from the room. Design a scene in a classroom using found objects. Spike the set and furniture pieces from a student-generated ground plan for a scene or school production. Work with teacher or technical director in constructing scenery for a production.Diagram and build a flat. Section Six: Advertising –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of advertising by analyzing various methods of promotion.Movie Trailer Madness – Show a few film teasers/trailers at the beginning of the class to get their attention.What did we just watch???What are these trailers made for???Did this trailer accomplish what it was made for???Why or why not???What could this have been made for???What do you think the makers are trying to get across to you???Were you persuaded???What is advertising???What is its purpose???What makes it effective???How does this fit in with theatre?Advertising PowerPoint/SMART LessonBreak the class up into groups of 3 or 4 students and instruct them that they are going to go back and look at the trailers that have been shown today but this time they are to make note of the different elements or principles of creating an effective ad that are present in each advertisement.?Advertising Project: They will have to create an advertising campaign for the upcoming show.??Instruct them that their campaign should include a script for a 1 - 2 min. radio or TV commercial, a poster for the show, a description of their target audience as well as an estimate of what it would take to advertise to the community.Section Seven: Stage Managing –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of how to manage a staged production at their school or organization using tenets of communication, delegation and organization.Create and post cast sign-in sheets. Take blocking notes in a working rehearsal. Generate daily rehearsal schedules under the director’s guidance. Generate a master production schedule and a working production budget for an upcoming school productionAMISTAD ’s Top Ten African American Directors Of The Decade: Directors play an integral role in operational side of entertainment creation. Students can discover their favorite directors and movies, and create slideshows encompassing their portfolio of work. Students can even pretend to be famous directors themselves, creating mock resumes and portfolios showcasing their own directorial achievements. EDUCATIONTeens act out Holocaust survivors’ stories in Witness Theater: Student can learn by example and create their own theater production after covering survivor stories from the Holocaust. Students can take on various technical roles as they learn from this production’s model in order to tell stories of the past for audiences of the present. EDUCATIONResearch Project: Top Gay and Lesbian Directors Working Today. There are plenty of people behind the cameras making heater and film happen. Research one of these artists and present your finding to the class unit in either a written, vlog or group project. EDUCATION9 Theater Companies Celebrating Actors With Disabilities: Discover the theater companies whose goal is to champion artists with special needs. What drives them to be inclusive? How can these companies thrive in today’s climate? Discover these questions and find the answers in class as you research these theater companies! – See Appendix B for specialized programs that reflect the needs of students and community.Theater House visits and tours.Youtube / Literary / Archival Play Production MediaInvestigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).ResourcesWebsites:AMISTAD: : : : in Stage Management & Technical Theater -? HYPERLINK "" \t "_blank" drama.ac.uk/lighting.htmlDesign & Technical Production for High Schools -? HYPERLINK "" \t "_blank" Lighting & Theatre Effects -? HYPERLINK "" \t "_blank" lteg.htmLighting Links -? HYPERLINK "" \t "_blank" linksThe Costume Page -? HYPERLINK "" \t "_blank" Costume Site -? HYPERLINK "" \t "_blank" costumeTheatre Makeup -? HYPERLINK "" \t "_blank" catalog.htmlSTAGE CRAFT DIRECTORY of Technical Theatre Terms?()?Hundreds of British (and American) technical theatre terms, explained. In alphabetical order. Soon to be sorted by category, too. HYPERLINK "" \t "_blank" Stagecraft Frequently Asked Questions?()?Frequently asked questions from the rec.arts.theatre.stagecraft and alt.stagecraft newsgroups. HYPERLINK "" \t "_blank" Drama Department Links: Stagecraft?()?From the University of Exeter. The list includes costumes, staging, props, lighting, sound, and stage management. HYPERLINK "" \t "_blank" Association of British Theatre Technicians?()?Includes information about training, publications, and other information about several aspects of technical theatre. HYPERLINK "" \t "_blank" Entertainment Technology (ETEC)?()?This site provides access to the magazines "Entertainment Design" and "Lighting Dimensions" about show business art and technology.Books:Clark, I.E. STAGECRAFTERS’ HANDBOOK: A GUIDE FOR THEATRE TECHNICIANS, Studio City, Players Press, 1995.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Technology & TheatreTechnical Theatredemonstrate an understanding of technical theatre terms and parts by participating in a theatre tour, completing a graphic organizer, and writing what they want to learn more about in technical theatre12Technology & TheatreBasics of DesignUnderstand how to design technical theatre components, such as, costumes, sets, props, make-up, lighting and sound12Technology & TheatreCostume Designdemonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices12Technology & TheatreLighting and Sound Designdemonstrate an understanding of how to use light to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play12Technology & TheatreSet Designdemonstrate an understanding of set pieces and design by creating a model set for a play script of their choice22Technology & TheatreAdvertisingdemonstrate an understanding of advertising by analyzing various methods of promotion12Technology & TheatreStage Managingdemonstrate an understanding of how to manage a staged production at their school or organization using tenets of communication, delegation and organization2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)7Unit Plan Title: Analyzing & Critiquing Theater Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleTheater criticism is an important aspect of the young actor’s education for it encourages students to discover the differences between theater as an art form and theater as entertainment. In this unit, students are taught to explain the aesthetics of theatrical design while evaluating theatrical performances. How does artist collaboration enhance a cohesive production concept? How do students develop a critical eye that develops both self-analysis and critical response to classmates? These questions, among many others, encourage our students to develop strong opinions based on conventional theater practices. These opinions will be predicated upon careful observation, with student collaboratively investigating diverse forms of theater and film. Writing, oral, performance based reflections and study projects will assist students in presenting their personal attitudes towards the art form in an educational and beneficial way. Standard(s)CREATINGAnchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2a: Articulate and apply critical analysis, extensive background knowledge, sociohistorical research, and cultural context related to existing or developing original theatrical work.1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.8.Cr3a: Demonstrate focus and concentration in the rehearsal process by analyzing and refining choices in a devised or scripted theatre performance.1.4.8.Cr3b: Implement and refine a planned technical design using simple technology during the rehearsal process for devised or scripted theatre work.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.8.Re7a: Describe and record personal reactions to artistic choices in a theatrical work.1.4.8.Re7b: Compare recorded personal and peer reactions to artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.8.Re8a: Investigate various critique methodologies and apply the knowledge to respond to a theatrical work.1.4.8.Re8b: Justify the aesthetic choices created through the use of production elements in a theatrical work.1.4.8.Re8c: Assess the impact of a theatrical work on a specific audience.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.8.Rea: Analyze how personal experiences affect artistic choices in a theatrical work.1.4.8.Re9b: Identify and interpret how different cultural perspectives influence the evaluation of theatrical work.1.4.8.Re9c: Examine how the use of personal aesthetics, preferences and beliefs can be used to discuss a theatrical work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:1.4.10a: Examine a community issue through multiple perspectives in a theatrical work.Anchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Research the story elements of a staged drama/theatre work about global issues, including climate change, and discuss how a playwright might have intended a theatrical work to be produced.1.4.11b: Identify and examine artifacts from a time period and geographic location to better understand performance and design choices in a theatrical work. 1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.?1.2.8.Cr1b: Organize and design artistic ideas for media arts productions.?Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.New Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L6. Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when encountering an unknown term important to comprehension or expression.Essential Question(s)How do theatre artists transform and edit their initial ideas?How do theatre artists fully prepare a performance or design?How does artist collaboration enhance a cohesive production concept?How can you use critical response to inform more advanced choices in the artistic process?Enduring UnderstandingsTheatre artists rely on intuition, curiosity and critical inquiry.Theatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Personal artistic choices combined with group collaboration and diverse perspectives create a well thought out artistic product. Investigation into textual clues to problem solve contributes to the production process and the final creation of the end product.Discovery gained through constructive feedback, the writing process, and self-reflection can expand a production team’s ability to create a refined finished product .Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesApply acting skills, such as: voice, movement or text analysis to a final presentation of a sceneSelf-reflect and give constructive criticism to classmates.Create and discuss critical thinking, question prompts involved in self and group assessment.Understanding that discovery gained through constructive feedback, the writing process, and self-reflection can expand a production team’s ability to create a refined finished product.AssessmentsPre and Formative: Critique one aspect of a performance, Theatre terminology Pre-TestConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Benchmark/Authentic Assessment: Student performance and reflective critiques. Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Written response The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Summative: Students will demonstrate competency in:Analyze a theatrical performance addressing aesthetic elements.Analyze and write a peer evaluation of a performance addressing actor’s pare and contrast television to live theatre.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Theater Criticism –SUGGESTED ACTIVITIESStudents will analyze and write a peer evaluation of a performance addressing actor’s choices. Criticism PowerPoint: Students discuss appropriate criticism techniques.Lecture, discussion, model writing a critiqueList critique techniques using the appropriate terminology.Peer Evaluations: Watch and write a critique of an improvised, class performance and give positive feedback.Practical Thinking: Use library resources to research a play being performed by a professional company. Attend the performance. Read published reviews of the performance.Write a critique of a professional production and submit it to a local publication.Section Two: Theater Aesthetics –SUGGESTED ACTIVITIESAnalyze a theatrical performance addressing aesthetic elements. Aesthetics PowerPoint: Students discuss aesthetic elements of theaterPhysiological - unconscious physical reactions to what is seen/heard such as blinking at a bright lightCultural - responses that can vary among different people based on age, gender, races, nationality, religion, or social groupsPersonal - responses that are based upon an individual’s experiences Aesthetic Exercises: Compare the various cultural/physiological/personal aesthetics.I SPY WITH MY LITTLE EYE Students will demonstrate an understanding of visual elements as aspects of their environment and an ability to articulate what they see by playing a very simple “Hints and Guessing” game.Utilizing Technical Theater design as a basis of imageryI’ve Been Wondering. . .Students will demonstrate an understanding of aesthetics as a discussion of “points of view” by defining important aesthetic questions in the arts and discussing the issues in small groups and presenting the conclusions (pro and con) to the class.Living ArtInterpretation of works of art may extend to dramatic presentations through reader’s theater (students write dialogue for the people in an artwork, then perform the parts with different voices), “living paintings” or tableaux, and sound symphonies (students act out the sounds that are suggested by the artwork). A variety of approaches will lead students to enter and interpret many works of art from multiple perspectives.DESCRIPTIVE WRITING USING POST-IT NOTES: With Small Groups: Assign students to groups of three or four. Give each group a study print (or let each group choose an image) and a pad of Post-It Notes (the smallest size available). Ask students to use only the visual evidence in the work for this study.Section Three: Theater and Film –SUGGESTED ACTIVITIESThe student will identify how other arts such as Film are applied in theaterTheater and Film PowerPoint: Students discuss appropriate similarities and differences between film and live theater techniques.Television 1990s-present United StatesComedy · Drama · Musicals · Reality T.V.Live Theatre 1990s-present United StatesComedy · Drama · Musicals · ImprovisationCompare and Contrast SessionsStudents can develop Venn DiagramsWrite research projectsDisplay dioramas, board presentationsPerformance Presentations. Representing Society in Theater and Film Find a problem in society. Consider how it would be represented on television. Write the script. Justify the choices in the script.Perform the pare and contrast worksheet including details of both styles of performance.Practical Thinking: Use resources to find a production that has been BOTH a film and live theater event. Disney Musicals & CartoonsWrite a compare and contrast piece describing the strengths and weakness of the practical aesthetics. AMISTAD EDUCATIONFLIPGRID Theater Analysis: Students will view and critique the provided link and give their “Theater Review” as a professional theater critique. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Wheels of a Dream: Color Purple: EDUCATIONFLIPGRID Movie Analysis: Students will view and critique the provided link and give their “Movie Review” as a professional theater critique. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Students should choose one movie to view, and/or research. EDUCATIONFLIPGRID Theater Compare and Contrast: Students will view and compare/contrast the provided links. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. "Sixteen Going On Seventeen" Andrew Keenan-Bolger, Jay Armstrong Johnson Going On Seventeen from The Sound of Music EDUCATIONFLIPGRID Theater Analysis: Student will view and critique the provided link and give their comments. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Shakespeare performed by Down’s Syndrome adults - See Appendix A for accommodations and modifications for all subgroupsTake trips to libraries or museums (art, cultural, history and natural history) for research purposes. Associated activities include: journal entries - collages - creative writing - research papers linked to the creation, design or production of plays Use the theater archives and collections of the New York Public Library for the Performing at Lincoln Center in researching a school play to be produced. Use online research to examine a theater company in a different culture or country. Use theater archives, libraries or museums to compare and contrast two different productions of the same theater piece. Photos, design drawings, Playbills, videos, and costume renderings can be used to show how different companies interpret and produce the same pare two productions of the same play produced in different times or cultures. Use online resources to research a theater company from a different country. If this company were coming to New York, attend a rehearsal, ask the company to conduct a master class, or invite the company to the school.ResourcesONLINE RESOURCESAMISTAD: Wheels of a Dream: Color Purple: : : "Sixteen Going On Seventeen" Andrew Keenan-Bolger, Jay Armstrong Johnson Going On Seventeen from The Sound of Music : Shakespeare performed by Down’s Syndrome adults Criticism Online: Contains Gale’s Contemporary Literary Criticism, Nineteenth-Century Literature Criticism, and Twentieth-Century Literary Criticism.JSTOR Includes full-text theater and performing arts journals from their inception to 3-5 years ago.The School Page -? HYPERLINK "" \t "_blank" schoolshows.demon.co.ukTheatre Arts Guide -? Arts Resources on the Web -? and MediaCritical Survey of Drama: Essays arranged alphabetically by author being discussed, with references to additional resources. Last volume contains essays related to drama in general.Major Modern Dramatists: Presents excerpts from reviews, articles, and books about major modern dramatists.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Analyzing & Critiquing TheatreTheatre Criticismanalyze and write a peer evaluation of a performance addressing actor’s choices23Analyzing & Critiquing TheatreTheater Aestheticstheatrical performance addressing aesthetic elements23Analyzing & Critiquing TheatreTheater and Filmidentify how other arts such as Film are applied in theater1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:DramaGrade(s)7Unit Plan Title:4. Intro to PlaywritingCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleWords, Words, Words. This playwrighting workshop impresses upon students the importance of the written word in theater. Students will discover the ins and outs of fundamental script design, while bolstering their conceptions of plot structure. By studying and researching famous works and playwrights of the 20th century, students will be given the opportunity to create balanced, “well written”, characters and plots. Equipped with the knowledge of historical periods, students can enhance real-world connections to literary characters while they create their collaboratively conceived characters and stories. Character analysis research will be an integral component of this unit, not only through textual means. Improvisation performance will assist in the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction. The aim of this unit to follow our student’s creative process from the page to ultimately the stage. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.1.4.8.Cr1c: Explore, describe and develop given circumstances of a scripted or improvised character in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.PERFORMINGAnchor Standard 4: Selecting, analyzing and interpreting work.Performance Expectations:1.4.8.Pr4b: Use a variety of technical elements to create a design for a rehearsal or theatre production.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.1.4.8.Pr5b: Use various character objectives and tactics in a theatre work to identify the conflict and overcome the obstacle.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.8.Pr6a: Perform a rehearsed theatrical work for an audienceRESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.8.Re8a: Investigate various critique methodologies and apply the knowledge to respond to a theatrical work.1.4.8.Re8b: Justify the aesthetic choices created through the use of production elements in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.8.Rea: Analyze how personal experiences affect artistic choices in a theatrical work.1.4.8.Re9b: Identify and interpret how different cultural perspectives influence the evaluation of theatrical work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:1.4.10a: Examine a community issue through multiple perspectives in a theatrical work.Anchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Research the story elements of a staged drama/theatre work about global issues, including climate change, and discuss how a playwright might have intended a theatrical work to be produced.1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.?1.2.8.Cr1b: Organize and design artistic ideas for media arts productions.?Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.9.4.8.TL.2: Gather data and digitally represent information to communicate a real-world problemNew Jersey Student Learning StandardsNJSLSA.R3.Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.NJSLSA.W4.Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.NJSLSA.L3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.Essential Question(s)Theatre artists rely on intuition, curiosity and critical inquiry.Theatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.What happens when artists and audiences share a live theatre experience?Enduring UnderstandingsTheatre artists, through a shared creative experience with an audience, present stories, ideas and envisioned worlds to explore the human experience.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Theatre artists apply criteria to investigate, explore, and assess drama and theatre work.The creation of a script may enhance the discovery of current social, political, historical, and cultural themes and issues, and philosophies.Elements of script design and plot structure (Hero’s Journey).Major playwrights of the 20th century/Major works of the 20th Century.Character development techniques inform the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction.Improvisational skills inform the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDemonstrate an insightful understanding of works in theatre by analyzing and interpreting what is presented in formal and informal productions, films and electronic media.Practice and refine writing techniques for the development of ideas, the creation of text and subtext and the development of characters and settings.Expand knowledge of the various activities of the playwright, actor, director, and designers by participating in the collaborative process that occurs in producing original theatrical productions.Describe the sets, costumes, lighting and sound for effective interpretation of your scripts.Make writing choices, using script analysis, character research, reflection, and revision to create original plays from classical, contemporary, realistic, or nonrealistic styles. Work collaboratively as an ensemble, continuing to demonstrate and improve communication, design, organizational and writing skills.AssessmentsPre and Formative: Observation of students as they participate in discussions, group planning, rehearsals and performances shows degree of understanding, commitment and cooperation. ResearchDiscussion, Observation of Performances, Script reading, Performing in short playsCollaborating with directors, actors and designers to complete projectsReflective writingWritten critiquesBenchmark/Authentic Assessment: Critiques of the work of self and others will show depth of understanding and personalization of the material.Performing in short playsReading scripts and viewing performances using established criteria will demonstrate student skill and growth.Summative: Students will demonstrate competency in:Reading research and reflective writing will show student range of understanding of the major concepts in playwriting and their personal relationship to them. Reflective writingWritten critiquesAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Intro to Playwriting –SUGGESTED ACTIVITIESStudents will understand the role of the playwright in relation to scripting theatre and theatrical history. Playwriting PowerPoint: The teacher presents a power point on history of playwriting and students complete simple worksheets based on the power point.Read, view and discuss plays written in a traditional style such as works by Arthur Miller, Neil Simon, August WilsonExplore personal stories by telling, performing, discussing, and writing them.Section Two: Intro to Dramatic Writing –SUGGESTED ACTIVITIESStudents will understand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character.Free Writing: Students will write five minutes based on specific teacher-given prompts. They will be given several prompts which help with free writing and creativity. Playwriting PowerPoint: The teacher presents a power point on basics of playwriting and students complete simple worksheets based on the power point.Students, using teacher-provided worksheets, will be able to determine and record the basic elements of a play such as beginning, middle, end, conflict, plot, and character.Collaborative Playwriting: Students will demonstrate their increased ability to be creative with brainstorming story ideas by writing their own story synopsis.Group ideas will be based upon teacher generated images, quotes and/or plot plays.Depict a simple, known story in three physical or drawn images (beginning, middle, end).Section Three: Plot Structure –SUGGESTED ACTIVITIESStudents will understand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character.Aristotle’s Dramatic Structure: Students will demonstrate their ability to identify and define the five aspects of Aristotle’s dramatic structure by outlining and performing stories.Remind the students of the definitions of the elements and how the dramatic structure of a play follows the graph Exposition – background information (who, what, where, why, when; normal lifeInciting Incident – an action that sets the conflict in action (normal life changes)Rising Action – the story thickens and obstacles arisesClimax – highest point of the play (most emotional, the choice, etc.)Denouement/Falling Action – the untying of the know or resolutionPop Culture Plots: Use a clip/media to enhance the students awareness of Plot Structure.Group Work – Divide the students up into groups of 4-5. Have them come up with a common, well-known story (fable, fairy tale, children’s book, etc.). The students should create an outline of their story on paper, defining the moments for each element of dramatic structure. Then they need to prepare to perform their story in two versions:?The story with correct dramatic structure form.The story with one or two elements of dramatic structure removed.Checking for Understanding – Explain how dramatic structure in plotline helps to give form to plays and makes stories more interesting to follow.Section Four: The Hero’s Journey –SUGGESTED ACTIVITIESStudents will understand how the structure of the Hero’s Journey can influence character design in a given plot.Hero’s Journey Intro: Students will demonstrate their ability to identify and define the stages of the Hero’s Journey by outlining and performing stories.The Call to AdventureRefusal of the CallThe Beginning of the Adventure/ThresholdSupernatural Aid/Mentor The Road of TrialsThe Experience with Unconditional Love/Temptress: The Ultimate BoonRefusal of the ReturnRescue from Without The Crossing or Return Threshold/Master of Two WorldBrainstorm a plot comprising of a sequence of actions characters with clear intentions/wants - obstacles to characters’ wants - character growth or transformation from overcoming an obstacle or resolving conflict - unified and consistent theme - written stage directions, including character descriptions and notes - clear and articulated choices about dramatic style, structure and convention.Section Five: Stage Direction –SUGGESTED ACTIVITIESStudents will demonstrate an ability to write stage directions and lines in the correct format by writing the beginning/first entrance and first few lines of their scene.Simon Sez Stage Directions: Blindfold a student and every other person receives a random object. When everyone has an item, tell the students with random objects to find the person closest to them with a blindfold.Observe the world around you and why it is important to pay attention to.Was it hard to give directions? Was it hard to understand directions? What was the easiest/hardest part? Why do we need directions in scripts? What should we include in directions?Set the Scene: Write the beginning of their scene in correct format including title, character list, explanations (set up), directions, and?the first few lines of dialogue.Section Six: Stage Dialogue –SUGGESTED ACTIVITIESStudents will demonstrate an ability to write motivating, interesting dialogue by writing the dialogue for one section of their script.Dialogue vs. Description: Students should be able to portray a believable character using written clues Before reading a script,?the author will tell what each character's objective is. Then each group member will discuss the motivation behind the lines: why is that line there? How does that motivate the character toward his objective? Create storytelling circles to discover elements of character development.Discuss characters withclear intentions/wants obstacles to characters’ wants character growth or transformation from overcoming an obstacle or resolving conflictA small peer review. Assess and be available for questions during this time.Section Seven: Writing the Script –SUGGESTED ACTIVITIESStudents will synthesize playwriting skills by beginning their first full draft of their scene.Writing: Create/write original work drawn from or inspired by a variety of source materials, including literature, history, current events, music, poetry, interviews, themes and their own imaginations.Group Help: In trios, exchange scenes and, based on notes from the playwright, write a director’s and a designer’s concept statement for each other’s scenes. Share the trio’s ideas with the other members of your group.Analyze your peer’s dramatic script for elements of structure, character development, conflict and plot.Peer Reviews: Students will be able to improve on their scripts by receiving feedback from peer critique papers.Write an outline of strengths and weaknesses for a partners script focusing StructureCharacter development/transformationMoments of conflict and plotSection Eight: Translating the Script to Performance –SUGGESTED ACTIVITIESStudents will cast their scenes and rehearse in class. Scenes do not need to be memorized, but must be performed with characterization and performance in mind. Short Cuts: Students will informally present the scenes.Perform the written word in a reading or memorized presentation.Script Assessment: Students will show their ability respond to the work of their peers. Feedback?CharactersRelationshipsDramatic ActionConflict Overall Feel and EffectivenessAMISTAD EDUCATIONThe Harlem Renaissance: Novels and Poetry from the Jazz Age: The Harlem Renaissance was a movement in the 1920s and 1930s during which there was an explosion of African-American art and literature. This lesson looks at the themes, causes, and important figures of the Harlem Renaissance. EDUCATIONScripts for Free: has a plethora of free, member only, scripts which you can access at any time. There is a vast collection of Holocaust themed scripts which can serve as a model not only for playwrighting, but acting study as well. Use these scripts appropriately in your theater classroom, as you learn about the Holocaust through dramatic performance. []=84LGTBQIA EDUCATIONOscar Wilde: Take a look into the life and work of one of the greatest playwrights of his time. Hailed, persecuted and revered, Oscar Wilde wrote what others deemed too taboo and controversial. Read, analyze, discuss and use the provided resources to fill hours of lessons! EDUCATIONActors connect with student playwrights with autism at Theatre Horizon: An excellent window into the arena of special needs students writing short plays. Use the skills, techniques and lessons from the video to incorporate into your own theater classroom. – See Appendix B for specialized programs that reflect the needs of students and community.Enter playwrighting competitions, including: The Scholastic Art and Writing Awards: artandwritingawards/about.htm Young Playwrights: petitions. htmlResourcesBooks:Catron, Louis E. The Elements of Playwriting. Macmillan, 1993.Clark, Leroy. Practical Playwriting: A Guide to Writing for the Stage. Pearson Education, Inc., 2007.Dorf. Jonathan. Young Playwrights 101. YouthPlays Press, 2005.Hatcher, Jeffrey. The Art & Craft of Playwriting. Story Press, 1996.Frensham, Raymond G. SCREENWRITING, Lincolnwood, NTC Publishing Group, 1996.Plays, Inc. THE BIG BOOK OF FOLKTALE PLAYS: ONE ACT ADAPTATIONS OF FOLKTALES FROM AROUND THE WORLD FOR STAGE AND PUPPET PERFORMANCE, Boston, Plays, Inc., 1997.Websites:AMISTAD: : []=84LGBTQIA: : & Playwriting -? HYPERLINK "" \t "_blank" resources/links/PlaysandPlaywritingLinks.htmPlaywriting 101 -? HYPERLINK "" \t "_blank" Plays Magazine -? HYPERLINK "" \t "_blank" Playwrights Noticeboard -? HYPERLINK "" \t "_blank" markets.htmPlaywrights Project -? HYPERLINK "" \t "_blank" Stage Kids - The Edu-Tainment Company -? HYPERLINK "" \t "_blank" Storytelling & Creative Dramatics -? Pedia-Listing of Playwrights and Plays -? HYPERLINK "" \t "_blank" elactheatre/library/plays.htmTheatreFolk Original Plays -? HYPERLINK "" \t "_blank" Young Playwrights -? HYPERLINK "" \t "_blank" *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Intro to PlaywritingIntro to Playwritingunderstand the role of the playwright in relation to scripting theatre and theatrical history14Intro to PlaywritingIntro to Dramatic Writingunderstand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character14Intro to PlaywritingPlot Structureunderstand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character14Intro to PlaywritingThe Hero’s Journeyunderstand how the structure of the Hero’s Journey can influence character design in a given plot14Intro to PlaywritingStage Directiondemonstrate an ability to write stage directions and lines in the correct format by writing the beginning/first entrance and first few lines of their scene14Intro to PlaywritingStage Dialoguedemonstrate an ability to write motivating, interesting dialogue by writing the dialogue for one section of their script14Intro to PlaywritingWriting the scriptsynthesize playwriting skills by beginning their first full draft of their scene24Intro to PlaywritingTranslating the script to performancecast their scenes and rehearse in class. Scenes do not need to be memorized, but must be performed with characterization and performance in mind2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Drama 8Drama EightContent Area:DramaGrade(s)8Unit Plan Title: Creating Drama through Pantomime!Career Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe goal of this unit is to let students engage in dramatic play and role play, with a focus on exploring a variety of sources from diverse communities, times, and places. Gesture, pantomime, statue/tableau, emotional recall will be reviewed and enhanced throughout this unit. Student will demonstrate an understanding of the elementsof character by adopting thoughts, feelings, and gestures relevant to the role being played. Students will be introduced to the concept of story structure, while gaining the knowledge to identify beginning, middle and end. Students will utilize ELA cross-curricular methods to journal their improvisational story creations as a vehicle to foster a development of script production. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.1.4.8.Cr1c: Explore, describe and develop given circumstances of a scripted or improvised character in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.8.Cr3a: Demonstrate focus and concentration in the rehearsal process by analyzing and refining choices in a devised or scripted theatre performance.1.4.8.Cr3b: Implement and refine a planned technical design using simple technology during the rehearsal process for devised or scripted theatre work.1.4.8.Cr3c: Develop effective physical and vocal traits of characters in an improvised or scripted theatrical work.PERFORMINGAnchor Standard 4: Selecting, analyzing and interpreting work.Performance Expectations:1.4.8.Pr4a: Rehearse a variety of acting techniques to increase skills in a rehearsal or theatrical performance that assist in the development of stronger character choices.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.1.4.8.Pr5b: Use various character objectives and tactics in a theatre work to identify the conflict and overcome the obstacle.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.8.Pr6a: Perform a rehearsed theatrical work for an audienceRESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.8.Re7a: Describe and record personal reactions to artistic choices in a theatrical work.1.4.8.Re7b: Compare recorded personal and peer reactions to artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.8.Rea: Analyze how personal experiences affect artistic choices in a theatrical work.CONNECTINGPerformance Expectations:1.4.10a: Examine a community issue through multiple perspectives in a theatrical work.1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.?1.2.8.Cr1b: Organize and design artistic ideas for media arts productions.?Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writingEssential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists transform and edit their initial ideas?How do theatre artists fully prepare a performance or design?What kinds of responsibilities does an artist have to an audience or a consumer?Enduring UnderstandingsTheatre artists make choices to convey meaning.Theatre artists, through a shared creative experience with an audience, present stories, ideas and envisioned worlds to explore the human experience.Theatre artists reflect to understand the impact of drama processes and theatre experiences.The difference between a theatrical setting and a real-life setting after viewing a performance.Specific characters, through movements and actions, help construct environments.Pantomime encourages us to use our bodies actively and with specific meaning. Animal characters are personified through informed actions within their environments.Inuni 21st Century themes and skills that are addressedCheck all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesRetell short stories or scenes for use with an audience through movement and music. Act out a character’s feelings that come from family stories and respond to verbal prompts to demonstrate feeling such as happy or sad.Identify examples of effectively using character relationships within a scene.Respond with gestures and movements in a dramatic portrayal.Move respectfully throughout an acting space.AssessmentsPre and Formative: · Student discussion · Create a list (tell me the names of the characters, settings, etc.) · Participation with voice creation, visual drawings · Re-enacting with teacher side-coachingBenchmark/Authentic Assessment– Journal Entries and performancesSelected response In selected response assessments, students must choose the most appropriate response for the matter being assessed. Examples of selected responses include multiple-choice, matching, and true-false items.Conversations Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Summative: Students will keep an expressions journal wherein they will document the multiple opportunities they will have to create facial expressions, body language, and short phrases to express emotions.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Use multi-sensory teaching approaches. Pictures, scarves, hula hoops, hats balloons, rhythmic instruments, and other props provide helpful visual, auditory, and tactile reinforcement of ideas.ELL- Label theatre and classroom materialsAt-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.At risk of failure: Students will be given more time to complete projects that were not turned in without penalty.G&T- Higher order thinking skills.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for accommodations and modifications for all subgroupsSection One: Moving Your Body Through SpacePractice body control and moving through performance space. Imagination & Body: “Jump and Jiggle”: Students perform various types of movements as suggested inn poem. Reinforce “space bubbles” and control of bodies. Use variety of levels and directions of movements.Directional Words: Set up series of movements using directional words such as under, around, through, over; add verbs such as creep, slither, crawl, leap, twirl, twist. May want to set up like an obstacle course.Section Two: Pantomime Your WorldPractice pantomiming the use of imaginary objects around you.Body & Imagination: Ask students to communicate simple settings without speaking such as hot, cold, lost, having a secret.Explore use of objects in Goodnight Moon. Objects include: telephone, balloon, mittens, kittens, toy house, mouse, comb, brush, bowl of cereal, knitting.Journal: Draw a picture of the setting around you removed from the magic box or bag. Describe and illustrate your world.Section Three: Pantomime with PartnersBody & Imagination: Mirror exercise: Demo. work in pairs, switch who leads, who is mirror.Explore the five senses, using existing environment. (What do you smell, see, etc.) Voice: Pair Share discoveries.Pantomime activities from stories with partner (such as playing with teddy bear; playing catch, hiding under covers and getting found; purchasing toy; losing and finding buttons (various kinds in different settings—large grass, black button with two holds---dark forest, small button, square button—muddy river, thin button); sewing buttons on jacket. Trying on hats (too big, too small) and having difficulties. (or difficulties with kite)Reflective question: The characters in our stories had problems with objects, real ones. When have you had problems with objects like those or with other things?Journal: Draw a picture of one of the problems you and your partner pantomimed today. Tell what the object is and who the characters are.Section Four: Group Pantomime in SettingBody & Imagination: Whole group in circle: Pantomime actions of nursery rhyme songs, following teacher leader.Train Trip: tickets, seats, train setting, travel up hill, down valleys, over bridge, through tunnel. Instructions: safety, souvenir gathering.Exit train to first nursery rhyme setting: country-side with hill and well (Jack and Jill), fall into bucket to next setting: big tree, spider web, tuffet (Little Miss Muffet), climb up spider web to next setting: room in a castle with big clock and mice (Hickory Dickory Dock), go through door of clock to next setting: outside castle in garden with wall (Humpty Dumpty), climb on horse and ride to next setting: school with girl with lamb (Mary Had a…), open a book and climb into next setting: park at night with full moon (Hey Diddle, Diddle), dish and spoon run into a dark house and have to light a candle (Jack Be Nimble), jump to train setting. Pair Share: Show each other the souvenirs you collected. Where will you keep them? Will you give any of them to a special person?Journal: Draw a picture of your favorite nursery rhyme setting with characters in action. Write a descriptive sentence.Section Five: Story Setting PantomimeBody: Character Statues: Working alone and simultaneously, become statues of: child, night wind, mockingbird, cricket, frog, moth, moon, cloud. Voice: Character Voices: Working as a group with leader as conductor, make sounds of night wind, bird, cricket, frog, moth, moon, cloud. Conduct them to become louder and softer.Imagination: Go/Stop: Working alone and simultaneously, perform activities from story such as: child trying to sleep, mockingbird singing, cricket playing violin, frog strumming a bass, moth dancing, moon shining, night wind blowing, cloud floating. Begin when the leader says go; freeze when the leader says stop.Wind Says Good Night: Read/storytelling.Story Dramatization: Cast everyone using multiples for each character (e.g. 5 moths, 3 frogs, 4 birds). Place each group of characters in a setting (area). Retell story pausing for improvisation and pantomime from students. Switch parts and enact it again. Use music and scarves (optional).Discuss: What keeps you awake at night? Can you demonstrate it with acting? Journal: Draw a picture of some of the animals in the night setting.AMISTAD EDUCATIONPantomiming the Past: Introduce students to benchmark moments in Black History. Ruby Bridges, Dr. King, Malcolm X, Mohammed Ali, Barack Obama Inaugural, etc… Have student devise pantomime scenes with music to turn visual representations of these famous moments into works of organized theater. HOLOCAUST EDUCATIONUtilize this musical pantomime performance to teach kids about the dangers of racial superiority and cultural oppression. Students can devise their own musical pantomime through the lens of freeing people torn apart, or subjugating the innocent, etc… Be sure to remain respectful , thoughtful and responsible while recreating harsh areas of human history. Youthful Ignorance: EDUCATIONPantomime for a Purpose: Have student discuss and devise pantomime scenarios where they can shed light of gender issue which concern our youth of today. Recreate moments from tv shows/books or personal experiences, while striving to present teachable moments which support the tenents of gender inclusion ad diversity acceptance. IDEA EDUCATIONChance To Dance' Lets Kids With Special Needs Shine On Stage: Dance and/or pantomime can allow students with special needs the opportunity to express themselves in ways they didn’t think possible. Having your students view these videos and journal their feelings and opinions is an excellent way for them to open their eyes to how theater and dance can truly enhance the lives of others! – See Appendix B for specialized programs that reflect the needs of students and community. (Warm up lesson for building focus and increasing vocabulary while learning to speak audibly and clearly)Students may participate in a guided movement exercise (Good ideas for working with students and guided movement)Attend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesHOLOCAUST: : Drama Games for Children: Fun and Learning with Acting and Make-Believe (SmartFun Activity Books)-Paul Rooyackers and Cecilia BowmanSchloz, Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998Sierra, Judy NURSERY TALES AROUND THE WORLD, New York, Clarion Books, 1996.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN; VOLUME 1; GRADES K-3, Lyme, 1996. 101 Drama Games and Activities and 101 MORE Drama Games and Activities -David Farmer Take a Bow!: Lesson Plans for Pre-School Drama (Young Actors Series)- Nina CzitromGoodnight Moon by Margaret Wise BrownNursery Rhymes, Nursery Rhyme posters, train hat & whistle, train tickets*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1Non-verbal actingMovementAppropriate movement for the stage11Non-verbal actingPantomimeExpressing characters and situations through movement4* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:Drama 8Grade(s)8Unit Plan Title:The Art of Improvisation!Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleIn order to break down the intricacies of a scene, we must break it down to its most fundamental levels. Improvisation allows the individual to disseminate vast amounts of scene/monologue information into categorized areas. Utilizing the “Five W’s of Improvisation”, students will learn how to analyze the who, what, where, when, and why of devised scenes. This process ultimately makes it easier to create more “believable”, or multi-dimensional characters. The goal of this unit is to instill in our young actor’s that barriers towards creation are apparent, and it is through the “process” of improvisation when we learn how to break out of our shells. Once the “stop signs” are removed, our relationships, characters and intentions can be fully realized into a pure form of acting. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.1.4.8.Cr1c: Explore, describe and develop given circumstances of a scripted or improvised character in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.8.Cr3a: Demonstrate focus and concentration in the rehearsal process by analyzing and refining choices in a devised or scripted theatre performance.1.4.8.Cr3b: Implement and refine a planned technical design using simple technology during the rehearsal process for devised or scripted theatre work.1.4.8.Cr3c: Develop effective physical and vocal traits of characters in an improvised or scripted theatrical work.PERFORMINGAnchor Standard 4: Selecting, analyzing and interpreting work.Performance Expectations:1.4.8.Pr4a: Rehearse a variety of acting techniques to increase skills in a rehearsal or theatrical performance that assist in the development of stronger character choices.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.1.4.8.Pr5b: Use various character objectives and tactics in a theatre work to identify the conflict and overcome the obstacle.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.8.Pr6a: Perform a rehearsed theatrical work for an audienceRESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.8.Re7a: Describe and record personal reactions to artistic choices in a theatrical work.1.4.8.Re7b: Compare recorded personal and peer reactions to artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.8.Rea: Analyze how personal experiences affect artistic choices in a theatrical work.CONNECTINGPerformance Expectations:1.4.10a: Examine a community issue through multiple perspectives in a theatrical work.1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.?1.2.8.Cr1b: Organize and design artistic ideas for media arts productions.?Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.9.4.8.TL.2: Gather data and digitally represent information to communicate a real-world problemNew Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)Theatre artists rely on intuition, curiosity and critical inquiry.Theatre artists work to discover different ways of communicating meaning.How do groups productively problem solve in collaboration?What influence does character, relationship, time, setting and conflict have on improvisation?Enduring UnderstandingsWhat happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How, when, and why do theatre artists’ choices change?Collaboration creation is often inspired by the influence of characters, relationships, setting and conflict.Expression in improvisation and group collaboration with prompts demands personal reflection and group problem solving techniques.Discovery of the setting and character is often revealed through the practice of improvisation.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationCivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDiscover a well - defined character through improvisation.Create performances based on a prompt that show conflict and character development at an introductory level.Justify choices in creating setting and time in improvised performance.Describe and/or demonstrate the five W’s (who, what, where, when, why) through performance of final scene.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process.Preliminary Written Response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc.; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviewsBenchmark/Authentic AssessmentTeacher side-coaching to prompt establishing scene characters and character relationships Establish scene-given circumstances through teacher questioningPerformance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Summative : Students will demonstrate competency in:Performance Assessments such as observation and correction for discreet skill attainment.Showcase Portfolio: this is the best type of portfolio for a summative assessment of a student’s mastery of curricular objectives. It should only include examples of the student’s best and most complete work, as determined through a combination of student and teacher input.Across the unit students will keep notes through journaling, using appropriate theatre terminology/vocabulary, about characterization.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: The Do’s and Don’ts ! –SUGGESTED ACTIVITIESStudents will apply their understanding of the basics of improvisation by identifying improv skills in a film and defining guidelines.PowerPoint/SmartBoard Presentation: The Do’s and Don’t’s:DO:1. Commitment 100%2. Listen to the other players3. Support your team members4. Forward the ActionAVOID:1. Denial2. Telling rather than showing3. Forcing funniness4. Worry about making mistakes The Power of Yes: Accept the improvisation given circumstances when given to you and your partner. Improv Implementation: Collaborate with improvisation partners and create an improv sceneApply self-control Understand and apply “yes, and…” Create and Apply non-verbal characterizationsAccept the improvisation given circumstances Character identification Character relationships Time PlaceSection Two: The Questions! –SUGGESTED ACTIVITIESStudents involved in activities geared to create and build collegiality so that students can begin to develop a sense of ensemble and risk-taking comfort.Ask Questions! Students do improvisation with emphasis on naming the other character and establishing a relationship between the two characters.Pairs of students create scenes where they must accept the given circumstances of character identification, time, and place. The two student actors collaborate to find workable objectives for their scene characters.Justify choices in creating setting and time in improvised performance.Students may reflect on different interpersonal communication styles and perspectives within groups Students may lead an ensemble activity for the class.PowerPoint/SmartBoard Presentation: Questions Who am I? Who are you? What are we? Why are we here?Questions Activity: Students will create and perform a “Who, What, When, Where, Why” activities such as the following;In small groups of 4-5, students will generate situations ofCharacter traitsStudents may create a character independently from the character trait work and perform created character in small groupsAction phrases Using a picture, students create and perform the scene based on the photo that takes either before or after the photo was takenSituations of TimeStudents may find a variety of pictures and make a collage that shows a timeline for a sceneSetting TableausStudents may tell, write, or perform a familiar fairytale in a new locationWhy Motivations Students may write the varied emotions viewed in the scene and what are possible justifications for said emotions Following the activity, students will independently reflect on the group the specific question definition and what influenced their improve decisions and why. This information can be collected through class discussion and/or written reflection journals.Section Three: Objective and Tactics –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of the use of strong objectives and tactics as well as the use of a variety of tactics when trying to achieve their objective by exploring levels and using a contentless scene.?Contentless Scene: A scene where there is not set context. The students create their own subtext. Ask for students to review and define what their chosen goals. Use given circumstances to establish a scene objective.What was effective? Did they use a variety of tactics? Allow students to perform, leaving 5 minutes for wrap-up and filling out worksheet.Theatre Games – Supplemental ActivitiesFour Corners It is Tuesday Taxicab Celebrity Interview Further EnrichmentResearch and find examples of improvised scenes Students develop a scene script from a successful improvisationSection Four: Variety is the Spice of Improv –SUGGESTED ACTIVITIES Students will demonstrate their understanding of how the style can change a scene by playing “Style Changing” activities.Times, They Are a-Changing: Students perform in a program of scenes, monologues and structured improvisations that includes works from a variety of styles, periods, genres and cultures (including their own) demonstrating the ability to: Create a variety of vivid, idiosyncratic characters Play dramatic objectives truthfully Make imaginative, expressive use of props, costumes, and the imagined world of the playUse improvisation as a performance techniqueUse the voice and body expressively in the service of the play Respond and concentrate as part of an ensemble Work given circumstances to establish a scene objective.Use the body to demonstrate a command of physical energy, space, time, patterns, composition, contrast and period movement.Silent Movie ImprovStudents using the acquired acting skills from the previous lessons create a silent movie scene that establishes the at least 3 separate character identification, character relationships, time, place, and scene objective through physical characterization and non-verbal communication.Students may perform activities that are more advanced such as including subtext or subplots.Section Five: Show, Don’t Tell! –SUGGESTED ACTIVITIESStudents will apply their understanding of showing in improv by participating in improve activities and pantomime workshops and reflecting on their experience.PowerPoint/SmartBoard Presentation: Chaplin/BeanIntroduce students to the basic principles of pantomime.Chaplin’s, “The Kid”Mr. Beans, “At the Library”Compare and Contrast similarities and differences.Movement ActivitiesSpace Objects, Tug of War, Apple PickingStudents work cooperatively with each other to display improve motivations of;RelationshipSizeTime in SpaceExaggerationExpression in improvisation and group collaboration with prompts demands personal reflection and group problem solving techniques.Section Six: Improv Performance –SUGGESTED ACTIVITIES Students will demonstrate their understanding of the rules of improv by participating in a final improv performance/competition. ComedySportz CompetitionVarious improv games are played. Points are awarded accorded to the specific game. Focus on…Discover a well - defined character through improvisation. Create performances based on a prompt that show conflict and character development at an introductory level. Justify choices in creating setting and time in improvised performance. Demonstrate the five W’s (who, what, where, when, why) through performance of final scene.Improv Reflection: Students will write/journal a self-assessment of their performances of how they; Used the 5 W’sHow they collaborated with othersHow they used improvisational skills in their performances during the showcase assessment.AMISTAD EDUCATIONRead and React: Improv Communities Demand Theaters Address Systemic Racism – Student should read and react to the article. Group vlog, interviews and or individual written opinion pieces will support proper debate and analysis of the textual material. EDUCATIONImproving the Past: After researching the character stories of survivors during the Holocaust, small groups could devise short improvs retelling those stories n respectful and responsible manners. LGTBQIA EDUCATIONDiversionary Theater's Summer 2016 The Big Gay Improv: Students can watch clips from the show which champions LGBTQIA issues, as the long form improv surrounds around the lives of 2 different gay individuals. Student can comment, discuss or create their own theater through the inspired stories and performances performed by the artists. EDUCATIONSecond City improv class designed for teens with autism: A video clip from Second City Imprv Group, showcasing strategies and lessons geared towards students with mental disabilities and autism. PLAY IS KEY! Use these lessons to help students with all types of social, developmental and behavioral issues. – See Appendix B for specialized programs that reflect the needs of students and community.Participate in group exercises, drills, improvisations and theater games. Rehearse and perform a scene in front of others. Rehearse and perform the same scene in three distinct styles or genres. Research and portray a character, using at least one appropriate costume piece, prop, gesture, need and physical shape. Track character development and emotional changes in a scripted sceneResourcesBooksImprov! A Handbook for the Actor - Atkins, Greg The Ultimate Improv A Complete Guide to Comedy Improvisation - Nevraumont, Edward J. and Nicholas Hanson (ed).Improvisation for the Theatre- Viola Spolin Theatre Games for the Classroom A Teacher’s Handbook- Viola Spolin Theatre Games for Rehearsal: A Director’s Handbook- Viola SpolinA variety of magazines with pictures of people.WebsitesAMISTAD: : : episodes of “Whose Line is it Anyway” DVD – Popular TV show based on improvisation starters, episodes available on YouTube (Guide for general performances in theatre) 2012/improv-tips-and-tactics_52678.html (Improv tips and tactics article) (The Process of Drama) (Site with numerous improvisation exercises)\glossaryofterms (Online theatre terms glossary) (Lessons and resources for teaching improvisation) (Cards with “who”)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Art of ImprovisationThe Dos and Don’tsapply their understanding of the basics of improvisation by identifying improv skills in a film and defining guidelines12Art of ImprovisationThe Questionsdevelop a sense of ensemble and risk-taking comfort12Art of ImprovisationObjectives and Tacticsdemonstrate an understanding of the use of strong objectives and tactics as well as the use of a variety of tactics when trying to achieve their objective by exploring levels and using a contentless scene22Art of ImprovisationVariety is the Spice of Improvdemonstrate their understanding of how the style can change a scene by playing “Style Changing” activities22Art of ImprovisationShow, Don’t Tellapply their understanding of showing in improv by participating in improve activities and pantomime workshops and reflecting on their experience22Art of ImprovisationImprov Performancedemonstrate their understanding of the rules of improv by participating in a final improv performance/competition2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Drama 8 Content Area:DramaGrade(s)8Begin with the BasicsCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to introduce the basic principles of acting, including warm-up, vocal projection, pantomime, and improvisation.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.1.4.8.Cr1c: Explore, describe and develop given circumstances of a scripted or improvised character in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.8.Cr3a: Demonstrate focus and concentration in the rehearsal process by analyzing and refining choices in a devised or scripted theatre performance.1.4.8.Cr3b: Implement and refine a planned technical design using simple technology during the rehearsal process for devised or scripted theatre work.1.4.8.Cr3c: Develop effective physical and vocal traits of characters in an improvised or scripted theatrical work.PERFORMINGAnchor Standard 4: Selecting, analyzing and interpreting work.Performance Expectations:1.4.8.Pr4a: Rehearse a variety of acting techniques to increase skills in a rehearsal or theatrical performance that assist in the development of stronger character choices.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.1.4.8.Pr5b: Use various character objectives and tactics in a theatre work to identify the conflict and overcome the obstacle.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.8.Pr6a: Perform a rehearsed theatrical work for an audienceRESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:1.4.8.Re7a: Describe and record personal reactions to artistic choices in a theatrical work.1.4.8.Re7b: Compare recorded personal and peer reactions to artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:1.4.8.Rea: Analyze how personal experiences affect artistic choices in a theatrical work.CONNECTINGPerformance Expectations:1.4.10a: Examine a community issue through multiple perspectives in a theatrical work.Anchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11a: Research the story elements of a staged drama/theatre work about global issues, including climate change, and discuss how a playwright might have intended a theatrical work to be produced.1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.?1.2.8.Cr1b: Organize and design artistic ideas for media arts productions.?Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purposeNew Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.Essential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists transform and edit their initial ideas?How do theatre artists fully prepare a performance or design?How do theatre artists use tools and techniques to communicate ideas and feelings?How can improvisation skills assist in future careers?Enduring UnderstandingsTheatre artists, through a shared creative experience with an audience, present stories, ideas and envisioned worlds to explore the human experience.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Investigation and discovery through improvisation and original scriptwriting will bolster knowledge of human expression and emotion.Patterns in performance and rehearsal processes will establish skills necessary for successful improvisation technique.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingAHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesWork together defining and valuing each member of the ensembleDevelop interpersonal skills such as self-direction, reflectionCreate a safe working environment to promote creativityPerform improvised and original scripted workCreate and direct collaboratively an improvised and scripted performanceCritique improvised and original scripted workAssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment –performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in performing improvised characters and scenes based on a rubric.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Warm-upClass discussionmeditationvocabularyStudents create warm-up routinesvocal exercisesLesson 2: ObservationMemory gamesTapping your inner resources worksheetBlack MagicCrossed/UncrossedPractice sense memoryLesson 3: PantomimePart of the whole gamesmime games worksheetPantomime Activity sheetCharadesGuess who gamesDVD Marcel MarceauWatch The ArtistLesson 4: ImprovisationDiscuss improvisation1,2,3 countingsentence responsegreetingsstorytellingWatch clips from Whose Line is it Anyway?Improvisation games: all knowing brain, party host, hitchhiker, remote control, bus stop, open canvas.Students generate lists of characters and situations that interest them and act them out.Finding new uses for everyday objects.AMISTAD EDUCATIONThe Broadway Q&A Series: Talking with Black Theatre Artists: Learn from the best of black artists currently on Broadway and how they struggle, succeed and create careers in the entertainment industry. EDUCATIONRecreating Scenes from Diaries: Hundreds of diaries written during the Holocaust have survived, with Anne Frank’s being only the best known. The very personal nature of a diary offers students insights into the ways in which individuals tried to grapple, without the benefit of foreknowledge, with the events unfolding around them. It also, as Anne Frank’s diary has so famously demonstrated, enables students to better reflect on the humanity of the victims of the Holocaust, seeing them not only as victims but as people with complex lives and concerns. Read and recreate scenes taken form the text of some of these works. LGTBQIA EDUCATIONFrame By Frame: Gay and Lesbian Identity in Hollywood Cinema: UNL Film Studies professor Wheeler Winston Dixon examines the history of Hollywood's portrayal of gays and lesbians. Students can discuss this topic in class and find parallels in current media they are watching, listening or reading. EDUCATIONLesson Guidelines and How To’s: Some group-work safety netsRegularly work in threes as well as in pairs, so that being in a group of three doesn't become stigmatized.Use and value working individually as well as group work. Don't always end with group work.Allow observers, narrators, journalists, note-takers or cartoonists in some activities.Allow miming and gesture instead of dialogue in some activities.Use mixed-ability pairs, to allow the more able students to help their peers.Use activities where the roles in the group or pair are equally valued but unevenly weighted. For instance, in Hot seating activities, some students may find it easier to ask the questions especially if they have been prepared beforehand. If the more able student plays the character during Hot seating, it gives less able students an excellent demonstration of how the activity works.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.ResourcesBasic Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ Youtube - Whose Line is it Anyway, Improvaganza, RiotDVD – Marcel Marceau, Charlie Chaplin, The Artist*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Basics of ActingWarm-upDevelop physical and vocal warm-up5Basics of ActingObservationSharpen observation skills5Basics of ActingPantomimePerform pantomimed scenes10Basics of ActingImprovisationPerform improvised scenes10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderDrama 8Content Area:DramaGrade(s)8Unit Plan Title:The Elements of ActingCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to give the students a clear picture of how actors prepare for a role and how they, along with other members of the production team, work together to create an artistic, meaningful, and unified whole. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance Expectations:1.4.8.Cr1a: Identify, explore and imagine multiple solutions and strategies in staging problems in a theatrical work.1.4.8.Cr1b: Identify, imagine and practice solving multiple design/technical challenges of a performance space in a theatrical work.1.4.8.Cr1c: Explore, describe and develop given circumstances of a scripted or improvised character in a theatrical work.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:1.4.8.Cr2a: Articulate and apply critical analysis, extensive background knowledge, sociohistorical research, and cultural context related to existing or developing original theatrical work.1.4.8.Cr2b: Actively contribute ideas and creatively incorporate the ideas of others in existing or original theatrical work, demonstrating mutual respect for self and others and their roles sharing leadership and responsibilities in preparing or devising theatre.Anchor Standard 3: Refining and completing products.Performance Expectations:1.4.8.Cr3a: Demonstrate focus and concentration in the rehearsal process by analyzing and refining choices in a devised or scripted theatre performance.PERFORMINGAnchor Standard 4: Selecting, analyzing and interpreting work.Performance Expectations:1.4.8.Pr4a: Rehearse a variety of acting techniques to increase skills in a rehearsal or theatrical performance that assist in the development of stronger character choices.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:1.4.8.Pr5a: Examine how character relationships assist in telling the story of devised or scripted theatre work.1.4.8.Pr5b: Use various character objectives and tactics in a theatre work to identify the conflict and overcome the obstacle.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.8.Pr6a: Perform a rehearsed theatrical work for an audienceRESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:1.4.8.Re8a: Investigate various critique methodologies and apply the knowledge to respond to a theatrical work.1.4.8.Re8b: Justify the aesthetic choices created through the use of production elements in a theatrical work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:1.4.10a: Examine a community issue through multiple perspectives in a theatrical work.Anchor Standard 11: Relating artistic ideas and works within societal, cultural and historical contexts to deepen understanding.Performance Expectations:1.4.11b: Identify and examine artifacts from a time period and geographic location to better understand performance and design choices in a theatrical work. 1.2 Media Arts Standards by the End of Grade 81.2.8.Cr1a: Generate a variety of ideas, goals and solutions for media artworks using creative processes such as sketching, brainstorming, improvising, and prototyping with increased proficiency, divergent thinking, and opportunity for student choice.?1.2.8.Cr1b: Organize and design artistic ideas for media arts productions.?Technology Standard(s)9.4.8.IML.3: Create a digital visualization that effectively communicates a data set using formatting techniques such as form, position, size, color, movement, and spatial grouping (e.g., 6.SP.B.4, 7.SP.B.8b). 9.4.8.IML.4: Ask insightful questions to organize different types of data and create meaningful visualizations.9.4.8.IML.7: Use information from a variety of sources, contexts, disciplines, and cultures for a specific purpose9.4.8.IML.12: Use relevant tools to produce, publish, and deliver information supported with evidence for an authentic audience.New Jersey Student Learning StandardsNJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.R9. Analyze and reflect on how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How can one make individual artistic choices within the confines of an ensemble?How does ensemble building assist in future careers?Enduring UnderstandingsTheatre artists reflect to understand the impact of drama processes and theatre experiences.Theatre artists apply criteria to investigate, explore, and assess drama and theatre work.The importance of ensemble building and collaboration in a theatrical setting is fundamental to creating and performing a theatrical selection and/or piece.All members of the theatrical ensemble promote the relationships and rules as part of the culture within the art form.Theatrical ensemble work techniques often transfers across work and career environments.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingTHealth LiteracyACommunicationECivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesUnderstand how to execute normal body movements on stageIncorporate stage business into a sceneUse movement to create expression of thought, feeling, and characterBecome familiar with the areas of the stagePlot and execute stage directions and body positionsLearn how to build and use proper breathing and articulation to produce vocal toneUnderstand how to communicate emotions and develop a character through the voiceDevelop the concentration, skill, trust, teamwork, and courtesy necessary to work in an ensemblePerform an improvised ensemble scene with several partnersAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in critiquing and analyzing scripts and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD –Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Movementcreate a scene from blockingdiscuss stage businesscheating outTableau activitiesmovements activity sheetStage business worksheetLesson 2: Stage DirectionsDiscuss the importance of following directionsPlot directions on a diagramStage directions Simon SaysStage crossesMaze activityDemonstrate body positionsLesson 3: TableauPicture PromptDiscuss the idea of stage pictures/tableau.Students work in groups of 3 or 4 to create stage pictures based on fairy tales.Students perform tableaus and "press play"Lesson 4: Voice Production and ArticulationDiscuss vocal productionMap out articulatorsVocal healthVocal exercisesCreating characters with the voiceLesson 5: Ensemble WorkGroup ExercisesWhole class improvisationDiscuss breaking characterEnsemble work activity sheetStage etiquetteAMISTAD EDUCATIONTen Contemporary African American One-Act Dramas: The plays included here were written to be a solution to my instructional needs to fill a void. These short dramas are based on the lives of African and Hispanic Americans who have made significant contributions to this nation, usually in spite of tremendous odds. In creating these plays, I have kept in mind that young people enjoy reading plays aloud, and the appreciation is increased if the content is meaningful to them. Use these plays in your classroom for performance projects or study guides.. EDUCATIONMonologues Surrounding the Holocaust: The following link is an extensive guide to many Holocaust-themed monologues for your class to explore, analyze and perform. EDUCATIONGay and Lesbian Plays: These gay and lesbian plays deal with gay and lesbian themes and include dramas, comedies, one acts and full length plays.?A listing on this page does not mean that the Playwright, Producer or Publisher are/were identified as gay, merely that the plays have a gay interest. Use these resources in your class as a means of an alternative to regular plays and sripts. EducationPantomimeViola Spolin’s mirrors exercise is another excellent device for exploring expressions. This activity calls for students to mirror the expressions of their peers, such as smiling or frowning, then discuss the attendant emotions. The same mirroring activity can next apply to movements, such as slowly lifting arms and lowering them or pretending to do an activity like pouring and drinking a cup of tea or putting on a hat.After students have practiced a few mirroring pantomimes, take the exercise one step further by asking them to act out how they think a cowboy, chef, firefighter, or football player might move through an empty space or talk. ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.Luna Stage & NJPAC coordinate scriptwriting with students culminating in a performance on a professional stage.Visit professional performances. ResourcesBasic Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ Vocal diagramVocal exercises worksheet*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Elements of ActingMovementPerform stage business5Elements of ActingStage DirectionsBlock a scene on various stages10Elements of ActingTableauCreate stage pictures5Elements of ActingArticulationActing with the voice10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Grades 9 -12Intro to DramaContent Area:DramaGrade(s)9Unit Plan Title:Theatre HistoryCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to learn the history of theatre, specifically ancient, Medieval, Renaissance, and Elizabethan theatre. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof2.Cr2a: Explore the function of history and culture in the development and subsequent interpretations of devised or scripted theatre work.1.4.12prof.Cr2b: Examine the collaborative nature of the actor, director, playwright, and designers, and explore their interdependent roles.Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.PERFORMINGAnchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.1.4.12adv.Re7b: Use historical and cultural context to structure and justify personal responses to devised or scripted theatre work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.Anchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11a: Integrate knowledge of cultural, global and historic belief systems into creative choices in a devised or scripted theatre work.1.4.11b: Use basic research methods to better understand the social and cultural background of devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.4.11b: Explore how personal beliefs and biases can affect the interpretation of research data applied in devised or scripted theatre work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problemNew Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA.L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How has theatre been used to express changing values in a specific society?Enduring UnderstandingsTheatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Theatre artists apply criteria to investigate, explore and assess drama and theatre work.The study of theatre history reveals patterns of societal development and progress over time.The relationship between historical elements of theatre and contemporary theatre practice can inform and influence a production concept.The understanding of major developments in world theatre history broadens beliefs and values and can lead to the discovery of a society’s culture and traditions.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsAGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyTCommunicationTCivic LiteracyECollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCompare and contrast conventions of ancient and contemporary world theatrical forms.Analyze theatrical styles that challenge the social mores/zeitgeist of various historical periods.Analyze how dramatic literature and theatre is used to sway public opinion and question social norms.Differentiate ways that theatre has reflected and impacted the society and culture of its time in Western and non-Western theatrical traditions up to and including the 21st Century.Analyze how the theatre experience has or has not changed across a spectrum of historical period.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in comparing and contrasting ancient, medieval, and renaissance theatre.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallCooperative learningDirect instruction Effective questioningIdentifying similarities and differencesLectureSummarizing and note takingWord WallActivitiesD – SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: StorytellingExplore the storytelling traditionExamine the role of the West African GriotPerform a dramatization of a story from the Oral TraditionOne word story activityWrite a story to personify an inanimate objectLesson 2: The Dawn of TheatreDiscuss various ancient theatre practicesExplore City DionysiaDesign Greek mask to determine characterPerform as a Greek chorusRead excerpts from Greek tragediesView examples of Chinese and Japanese drama, including Kabuki and BunrakuLesson 3: From Middle Ages to 1800sExplore Medieval DramaPresent tableausDiscover examples of Mystery, Miracle, Morality, and Passion playsWatch examples of Commedia Dell’arte Discuss Renaissance playwrights such as Cervantes, Lope de Vega, and MoliereExplore Elizabethan EnglandExamine Shakespearean plays, poems, and sonnetsWrite in Iambic PentameterAMISTAD EDUCATIONAfrican American Poetry Recitation Contest: Student can disvocer African American Poetry and perform them for the class as a vocal performance piece. Resources include: EDUCATIONMusic and the Holocaust: Through this article, students can reflect on the development of theater within Nazi concentration camps. Students can respectfully recreate small scenes depicting the struggles, or write research papers based on their findings. EDUCATIONPrejudice Study: Set the scene for the lesson by writing the word prejudice on the board and asking pupils as a class what they think the word means. If prejudice has been discussed in other lessons on, for example, racism or sectarianism, then it would be useful to draw on pupils’ knowledge on theseissues. Provide some examples of prejudiced viewpoints, for example: Act these situations out and discuss how they are harmful to supporting an environment of understanding and acceptance. ? ‘Women make bad drivers.’? ‘Unemployed people are lazy.’? ‘Groups of young people are looking to cause trouble.’IDEA EDUCATIONRecall and React: Set out a number of objects from the prop box on a tray or cloth. Give the group a full minute to concentrate and remember what is there. Then remove or cover if possible. Give a minute (or whatever is appropriate according to the ability level of the students) to see how many of the objects they can recall. Note: the number of objects on the tray can be limited according to the ability level of the students. Variation: Students whose language skills are not developed could draw the objects. ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.Virtual tour of the Globe TheatreField Trip: Shakespeareance at Drew UniversityResourcesAMISTAD: : Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ .uk/elizabethan-theatreaudiences.htm Folger Shakespeare Library - folger.edu “Shakespeare in American Communities” DVD’s: A&E’s Biography: Shakespeare Hamlet Romeo and Juliet Youtube Shakespeare, Commedia Dell’Arte, Greek Theatre*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Theatre HistoryStorytellingWrite and perform original stories5Theatre HistoryAncient TheatreCompare and contrast different ancient theatres10Theatre HistoryMedieval TheatreWrite modern morality play5Theatre HistoryElizabethan TheatreAnalyze Shakespeare text10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderIntro to DramaContent Area:DramaGrade(s)9Unit Plan Title:The Art of Improvisation!Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleIn order to break down the intricacies of a scene, we must break it down to its most fundamental levels. Improvisation allows the individual to disseminate vast amounts of scene/monologue information into categorized areas. Utilizing the “Five W’s of Improvisation”, students will learn how to analyze the who, what, where, when, and why of devised scenes. This process ultimately makes it easier to create more “believable”, or multi-dimensional characters. The goal of this unit is to instill in our young actor’s that barriers towards creation are apparent, and it is through the “process” of improvisation when we learn how to break out of our shells. Once the “stop signs” are removed, our relationships, characters and intentions can be fully realized into a pure form of acting. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof2.Cr2a: Explore the function of history and culture in the development and subsequent interpretations of devised or scripted theatre work.Accomplished1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.1.4.12prof.Re9b: Identify and compare cultural perspectives and contexts that may influence the evaluation of a devised or scripted theatre work.1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth. Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problemNew Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How do theatre artists transform and edit their initial ideas?How do groups productively problem solve in collaboration?What influence does character, relationship, time, setting and conflict have on improvisation?Enduring UnderstandingsTheatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Theatre artists apply criteria to investigate, explore and assess drama and theatre work.Collaboration creation is often inspired by the influence of characters, relationships, setting and conflict.Expression in improvisation and group collaboration with prompts demands personal reflection and group problem solving techniques.Discovery of the setting and character is often revealed through the practice of improvisation.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationCivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDiscover a well - defined character through improvisation.Create performances based on a prompt that show conflict and character development at an introductory level.Justify choices in creating setting and time in improvised performance.Describe and/or demonstrate the five W’s (who, what, where, when, why) through performance of final scene.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process.Preliminary Written Response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc.; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviewsBenchmark/Authentic AssessmentTeacher side-coaching to prompt establishing scene characters and character relationships Establish scene-given circumstances through teacher questioningPerformance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Summative : Students will demonstrate competency in:Performance Assessments such as observation and correction for discreet skill attainment.Showcase Portfolio: this is the best type of portfolio for a summative assessment of a student’s mastery of curricular objectives. It should only include examples of the student’s best and most complete work, as determined through a combination of student and teacher input.Across the unit students will keep notes through journaling, using appropriate theatre terminology/vocabulary, about characterization.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: The Do’s and Don’ts ! –SUGGESTED ACTIVITIESStudents will apply their understanding of the basics of improvisation by identifying improv skills in a film and defining guidelines.PowerPoint/SmartBoard Presentation: The Do’s and Don’t’s:DO:1. Commitment 100%2. Listen to the other players3. Support your team members4. Forward the ActionAVOID:1. Denial2. Telling rather than showing3. Forcing funniness4. Worry about making mistakes The Power of Yes: Accept the improvisation given circumstances when given to you and your partner. Improv Implementation: Collaborate with improvisation partners and create an improv sceneApply self-control Understand and apply “yes, and…” Create and Apply non-verbal characterizationsAccept the improvisation given circumstances Character identification Character relationships Time PlaceSection Two: The Questions! –SUGGESTED ACTIVITIESStudents involved in activities geared to create and build collegiality so that students can begin to develop a sense of ensemble and risk-taking comfort.Ask Questions! Students do improvisation with emphasis on naming the other character and establishing a relationship between the two characters.Pairs of students create scenes where they must accept the given circumstances of character identification, time, and place. The two student actors collaborate to find workable objectives for their scene characters.Justify choices in creating setting and time in improvised performance.Students may reflect on different interpersonal communication styles and perspectives within groups Students may lead an ensemble activity for the class.PowerPoint/SmartBoard Presentation: Questions Who am I? Who are you? What are we? Why are we here?Questions Activity: Students will create and perform a “Who, What, When, Where, Why” activities such as the following;In small groups of 4-5, students will generate situations ofCharacter traitsStudents may create a character independently from the character trait work and perform created character in small groupsAction phrases Using a picture, students create and perform the scene based on the photo that takes either before or after the photo was takenSituations of TimeStudents may find a variety of pictures and make a collage that shows a timeline for a sceneSetting TableausStudents may tell, write, or perform a familiar fairytale in a new locationWhy Motivations Students may write the varied emotions viewed in the scene and what are possible justifications for said emotions Following the activity, students will independently reflect on the group the specific question definition and what influenced their improve decisions and why. This information can be collected through class discussion and/or written reflection journals.Section Three: Objective and Tactics –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of the use of strong objectives and tactics as well as the use of a variety of tactics when trying to achieve their objective by exploring levels and using a contentless scene.?Contentless Scene: A scene where there is not set context. The students create their own subtext. Ask for students to review and define what their chosen goals. Use given circumstances to establish a scene objective.What was effective? Did they use a variety of tactics? Allow students to perform, leaving 5 minutes for wrap-up and filling out worksheet.Theatre Games – Supplemental ActivitiesFour Corners It is Tuesday Taxicab Celebrity Interview Further EnrichmentResearch and find examples of improvised scenes Students develop a scene script from a successful improvisationSection Four: Variety is the Spice of Improv –SUGGESTED ACTIVITIES Students will demonstrate their understanding of how the style can change a scene by playing “Style Changing” activities.Times, They Are a-Changing: Students perform in a program of scenes, monologues and structured improvisations that includes works from a variety of styles, periods, genres and cultures (including their own) demonstrating the ability to: Create a variety of vivid, idiosyncratic characters Play dramatic objectives truthfully Make imaginative, expressive use of props, costumes, and the imagined world of the playUse improvisation as a performance techniqueUse the voice and body expressively in the service of the play Respond and concentrate as part of an ensemble Work given circumstances to establish a scene objective.Use the body to demonstrate a command of physical energy, space, time, patterns, composition, contrast and period movement.Silent Movie ImprovStudents using the acquired acting skills from the previous lessons create a silent movie scene that establishes the at least 3 separate character identification, character relationships, time, place, and scene objective through physical characterization and non-verbal communication.Students may perform activities that are more advanced such as including subtext or subplots.Section Five: Show, Don’t Tell! –SUGGESTED ACTIVITIESStudents will apply their understanding of showing in improv by participating in improve activities and pantomime workshops and reflecting on their experience.PowerPoint/SmartBoard Presentation: Chaplin/BeanIntroduce students to the basic principles of pantomime.Chaplin’s, “The Kid”Mr. Beans, “At the Library”Compare and Contrast similarities and differences.Movement ActivitiesSpace Objects, Tug of War, Apple PickingStudents work cooperatively with each other to display improve motivations of;RelationshipSizeTime in SpaceExaggerationExpression in improvisation and group collaboration with prompts demands personal reflection and group problem solving techniques.Section Six: Improv Performance –SUGGESTED ACTIVITIES Students will demonstrate their understanding of the rules of improv by participating in a final improv performance/competition. ComedySportz CompetitionVarious improv games are played. Points are awarded accorded to the specific game. Focus on…Discover a well - defined character through improvisation. Create performances based on a prompt that show conflict and character development at an introductory level. Justify choices in creating setting and time in improvised performance. Demonstrate the five W’s (who, what, where, when, why) through performance of final scene.Improv Reflection: Students will write/journal a self-assessment of their performances of how they; Used the 5 W’sHow they collaborated with othersHow they used improvisational skills in their performances during the showcase assessment.AMISTAD EDUCATIONThe Black Version is a completely improvised show that started at the Groundings Theatre in Los Angeles in 2010 to sold out crowds and great reviews. With proper vetting students can witness an exclusive group of Black artists perform improvisation to a vast array of audiences1 EDUCATIONExploring Survivor Stories: This activity uses drama techniques to explore the experiences of Holocaust and genocide survivors. This lesson provides drama activities pioneered by Bertolt Brecht, which help the audience to learn facts about what happened and protect performers from trying to re-enact traumatic situations. EDUCATIONOpenly Gay in Improv: Mike Kosinski, current cast member for the Second City talks about being Openly Gay in Improv, and at Second City. Student can watch the video and reflect in small group/ large group discussions. EDUCATIONImprov in the Special Needs Community: The following links showcase how improvisation can serve not only as a teaching device, but as a therapy tool for the special need’s community. Use the tactics and skills showcased in your own classroom or share the videos with your students and discuss the context within. The Improvaneers! The world's first all Down syndrome improv troupe!: Therapy – Transforming Lives in the Special Needs Community – See Appendix B for specialized programs that reflect the needs of students and community.Participate in group exercises, drills, improvisations and theater games. Rehearse and perform a scene in front of others. Rehearse and perform the same scene in three distinct styles or genres. Research and portray a character, using at least one appropriate costume piece, prop, gesture, need and physical shape. Track character development and emotional changes in a scripted sceneResourcesBooksImprov! A Handbook for the Actor - Atkins, Greg The Ultimate Improv A Complete Guide to Comedy Improvisation - Nevraumont, Edward J. and Nicholas Hanson (ed).Improvisation for the Theatre- Viola Spolin Theatre Games for the Classroom A Teacher’s Handbook- Viola Spolin Theatre Games for Rehearsal: A Director’s Handbook- Viola SpolinA variety of magazines with pictures of people.WebsitesAMISTAD: : : : episodes of “Whose Line is it Anyway” DVD – Popular TV show based on improvisation starters, episodes available on YouTube (Guide for general performances in theatre) 2012/improv-tips-and-tactics_52678.html (Improv tips and tactics article) (The Process of Drama) (Site with numerous improvisation exercises)\glossaryofterms (Online theatre terms glossary) (Lessons and resources for teaching improvisation) (Cards with “who”)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Art of ImprovisationThe Dos and Don’tsapply their understanding of the basics of improvisation by identifying improv skills in a film and defining guidelines12Art of ImprovisationThe Questionsdevelop a sense of ensemble and risk-taking comfort12Art of ImprovisationObjectives and Tacticsdemonstrate an understanding of the use of strong objectives and tactics as well as the use of a variety of tactics when trying to achieve their objective by exploring levels and using a contentless scene22Art of ImprovisationVariety is the Spice of Improvdemonstrate their understanding of how the style can change a scene by playing “Style Changing” activities22Art of ImprovisationShow, Don’t Tellapply their understanding of showing in improv by participating in improve activities and pantomime workshops and reflecting on their experience22Art of ImprovisationImprov Performancedemonstrate their understanding of the rules of improv by participating in a final improv performance/competition2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Intro to DramaContent Area:DramaGrade(s)9 Unit Plan Title:The Play: From Vision to RealityCareer Ready Practice(s)CRP8. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. Career-ready individuals readily recognize problems in the workplace, understand the nature of the problem, and devise effective plans to solve the problem. They are aware of problems when they occur and take action quickly to address the problem; they thoughtfully investigate the root cause of the problem prior to introducing solutions. They carefully consider the options to solve the problem. Once a solution is agreed upon, they follow through to ensure the problem is solved, whether through their own actions or the actions of othersOverview/RationaleThe focus of this unit is to explore elements of producing a play, including playwriting, directing, producing, and casting.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.1.4.12prof.Cr3c: Explore technical design choices that support the story and emotional impact of a scripted or devised theatre work.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth. Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?How does creating and performing in the arts differ from viewing the arts?Enduring UnderstandingsTheatre artists allow awareness of interrelationships between self and others to inform their work.As theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.There are many careers in theatre aside from acting.Theatrical ensemble work techniques often transfers across work environments.Theatrical traditions of ensemble work for theatre create the foundations for creativity.All members of the theatrical ensemble promote the relationships and rules as part of the culture within the art form.The traditional theatrical ensemble transforms the culture and values with the addition of student written scripts.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationAFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesExamine themes and motifs within a given playUnderstand the historical significance of theatre, film, television, and/or electronic mediaCompose an original theatre selection for performance incorporating the ensemble processDirect peers in an ensemble productionAssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in writing and promoting plays.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallCooperative learningDirect instruction Effective questioningIdentifying similarities and differencesLectureRole Play/simulations/dramaTargeted feedback research and effective practiceWord Wall ActivitiesD- SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: PlaywritingPicture prompt sceneDiscuss Aristotle's six elements of DramaApply basic plot structure to known plays and moviesBrainstorm ideas for student written playStudents discuss and write a playLesson 2: The Director and ProducerDiscuss the different jobs of the director and producerExplore the role of a dramaturgList and discuss other members of the production teamScript analysisDevelop a director’s visionCreate a program for class developed playLesson 3: The CastDiscuss the casting processUnderstand audition etiquetteMock auditionsCast class playOrganize information into a viable rehearsal scheduleAMISTAD EDUCATIONAll-Black Theater present OKLAHOMA!: This article introduce you to an all black version of Oklahoma!. Students should read the article, watch the supplied clips and compare and contrast them with the original version. EDUCATIONALLIANCE FOR JEWISH THEATRE: is made up of theatre-artists, theatres, and other people connected to theatre to promote the creation, presentation, and preservation of both traditional and non-traditional theatrical endeavors by, for, and about the Jewish experience. Classes can explore the shows, missions, productions, and teaching seminars located within their website for further study. EDUCATIONQueer Youth Theater: Use this site as a window into the vast network of LGBTQIA supported, youth theater companies across the United States. EDUCATIONETC!: Exceptional Theater Company is an all inclusive theater program for teens and adults with special needs. Through the power of theater our actors learn life skills that teach them to be the best versions of themselves! Use this in your classroom to introduce students to varied means of theater! Appendix B for specialized programs that reflect the needs of students and community.Audition workshopOHS/OPA fall drama and spring musicalsResourcesAMISTAD: : : : Drama Projects 8th EditionBroadway playbillsResume template*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Putting on a playPlaywritingDevelop idea for play5Putting on a playPlaywritingWrite original play10Putting on a playDirector and ProducerDevelop director’s vision5Putting on a playDirector and ProducerDesign program and flyer5Putting on a playCastOrganize rehearsal schedule5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderIntro to DramaContent Area:DramaGrade(s)9Unit Plan Title:Theatre and Its CounterpartsCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.Overview/RationaleThe focus of this unit is to explore musical theatre and other theatrical forms, including performance art, multimedia, film, and television. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof2.Cr2a: Explore the function of history and culture in the development and subsequent interpretations of devised or scripted theatre work.1.4.12prof.Cr2b: Examine the collaborative nature of the actor, director, playwright, and designers, and explore their interdependent roles.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.1.4.12prof.Cr3c: Explore technical design choices that support the story and emotional impact of a scripted or devised theatre work.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventionsPERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.1.4.12prof.Re9b: Identify and compare cultural perspectives and contexts that may influence the evaluation of a devised or scripted theatre work.1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Pr4a: Integrate various arts, media arts forms and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential QuestionsHow do theatre artists transform and edit their initial ideas?How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?When is criticism vital and when does it take away from the meaning?How does creating and performing in the arts differ from viewing the arts?What are the fundamental differences between a “thoughtful” and a “thoughtless” critique?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.Design choices and artistic expressions reflect cultural influence.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyECritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesUnderstand elements of musical theatreAnalyze a potential musical idea in terms of viability, characters, setting, plot, and audience appealExplore theatrical forms outside the realm of traditional theatreUnderstand how elements of theatre and film differLearn about the filmmaking processInterview people who have careers in various types of theatreAnalyze a particular TV show in terms of characters, plot elements, settings, tone, and target audienceWrite an objective and fair review of a theatre, film, or television performance.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in analyzing various types of theatre and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallCooperative learningDirect instruction Effective questioningIdentifying similarities and differencesLectureRole Play/simulations/dramaTargeted feedback research and effective practiceWord Wall ActivitiesD- SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Musical TheatreDiscuss the history of musical theatreAnalyze songs from musicalsView performances from Tony Award winning musicalsperform song lyrics as a monologueDiscuss Adaptation and marketabilityCreate a proposal for a new musicalLesson 2: Stage to FilmDiscuss early filmcompare/contrast technical requirements for film and stageWatch video clips that contain different technical shotsScene adaptation screenplayLesson 3: MoviesFilm Journal EntryCreate a storyboard worksheetDiscuss the four phases of the filmmaking processExplore a soundstageDiscuss films in terms of setting, locations, director, cinematography, and actingContinuity activityLesson 4: TelevisionTelevision Journal entryDiscuss shows that are on television nowExplore TV GuideWatch examples of various television genresDiscuss the controversy behind televisionCreate a concept for a new reality show/ SitcomRemote ControlLesson 5: CritiqueRead Theater ReviewsDiscuss properties of a successful performanceExplore constructive criticismCritique clips of theatrical productionsAMISTAD EDUCATIONFLIPGRID Theater Analysis: Students will view and critique the provided link and give their “Theater Review” as a professional theater critique. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Wheels of a Dream: Color Purple: EDUCATIONFLIPGRID Movie Analysis: Students will view and critique the provided link and give their “Movie Review” as a professional theater critique. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Students should choose one movie to view, and/or research. EDUCATIONFLIPGRID Theater Compare and Contrast: Students will view and compare/contrast the provided links. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. "Sixteen Going On Seventeen" Andrew Keenan-Bolger, Jay Armstrong Johnson Going On Seventeen from The Sound of Music EDUCATIONFLIPGRID Theater Analysis: Student will view and critique the provided link and give their comments. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Shakespeare performed by Down’s Syndrome adults Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: Wheels of a Dream: Color Purple: : : "Sixteen Going On Seventeen" Andrew Keenan-Bolger, Jay Armstrong Johnson Going On Seventeen from The Sound of Music : Shakespeare performed by Down’s Syndrome adults Drama Projects 8th Edition Tony awards performance videos*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Theatre and its counterpartsMusical TheatreDevelop idea for new musical5Theatre and its counterpartsFilmCreate storyboard5Theatre and its counterpartsTelevisionCreate TV show concept pitch5Theatre and its counterpartsCritiqueReview a theatrical production5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderIntro to DramaContent Area:DramaGrade(s)9 Begin with the BasicsCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to introduce the basic principles of acting, including warm-up, vocal projection, pantomime, and improvisation.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof.Cr2b: Examine the collaborative nature of the actor, director, playwright, and designers, and explore their interdependent roles.Accomplished1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.Advanced1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.Essential Question(s)Theatre artists rely on intuition, curiosity and critical inquiry.Theatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Theatre artists develop personal processes and skills for a performance or design.How can improvisation skills assist in future careers?Enduring UnderstandingsTheatre artists rely on intuition, curiosity and critical inquiry.Theatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Investigation and discovery through improvisation and original scriptwriting will bolster knowledge of human expression and emotion.Patterns in performance and rehearsal processes will establish skills necessary for successful improvisation technique.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingAHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesWork together defining and valuing each member of the ensembleDevelop interpersonal skills such as self-direction, reflectionCreate a safe working environment to promote creativityPerform improvised and original scripted workCreate and direct collaboratively an improvised and scripted performanceCritique improvised and original scripted workAssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment –performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in performing improvised characters and scenes based on a rubric.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Warm-upClass discussionmeditationvocabularyStudents create warm-up routinesvocal exercisesLesson 2: ObservationMemory gamesTapping your inner resources worksheetBlack MagicCrossed/UncrossedPractice sense memoryLesson 3: PantomimePart of the whole gamesmime games worksheetPantomime Activity sheetCharadesGuess who gamesDVD Marcel MarceauWatch The ArtistLesson 4: ImprovisationDiscuss improvisation1,2,3 countingsentence responsegreetingsstorytellingWatch clips from Whose Line is it Anyway?Improvisation games: all knowing brain, party host, hitchhiker, remote control, bus stop, open canvas.Students generate lists of characters and situations that interest them and act them out.Finding new uses for everyday objects.AMISTAD EDUCATIONThe Broadway Q&A Series: Talking with Black Theatre Artists: Learn from the best of black artists currently on Broadway and how they struggle, succeed and create careers in the entertainment industry. EDUCATIONRecreating Scenes from Diaries: Hundreds of diaries written during the Holocaust have survived, with Anne Frank’s being only the best known. The very personal nature of a diary offers students insights into the ways in which individuals tried to grapple, without the benefit of foreknowledge, with the events unfolding around them. It also, as Anne Frank’s diary has so famously demonstrated, enables students to better reflect on the humanity of the victims of the Holocaust, seeing them not only as victims but as people with complex lives and concerns. Read and recreate scenes taken form the text of some of these works. LGTBQIA EDUCATIONFrame By Frame: Gay and Lesbian Identity in Hollywood Cinema: UNL Film Studies professor Wheeler Winston Dixon examines the history of Hollywood's portrayal of gays and lesbians. Students can discuss this topic in class and find parallels in current media they are watching, listening or reading. EDUCATIONLesson Guidelines and How To’s: Some group-work safety netsRegularly work in threes as well as in pairs, so that being in a group of three doesn't become stigmatized.Use and value working individually as well as group work. Don't always end with group work.Allow observers, narrators, journalists, note-takers or cartoonists in some activities.Allow miming and gesture instead of dialogue in some activities.Use mixed-ability pairs, to allow the more able students to help their peers.Use activities where the roles in the group or pair are equally valued but unevenly weighted. For instance, in Hotseating activities, some students may find it easier to ask the questions especially if they have been prepared beforehand. If the more able student plays the character during Hotseating, it gives less able students an excellent demonstration of how the activity works.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: : Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ Youtube - Whose Line is it Anyway, Improvaganza, RiotDVD – Marcel Marceau, Charlie Chaplin, The Artist*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Basics of ActingWarm-upDevelop physical and vocal warm-up5Basics of ActingObservationSharpen observation skills5Basics of ActingPantomimePerform pantomimed scenes10Basics of ActingImprovisationPerform improvised scenes10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderIntro to DramaContent Area:DramaGrade(s)9Unit Plan Title:The Elements of ActingCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to give the students a clear picture of how actors prepare for a role and how they, along with other members of the production team, work together to create an artistic, meaningful, and unified whole. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.R9. Analyze and reflect on how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How do theatre artists transform and edit their initial ideas?How do theatre artists fully prepare a performance or design?How do theatre artists use tools and techniques to communicate ideas and feelings?How can one make individual artistic choices within the confines of an ensemble?How does ensemble building assist in future careers?Enduring UnderstandingsTheatre artists rely on intuition, curiosity and critical inquiry.Theatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Theatre artists develop personal processes and skills for a performance or design.The importance of ensemble building and collaboration in a theatrical setting is fundamental to creating and performing a theatrical selection and/or piece.All members of the theatrical ensemble promote the relationships and rules as part of the culture within the art form.Theatrical ensemble work techniques often transfers across work and career environments.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingTHealth LiteracyACommunicationECivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesUnderstand how to execute normal body movements on stageIncorporate stage business into a sceneUse movement to create expression of thought, feeling, and characterBecome familiar with the areas of the stagePlot and execute stage directions and body positionsLearn how to build and use proper breathing and articulation to produce vocal toneUnderstand how to communicate emotions and develop a character through the voiceDevelop the concentration, skill, trust, teamwork, and courtesy necessary to work in an ensemblePerform an improvised ensemble scene with several partnersAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in critiquing and analyzing scripts and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD –Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Movementcreate a scene from blockingdiscuss stage businesscheating outTableau activitiesmovements activity sheetStage business worksheetLesson 2: Stage DirectionsDiscuss the importance of following directionsPlot directions on a diagramStage directions Simon SaysStage crossesMaze activityDemonstrate body positionsLesson 3: TableauPicture PromptDiscuss the idea of stage pictures/tableau.Students work in groups of 3 or 4 to create stage pictures based on fairy tales.Students perform tableaus and "press play"Lesson 4: Voice Production and ArticulationDiscuss vocal productionMap out articulatorsVocal healthVocal exercisesCreating characters with the voiceLesson 5: Ensemble WorkGroup ExercisesWhole class improvisationDiscuss breaking characterEnsemble work activity sheetStage etiquetteAMISTAD EDUCATIONTen Contemporary African American One-Act Dramas: The plays included here were written to be a solution to my instructional needs to fill a void. These short dramas are based on the lives of African and Hispanic Americans who have made significant contributions to this nation, usually in spite of tremendous odds. In creating these plays, I have kept in mind that young people enjoy reading plays aloud, and the appreciation is increased if the content is meaningful to them. Use these plays in your classroom for performance projects or study guides.. EDUCATIONMonologues Surrounding the Holocaust: The following link is an extensive guide to many Holocaust-themed monologues for your class to explore, analyze and perform. EDUCATIONGay and Lesbian Plays: These gay and lesbian plays deal with gay and lesbian themes and include dramas, comedies, one acts and full length plays.?A listing on this page does not mean that the Playwright, Producer or Publisher are/were identified as gay, merely that the plays have a gay interest. Use these resources in your class as a means of an alternative to regular plays and sripts. EDUCATIONExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.Luna Stage & NJPAC coordinate scriptwriting with students culminating in a performance on a professional stage.Visit professional performances. ResourcesAMISTAD: : : : Basic Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ Vocal diagramVocal exercises worksheet*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Elements of ActingMovementPerform stage business5Elements of ActingStage DirectionsBlock a scene on various stages10Elements of ActingTableauCreate stage pictures5Elements of ActingArticulationActing with the voice10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderIntro to DramaContent Area:DramaGrade(s)9Unit Plan Title:AuditionCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.Overview/RationaleThis unit will explore the process of casting a show and will culminate with students holding mock auditions. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.CONNECTINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Pr4a: Integrate various arts, media arts forms and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.Essential Question(s)How do theatre artists transform and edit their initial ideas?How do theatre artists fully prepare a performance or design?How do theatre artists use tools and techniques to communicate ideas and feelings?How does creating and performing in the arts differ from viewing the arts?Enduring UnderstandingsTheatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Theatre artists develop personal processes and skills for a performance or design.The audition process is extremely similar to that of a job interview.Professionalism demands a friendly and polite presentation from beginning to end.Auditioning is the most important part of having a career as an actor.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesBecome familiar with the casting processUnderstand audition etiquetteConduct mock auditions to cast a playChoose appropriate monologues for various character typesOrganize information into a viable rehearsal scheduleAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in writing a resume.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Interview with a professional agency.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: The Audition ProcessDiscuss auditionsMap out audition processDiscuss the duties of the casting directorLesson 2: Audition EtiquetteDressing for an auditionChoosing a monologueIntroductionCold readingStudents conduct a mock audition with classmates, alternating the roles of director and auditionees.Develop an audition sheet containing the information that will be needed for production.Lesson 3: Rehearsal processCasting a showCreate a rehearsal scheduleAMISTAD EDUCATIONType-Casting in Hollywood: Students should examine the following article and discuss it’s implications and cases in a group setting. Students can research People of Color Audition agencies which promote fairness across the entertainment hiring industry. EDUCATIONStudents can view these to videos and use the gained knowledge to evaluate the monolgue its its form and capacity. What Makes a good monologue?: Monologe: EDUCATIONWrite you own Audition Monologue - Discrimination: Discuss the effects of discrimination on LGBT people. Using the examples obtained regarding discriminatory acts on LGBT people, discuss the effects that these will have on LGBT people. Focus discussion on young people. If people are discriminated against in school or in their homes for being LGBT, what forms would this take and how would it affect the young person? Have your students brainstorm and free write a short monologue to perform for the class. IDEA EDUCATIONPractice “In Front” Performing: Invite the students to move around the room, avoiding contact with each other. On a signal, for example ‘Turn to the person/people nearest to you and say hello!’ the students stop and look for the person/people nearest to them and shake hands. They can say hello and exchange names. Then the teacher calls ‘walk’, and everyone begins to move around the room once again until the signal is given to say hello again.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: : What Makes a good monologue?: Monologe: Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*AuditionAudition ProcessCreate theatre resume2AuditionAudition EtiquettePractice various types of auditions10AuditionRehearsal ProcessAct as casting director3* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderIntro to DramaContent Area:DramaGrade(s)9Unit Plan Title:MonologuesCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit focuses on the rehearsal process of a monologue, including table work, blocking, analysis, and performance.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?To what extent does constructive criticism shape the ensemble process and product?Enduring UnderstandingsTheatre artists, through a shared creative experience with an audience, present stories, ideas and envisioned worlds to explore the human experience.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Theatre artists apply criteria to investigate, explore, and assess drama and theatre work.A theatrical student actor can evaluate and determine the proper acting technique to apply to a performance.Selecting an acting technique for a performance can influence the impact of the performance.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.Students will understand the different types of careers in theatreIn this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAnalyze various characters’ actions and personalitiesCreate powerful stage picturesCompare and contrast the motivations of charactersPresent well-rehearsed monologuesEffectively critique performances of scenesAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in critiquing and analyzing scripts and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Table workCharacter analysisScene breakdownLabel beats and tacticsDetermine subtextLesson 2: BlockingDesign the layout of the sceneryDetermine the movement of the sceneCreate stage picturesLesson 3: RehearsalStudents rehearse the monologues for instructor and peer feedbackFinal performanceAMISTAD EDUCATIONTen Contemporary African American One-Act Dramas: The plays included here were written to be a solution to my instructional needs to fill a void. These short dramas are based on the lives of African and Hispanic Americans who have made significant contributions to this nation, usually in spite of tremendous odds. In creating these plays, I have kept in mind that young people enjoy reading plays aloud, and the appreciation is increased if the content is meaningful to them. Use these plays in your classroom for performance projects or study guides.. EDUCATIONMonologues Surrounding the Holocaust: The following link is an extensive guide to many Holocaust-themed monologues for your class to explore, analyze and perform. EDUCATIONGay and Lesbian Plays: These gay and lesbian plays deal with gay and lesbian themes and include dramas, comedies, one acts and full length plays.?A listing on this page does not mean that the Playwright, Producer or Publisher are/were identified as gay, merely that the plays have a gay interest. Use these resources in your class as a means of an alternative to regular plays and sripts. EDUCATIONMonologue Methods using Animals Shapes: Encourage the students to practice making shapes with their body—bending, curling, twisting, crawling, etc. Invite them to make the shape of ‘a stone animal’ (a still image of an animal). Suggest some possible animals that they might make the shape of. Encourage them to make the shapes of the different parts of a chosen animal’s body, for example the ears, the eyes, the tail, the mouth with its tongue, the horns, the trunk, as appropriate. Then consider how a large class animal can be created, with different students choosing to represent the various parts of the animal’s body. Arrange these, paying particular attention to creating the main body (some students curled up), and then adding on the other parts. When a good shape has been made, you can release individual students from the still image and allow them to stand back from the image and look at the created animal. They return to their original position, assuming the shape that they made, and another student is released to have a look at the shape.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: : What Makes a good monologue?: Monologe: Drama Projects 8th Edition HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" index2.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" chdramaworkshop. HYPERLINK "" \t "_blank" text/home.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" plays.htm HYPERLINK "" \t "_blank" ~kidsplay/about.htm HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" resources/links/PlaysandPlaywritingLinks.ht*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*MonologuesTable workWrite character analysis5MonologuesTable workBreak up monologue into beats and tactics5MonologuesrehearsalRehearse monologues in pairs5MonologuescritiqueCritique performances and self-assessment5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderFundamentals of TheatreFundamentals of TheatreContent Area:DramaGrade(s)10 - 12Unit Plan Title:Designing the ProductionCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleA designer’s number one job is to capture the artistic essence of a production and translate its message with style and subtlety. Analyzing the various production design areas gives students an appreciation for the enormity of work that goes into each and every production. Creative expression with a clear vision, structure and design are all qualities that a collaborative production team must have in order to breathe life into any performance. Designing a show through respectful cooperation, hands-on construction/creation and positive critiquing are essential for the young actor’s growth on and off the stage. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12prof.Pr4a: Integrate various arts, media arts forms and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can a play inspire positive action?Enduring UnderstandingsTheatre artists reflect to understand the impact of drama processes and theatre experiences.Theatre artists apply criteria to investigate, explore, and assess drama and theatre work.Shape, mood, texture, script context, etc… contribute to the visual interest of designer’s creation motivations for creation. Attention to details such as texture, shape, movement, and color in design leads to clear expression during collaboration regarding the vision of actors and directors for each character/scene or production.Planning an order of steps and forming a list of required supplies dictates the design and construction during the pre-production phase.The responsibilities of designers in the three stages of Pre-Production, Production and Performance.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCreate a rendering for one design concept of a production (costume, props, makeup)Fulfill their role as a theater practitioner in design teams.Work collaboratively on a design team.Design a concept for one design area (costume, props, makeup)Identify the essential qualities of a character in order to make informed artistic choices about color, shape, movement, and texture.AssessmentsPre and Formative: Informal questioning pertaining to students’ experiences with live performances to assess student prior knowledge. SGO pre-assess examinations, Open discussion · Small group discussion · Creative drama activities Written response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment: Ask questions pertaining to performance spaces and how to make them more interesting for a performanceObservations: Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.PerformancesSummative :Development of a design concept Execution and completion required illustrations based on assigned positionIdentify new performance spaces around the school campus Explore new ideas about costumes, props, masks, and set pieces with students Present stories the students already know in different spaces Specific questions directed by teacherAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: The Production Vision –SUGGESTED ACTIVITIESStudents further their understanding of design and technical theater by connecting design choices to the requirements of a script. Making the Artistic Choice – Have students discuss the setting needs: style, colors, shapes, etc. for a play adapted from a story; suggested: The Mystery of Biltmore House or The Mystery of Blackbeard the Pirate by Carole Marsh, or a story from The People Could Fly: American Black Folktales by Virginia Hamilton.Reference the short story to determine the technical needs for dramatic presentation.Discuss the needs for costumes, props, masks, set pieces, and lighting.Section Two: The Director’s Concept –SUGGESTED ACTIVITIESStudents will understand the position of a director on a production team, and his/her responsibilities, a director’s concept and how to develop a concept. Director PowerPoint/SMARTBoard - role of the director and the various responsibilities related toBlocking ConceptMovement and stage composition Coaching actors Communicating with actors, designers and technical crewsShow a video of a production meeting so students will understand that the Director is responsible for the team understanding the concept.Creating the Concept: Shape a small group tableau, deciding which student will take the role of director.Groups all work with the same script, i.e. Reader’s Theater Scripts. Each student will take turns recognizing and discussing set, prop, costume, lighting and sound design in theatrical productions.Create Group Tableaus, deciding which character will take focus in the scene.Written/Oral/Performance based discussions guided by teacher.Section Three: Costume/Prop Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices.Costume CreationsGroups make, model, explain their design creations. Collaborate to create simple costumes for acting out a drama.Read a play and create a costume rendering for a character.Designing the Play’s CostumesHave students select from an already collected group of costume pieces, fabric swatches, ribbons, and old hats to create a simple costume they can wear based on a characters from the story they read.Prop Design Explore props and how they can enhance creative play. Using the simple short story that was read to the class, and prompted by the teacher, make a list of all of the “props”, or things that the character might hold in their hand Once the list is complete, and after diligent discussion, have students draw a color representation to be used in their reenactment.Section Four: Set Design –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of set pieces and design by creating a model set for a play script of their choice.The Sets Around You: Measure a room and create a ground plan including furniture and other elements from the room. Renderings: Create a rendering for a stage backdrop and then execute the rendering to scale on a brown paper mural or painted backdrop.Design a Set: Collaborate to create simple sets for acting out a drama.Devise a scenic concept for a play read in class, including backdrops, props, furniture and other scenic elements.Using cardboard boxes, colored paper, tape, and crayons – create simple sets based on the short story the class read.Diorama DesignsMultimedia Renderings and designs. Section Five: Lighting/Sound Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of how to use light /sound to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play.Light and Sound PowerPoint/SMARTBoard - role of the light/sound designers and the various responsibilities related toSpatial relationships Color Patterns Mood ThemeShow a video of a sound designer/light designer meeting so students will understand what a day in the life of is like. Match the Music: Creating a sound plot and mimicking the mood/theme of a photograph.Create a tape or CD of music and sound effects for a scene.Light for Living- Lighting designers need to know how lighting affects a space.??Here you will be creating an overhead drawing of your living room at home, indicating sources of light and what directions the light goes in the room and where it creates shadow.??You will also write one paragraph describing how you think the lighting in your living room creates a mood for that room.??Is it different from any other room in the house?Section Six: Group Companies – SUGGESTED ACTIVITIESStudents will reenact the story they have been working on, using their newly created props and costume, light, set pany Presentations: Describing your design in detail, giving justification for each, as well as describing how it fits with the director’s concept.Students reenact the short story they read integrating sets, costumes, masks, and props.After each presentation, allow students to ask questions. Remind the students that they can ask questions about the creation process or any clarifications they might need. Remind the students that we are not critiquing the design; it is a time to understand the design process.AMISTAD ’s Top Ten African American Directors Of The Decade: Directors play an integral role in operational side of entertainment creation. Students can discover their favorite directors and movies, and create slideshows encompassing their portfolio of work. Students can even pretend to be famous directors themselves, creating mock resumes and portfolios showcasing their own directorial achievements. EDUCATIONTeens act out Holocaust survivors’ stories in Witness Theater: Student can learn by example and create their own theater production after covering survivor stories from the Holocaust. Students can take on various technical roles as they learn from this production’s model in order to tell stories of the past for audiences of the present. EDUCATIONResearch Project: Top Gay and Lesbian Directors Working Today. There are plenty of people behind the cameras making heater and film happen. Research one of these artists and present your finding to the class unit in either a written, vlog or group project. EDUCATION9 Theater Companies Celebrating Actors With Disabilities: Discover the theater companies whose goal is to champion artists with special needs. What drives them to be inclusive? How can these companies thrive in today’s climate? Discover these questions and find the answers in class as you research these theater companies! See Appendix B for specialized programs that reflect the needs of students and community.Theater House visits and tours.Youtube / Literary / Archival Play Production MediaInvestigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).Participate in the running of a show as part of the properties, deck, electrics and costume crews.ResourcesWebsites: AMISTAD: : : : Information Guides -? HYPERLINK "" \t "_blank" bath.ac.uk/~su2bc/infoguides/index.shtmlCareers in Stage Management & Technical Theater -? HYPERLINK "" \t "_blank" drama.ac.uk/lighting.htmlDesign & Technical Production for High Schools -? HYPERLINK "" \t "_blank" Lighting & Theatre Effects -? HYPERLINK "" \t "_blank" lteg.htmLighting Links -? HYPERLINK "" \t "_blank" linksStage Managers Handbook -? HYPERLINK "" \t "_blank" Broadway/Stage/2203/Smhandbook.htmlStage Managers Home Page -? Theater Resources -? HYPERLINK "" \t "_blank" Tools for Stagecraft -? HYPERLINK "" \t "_blank" index.htm (Compilation of tips for classroom drama productions) (Guidance on various production roles and responsibilities)STAGE CRAFT DIRECTORY of Technical Theatre Terms?()?Hundreds of British (and American) technical theatre terms, explained. In alphabetical order. Soon to be sorted by category, too. HYPERLINK "" \t "_blank" Stagecraft Frequently Asked Questions?()?Frequently asked questions from the rec.arts.theatre.stagecraft and alt.stagecraft newsgroups. HYPERLINK "" \t "_blank" Drama Department Links: Stagecraft?()?From the University of Exeter. The list includes costumes, staging, props, lighting, sound, and stage management. HYPERLINK "" \t "_blank" Association of British Theatre Technicians?()?Includes information about training, publications, and other information about several aspects of technical theatre. HYPERLINK "" \t "_blank" Entertainment Technology (ETEC)?()?This site provides access to the magazines "Entertainment Design" and "Lighting Dimensions" about show business art and technology.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Designing the productionProduction Visionconnecting design choices to the requirements of a script12Designing the productionDirector’s conceptunderstand the position of a director on a production team, and his/her responsibilities, a director’s concept and how to develop a concept12Designing the productionCostume/prop designdemonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices12Designing the productionSet Designdemonstrate an understanding of set pieces and design by creating a model set for a play script of their choice12Designing the productionLighting/Sound designdemonstrate an understanding of how to use light /sound to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play22Designing the productionGroup Companiesreenact the story they have been working on, using their newly created props and costume, light, set designs2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Fundamentals of TheatreContent Area:DramaGrade(s)10 - 12Unit Plan Title:Greek ExplorationCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleCollaboration in the Theater Arts is an integral component in the development of a young actor. Students will have the opportunity to work closely with one another as they investigate and discover historical content through means of dramatic reenactment. Representing historical figures, researching the fundamentals of ritualistic theater and dance, reenacting culturally dynamic periods of time, or exploring “home based” history benefits students greatly. Historical dramatizations which focus on group collaboration and ensemble participation will grant students the opportunity to problem solves not only physically, but emotionally as well. Utilizing the study of Greek Theater (the foundation of drama) gives students the opportunity to discover the origins of Ensemble (chorus) as well as other collaborative forms of entertainment. Standard(s)CREATINGAnchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof2.Cr2a: Explore the function of history and culture in the development and subsequent interpretations of devised or scripted theatre work.Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.RESPONDINGAnchor Standard 6: Conveying meaning through art.Performance Expectations:Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.Advanced1.4.12adv.Pr6a: Produce a devised or scripted theatre production for a specific audience that employs research and analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturg.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.Accomplished1.4.12acc.Re8a: Analyze and assess a devised or scripted theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.1.4.12acc.Re8c: Verify and articulate how a devised or scripted theatre work communicates for a specific purpose and audience.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.4.11b: Explore how personal beliefs and biases can affect the interpretation of research data applied in devised or scripted theatre work.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1 Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences. NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA. W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA. SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA. L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does an audience communicate with actors?Enduring UnderstandingsTheatre artists, through a shared creative experience with an audience, present stories, ideas and envisioned worlds to explore the human experience.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Investigation and discovery of historical content influences a dramatic reenactment.Dramatic performance can effectively convey investigation and discovery of scientific contentCollaboration within an acting ensemble facilitates accurate creative dramatizationUnderstand the traditions, roles, and conventions of theatre as an art form.Greek History is the foundation of modern drama.Dramatic performance as an ensemble/individual derived from Greek fundamentals of theatrical presentation.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesReenact historical events and portray authentic characters through dramatic presentation.Portray historical concepts from the 5th Grade content in dramatic form.Work collaboratively to enhance content accuracy and the effective portrayal of significant historical events from Greek history.Exercise the benefits of effective collaboration through creative dramatization (such as give and take, respect, sharing, team work).AssessmentsPre and Formative Teacher-led discussion to assess students’ knowledge of myths and their purpose in a specific society.Teacher-led discussion to assess the students’ knowledge of improvisation techniques Teacher-led discussion to assess students’ knowledge of characters that appear in the selected myths.Benchmark/Authentic AssessmentInformal performance for peers by improvisation groups Performance graded by teacher using project specific rubric Peer evaluation through reflection and journaling Self-evaluation through reflection and journalingExhibit proper audience etiquetteUnderstand basic characterization Recognize play literatureSummativeTeacher-guided round robin readings of selected myths Assess student time-on-task and understanding during the group myth selection .Engagement level of the students to their group’s improvisation development.Discussion of theatre as storytelling using three main components: beginning, middle, and end.Perform a story in front of an audience Portray the role of audience member, the actor, and the director while working with others.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Theater as Historical Ritual Students will gain general knowledge from the readings and discussions about rituals.Rituals of Theater– Students will gain general knowledge from the readings and discussions about rituals.What is Ritual Theater? - PowerPointRepeated ActionSymbolic SignificanceEmotion EvokingCultures used Ritual, dance and storytelling to communicate.The First Drama – PowerPointStudents will gain general knowledge about the location and culture of ancient Egypt.Ancient Egyptian “theater” – Abydos Passion PlayOsiris and the Ritual of Death/Life OverviewStudents will use creative dramatics to act out the story of Isis and OsirisRitual Tableaus Students will create and perform groups of motionless scenes portraying figures from a story of ancient ritual. Examples of ritual include;Achiece success in battle and huntEnsure adequate sun and rainExpress duty to community.Discuss: In what ways do our rituals become traditions? Do you have any traditions in your family or community you can share with the class?Theater Ritual and Dance Students will understand that dance was born out of;Animal imitation, natural gymnastics, pantomime and rhythmic movementVisual Examples:Fijian Warrior DanceThe Haka – Dance of War: The Maori HakaTheyyam: Dance of IndiaStudents will work in collaborative groups to create a ritualized performance based on a primitive dance style.Critique the performances by classmates and self.Section Two: Exploring Greek Myth Students will understand how to effectively explore cooperative movement and sound in the empty space.Greek Mythos and Theater Origins – Study of Greek myths and how they were used to teach the culture, history, moral lessons, and appropriate social behaviors to the younger generation. Greek Theater History: PowerPointFocus on;Greek Chorus (ensemble)The Chorus MaskWhy were myths important?Students can begin to evaluate and consider the power of this non-verbal form of communication.Round Robin Myth Reading Students can read various Greek Myths including;Zeus and the TitansDemeter and PersephoneThe Fall of IcarusReader’s Theater Performance PiecesTeacher selected improvisation groups: students select a myth from the teacher provided stories to improvise.Students develop a structured improvisation of the myth for informal presentation.Journal: Students write personal reflections on performance quality and success of the presentation of the myth and the function of the chorus.Discuss: In what ways do our rituals become traditions? Do you have any traditions in your family or community you can share with the class?Section Three: Ensemble Story Telling Students will study the foundation of Greek storytelling and review the fundamentals of plot structure.Story Telling Creation – Students will review that stories always have a beginning, middle, and end. Storytelling also needs an audience and a narrator to share for it to be a story. Students will create headpieces, masks and/or accessories to help portray characters in re-enactments of the stories out of craft supplies.Parts of the Story ReviewExposition, Rising Action, Climax, Falling Action, ResolutionDirecting Story - PowerPointTeacher will review;Theatre is storytelling with an audienceThe narrators (Greek Chorus) are actorsThe director tells the actors how to tell the story. The director helps the actors understand what they need to do to create the characters to tell the story. The students will then help the teacher decide how to share the story with an audience by deciding how each character will act. The teacher will point out that this is like directing.Greek Story PerformanceTeacher will divide the class into groups of 5-6 to perform each story of Greek Mythology. Each group will take turns being the audience, the actors, or the director who helps the actors remember from previous sessions how they should portray each character. Discuss: Reflect on reasons that defines the audience, the actors and the performers.Section Four: Ensemble PantomimesStudents will take part in cooperative role-playing through recorded improvisation, where they will demonstrate the ability to utilize the body and voice (e.g., breath control, diction, concentration, and isolation) for creative self-expression in thought, feeling, and character.Making the Machine! (or animal)Students are divided into groups. Each group has fifteen seconds to agree on how to present a pantomime of a machine in action Telephone, a car, a blender, a clockEach student has to participate in some part of the machine. Groups who fail to have their machines ready on time fail to gain points in this game. Rather than machines, the object might be to put together any system of interrelated parts. Solar System, the Water Cycle, the process of photosynthesis, the continents.Scenes from our Past!Students are divided into groups with one “director” in charge of each group’s performance. Each group is assigned a scene from history to dramatize.Columbus’s audience with Ferdinand and IsabellaSigning of the Declaration of IndependenceApollo Moon Landing to dramatize. They plan collaboratively on how to present it, but the “director” makes all final decisions.Discussion: Students observe the dramatic skit and list two positive comments and two suggestions for improvement.They must justify their comments, explaining why they liked certain elements.Theater AdaptationsStudents adapt a favorite TV/Movie to show to a different time and report on the changes required.Students work in cooperative groups, create miniscripts and perform them.Students can also work within their group separate groups to devise ideas/renderings for; Set design, costumes, and make-up.Journal - Working in small groups, students create a list of effective and ineffective artistic choicesAMISTAD EDUCATIONTop 10 Africans in Greek Mythology – This is an intriguing analysis of African deities, characters and artists who contributed to the vastness of Greek Mythos. Students can discuss the roles they played in Greek culture and how it has influence the Greek culture of the present. EDUCATIONActing: Mask Work Lesson Plan For Special Needs Kids EDUCATION20 Greek Gods Who Had Same-Sex Relationships: While tolerance is often presented as a sign of civilization’s advancement, a reading of Greek mythology reveals greater acceptance of homosexuality in ancient Athens than can be boasted within today’s world religions. These LGBT Greek gods and demigods prove gay culture is no modern invention. Classes should study, research and report on these Greek Gods and their influence in Ancient Greek society. – See Appendix B for specialized programs that reflect the needs of students and community.Students attend a live theatrical performance and a talk-back where actors (as themselves) interact with students.Listening to teacher-shared storytelling of Greek myths and legends Analyzing Greek myths for intended morals and lessons Improvising using stories found in Greek mythsCollaborating to create characters and to develop a structured improvisation based upon selected Greek myths Performing a student developed structured improvisation Reflecting on process and product of self and peers. Applying information gained from reading and teacher sharing to a structured improvisation, story analysis and reflectionsResourcesOnline:AMISTAD: : : (Student interactive resource for building a character bio) wit/mff/greektheater.htm philip-ardagh/greekmyth-and-legends.htm yths.html nPlays.html onies/theatre.htm ient-egyptian-games-online/Students may conduct research regarding the history of Fairytales. (You tube video from National Theatre-summary of the history of fairytales)Books:Henry Gilfond’s adaptation: The Readers Theatre Folklore Plays Roger Ellis’ edited collection: Multicultural Theatre II Numerous websites containing Greek myths/folktalesCassady, Marsh THE THEATRE AND YOU: A BEGINNING, Colorado Springs, Meriwether Publishers, 1992.Oates, Whitney J. & SEVEN FAMOUS GREEK PLAYS, New York, Vintage, O’Neill, Jr., Eugene, Editors 1950.Ratliff, Geral Lee THE THEATRE AUDITION BOOK: PLAYING MONOLOGS FROM CONTEMPORARY, MODERN, PERIOD, SHAKESPEARE, AND CLASSICAL PLAYS, Colorado Springs, Meriwether Publishers, 1998.McCullough, L. E. PLAYS FROM MYTHOLOGY: GRADES 4-6, Lyme, 1998. Presents twelve original plays that are dramatic adaptations of myths from around the world.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*5Greek ExplorationTheatre as historic ritualgain general knowledge from the readings and discussions about rituals.15Greek ExplorationExploring Greek Mythsunderstand how to effectively explore cooperative movement and sound in the empty space25Greek ExplorationEnsemble storytellingstudy the foundation of Greek storytelling and review the fundamentals of plot structure25Greek ExplorationEnsemble pantomimestake part in cooperative role-playing through recorded improvisation, where they will demonstrate the ability to utilize the body and voice2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order. Fundamentals of TheatreContent Area:DramaGrade(s)10 - 12Unit Plan Title:Theater’s Historical TraditionsCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleTheatre of today has traditions rooted in the historical cultures of Asia, Africa, Europe, and the Americas. From the Greek Chorus, to the Shakespearean Theater, to the American Musical, it is apparent that theater has become one of the most transcendent art forms in human history. While performative elements are present in every society, it is customary to acknowledge a distinction between theatre as an?art form?and entertainment and theatrical?or?performative?elements in other activities. By studying current entertainment forms such as Television/Film and comparing/contrasting the elements found in theatrically based art forms, students will be able to make cultural and historical connections. Using theater history as a means to introduce cultural, societal, political, and racial issues of various historical periods allows students to have a broader sense of the world. Theatre can be used to represent knowledge, to persuade and to educate and there’s no better way to teach this then learning from what the past has taught us.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context..1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.Accomplished1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.1.4.12acc.Re8c: Verify and articulate how a devised or scripted theatre work communicates for a specific purpose and audience.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL4 Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.Essential Question(s)What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How does acting influence storytelling and storytelling influence acting?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Theater through the ages has acted as an educational tool for communicating cultural beliefs, societal shifts, religious affiliations and political propaganda.Unifying a variety of elements in a production creates a complex and textured composition.Cultural references and relationships are embedded within scripted scenes and influence character development.Actors’ cultural perspectives and expressions influence character choices which, in turn, affect the other actors in a scripted scene.There is a clear distinction between theatre as an?art form?and entertainment and theatrical?or?performative?elements in other activities. Cultural diversity helps us to create compelling theatre experiences.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesImprovise and imitate scenes from a story (historical or fictional).Critique artistic choices from source material as a theater/film practitioner.Work effectively in an ensemble to improvise a scene adapted from source material as theatre professionals.Create characters that convey historical conflict from multiple perspectives.Analyze script and performance content from a multicultural point-of-view.Portray diverse cultural historical perspectives in a theatrical performance.AssessmentsPre and Formative – POWERPOINT/ SMARTboard pre-assessments, Class led discussions, Teacher observation of research progress , Teacher observation of project development, Teacher assistance and preview of technology usageWritten Response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment- · Student multimedia presentations · Self-assessment · Peer assessment · Final visual representations assessment · Teacher assessment of knowledge gainedObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative : Students will demonstrate competency in: Using a test developed from the material presented, the teacher will assess knowledge gained from the student presentations.Documentation Portfolio: This type of portfolio is often called a “working” portfolio. This is a collection of work over time showing growth and improvement. It reflect the student’s learning of specific and identified objectives and outcomes. Process Portfolio: This documents all facets of the learning process. This type of portfolio is particularly useful in documenting a student’s overall learning process. It should show how the student integrates knowledge and/or skills during progress towards mastery of the selected objectiveAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Cultural Traditions –SUGGESTED ACTIVITIESStudents will identify and participate in cultural traditions from students’ own cultures.PowerPoint/SMARTBoard- Around the World of TheaterStudents take participate in an interactive tour of theater style, tradition and history ranging from…Commedia del Art, Greek Theater, Elizabethan Theater, Modern Musicals, etc…Theater History PyramidsDistribute Theatre History Charts and briefly go over periods included. Show pictures. Divide class into groups for each period. Groups will do additional research and plan ways to share information.Ancient Greece, Egypt, China, and West Africa.Reflections: How can your family traditions be shared with future generations? What can you do personally to help?Section Two: Greek Theater Traditions –SUGGESTED ACTIVITIESStudents will identify and Will gain a basic understanding of the ancient Greek theatre tradition.PowerPoint/SMARTBoard- Greek Gods and their Influence on TheaterStudents take participate in an interactive tour of Greek theater style, tradition Greek GodsFoundations of the Greek Chorus, ThespisTheater of DionysisMask PlayThe Greek MythPowerPoint/SMARTboard presentation.Make your own Greek Myth surrounding around conflict.Love, War, Hate, Disease, Famine, Etc…Utilize Greek Gods and foundations of scripiting to create your own myth.Performing Greek Myths and LegendsDistribute famous Greek plays and briefly go over legends included. Show pictures. Divide class into groups for each period. Groups will do additional research and plan ways to share information.Demeter and PersephoneIcarus and the MinotaurThe OdysseyStudents will present their stories to the class. Group discussions and FLOWCHARTS will aide in identifying Greek style and traditions. Section Three: Japanese Theater Traditions –SUGGESTED ACTIVITIESStudents will identify and will gain a basic understanding of Japanese theatre traditions.PowerPoint/SMARTBoard- Kabuki/Noh and their Influence on TheaterStudents take participate in an interactive tour of Japanese theater style, tradition Noh TheaterKabuki TheaterBunraku TheaterStudents will reflectively discuss and write down their favorite types of Japanese Theater and how it effects the culture of theater. Japanese Movement TheaterPractice kata (performance techniques) of maruhon (puppet-like movements) ad shosagoto (controlled, dignified dance with frozen pose at end).Use audio-visuals and/or real manipulative to build understanding of the art form.Kabuki ReconstructionUsing the legend, The Oldest of Trees, students are divided into groups to stage it in the Kabuki style.Journal: Describe how the techniques and style of Kabuki theatre differ from realistic western style acting.Section Four: COMMEDIA DELL’ARTE –SUGGESTED ACTIVITIESStudents will identify and will gain a basic understanding of Commedia Dell’Arte traditions.PowerPoint/SMARTBoard- Commedia dell’arte and their Influence on TheaterStudents take participate in an interactive tour of Commedia dell’arte style, traditionsStock CharacterScenesImprovisationCharacter ArchetypesCharacter choices: Each student selects one character and one prop; rehearse movement and attitude for character.Partners: Combine different characters and assign an objective that will cause conflict such as: Isabella wants to have a huge wedding while Pantalone wants to protect and increase his wealth, Columbina wants to find a way to live away from Pantalone’s house while The Captain wants to find a rich girl to marry, Arlecchino wants money and Lelio wants him to help him get money for a wedding.Journal: Describe in detail the character you have chosen. Include objectives, motivations, relationships with other characters.Improvisation Practice - Improvise from sample scenarios using teacher provided stock characters.Create your own improvised scenes using the previously learned character archetypesWhich scenario did you like best? Why? Which scenario worked best for your character?Section Five: SHAKESPEAREAN THEATRE –SUGGESTED ACTIVITIESStudents will identify and will gain a basic understanding of Shakespearean theatre traditions.PowerPoint/SMARTBoard- Shakespeare and his Influence on TheaterStudents take participate in an interactive tour of Shakespeare style, traditionsElizabethan TheaterGlobe TheaterPlaywrightingProse and PoetryCharacter developmentLiterary conventions – Monologue, soliloquy, asidesShakespearian Insults Student can develop a taste for Shakespearian dialogue by using imagery, metaphor in insults.Character walks: Develop walks for various Shakespearean characters.Pantomime: Working simultaneously and individually, pantomime various activities as a variety of characters.Romeo, Juliet, Macbeth, Hamlet, etc…Section Six: Musical Theater –SUGGESTED ACTIVITIESStudents will demonstrate an understanding that musicals reflect the times in which they were created Musical Theater History – PowerPoint/SMARTBoard1950s – Showboat – 2000s WickedTrue American art formInfluence of TV/FILM/CINEMARepresentation of SocietyMusical Theater Research ProjectStudents will present a particular decade in a group from 1920-2000 to the class (this will include a performance from their era).Select a musical from this era and perform a 15 minute scene from it with some dialogue and at least one musical number that can be choreographed.Historical Connections with the Musical?Did the creators of the musical get their facts straight, and accurately reflect actual events? Does the song accurately reflect the history behind it? Why or why not?Section Seven: Theater and Modern Society –SUGGESTED ACTIVITIESStudents will demonstrate an understanding that theater traditions reflect the times in which they were created Non-Western genre project preparationUsing the information collected and an understanding of the culture from which the genre developed, each student will prepare a multi-media project for in-class presentation that both informs and entertains. Presentations should include, but not be limited to, the following: genre development, history, current situation, training, relationship to national culture, and performers.Each student, using available technology, will complete an in-class informal presentation of the selected Non-Western theatre genre. The informal presentation should inform and entertain. In scope, it should be both comprehensive and substantive.Creating visual representations of knowledge gainedStudents, using notes and with access to multimedia presentations, will create charts, graphs, diagrams, posters and pictures showing similarities and differences among the various Non-Western theatre genres presented and Western theatre.Whole class assessmentUsing a test developed from the material presented, the teacher will assess knowledge gained from the student presentations.What did we just watch???What are these trailers made for???Did this trailer accomplishAMISTAD EDUCATIONA Brief History of African Americans/Blacks in Theatre: Students can read excerpts describing the impact of Black Theater in America. Students can also create informational timelines representing the rise of Black theater culture in the US. EDUCATIONThere’s a long history of Jews playing Nazis on screen: This is an introspective look on the more satirical side of film. Students can read, analyze, discuss and view clips of movie/stage/TV. This is an eye-opening experience for most, so care and respect must always be employed while covering this taboo topic. EDUCATIONThe History of Homosexuality in Theatre: A compilation Prezi presentation highlighted homosexuality in theater throughout history. Students can view, discuss or even create their own information packet projects concerning the issue. EDUCATIONThe introspective video from Michigan State Universitie’s ollege of Arts and Letters, focusing on the factors that make Theater for the Speical Needs Community successful. Theater and Autism: ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Locate and identify theater artifacts from contemporary or historical theater using original documents or reprints, including programs, articles, posters, and photos of notable theater professionals. Use online resources to deepen students understanding of theater performance by researching historical and cultural setting, period dress and customs.Visit museums or use a museum’s website to view resources related to a play, the performance tradition, or the historical period of the work. For example, study the representations of performers in ancient Greece and Rome on urns or friezes at the Metropolitan Museum of Art to inform a production of Medea.In groups, assemble multimedia biographies of notable performers, such as Paul Robeson, Eleanor Duse, James O’Neill or Marcel Marceau. Investigate the question: “Why this artist is notable within his/her own culture or time period.View and respond to a variety of live performances representing a range of styles (classical, contemporary, non-Western, musical theater, puppetry, etc.) and venues (Broadway, off-Broadway, college, high school, etc.).ResourcesWebsitesAMISTAD: : : : Theater and Autism: Hall: article/the_basics/art_tours.html Centerline Scenic Studios/Works in progress: progress. html The Kennedy Center: about/virtual_Access to for videos on…Kabuki TheaterGreek MythPantomime and Improv HistoriesMusical Theater Innovations. Books:Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN: Volume II: GRADES 4 – 6, Lyme, 1996.Beard, Jocelyn, Editor SCENES FROM CLASSIC PLAYS, 468 B.C. TO 1970 A.D., Newbury, Smith and Kraus, 1993.Cassady, Marsh THE THEATRE AND YOU: A BEGINNING, Colorado Springs, Meriwether Publishers, 1992.Oates, Whitney J. & SEVEN FAMOUS GREEK PLAYS, New York, Vintage, O’Neill, Jr., Eugene, Editors 1950.Papp, Joseph & SHAKESPEARE ALIVE!, New York, Bantam, 1988. Kirkland, Elizabeth Describes London during Shakespeare’s time, Elizabethan theatre, how plays were produced, music of the time, where Shakespeare got his plots, and how he transformed them.Woofin, Ruper INTRODUCING ARISTOTLE, Totem Books, LTD, 2001.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Theatre’s Historical TraditionsCultural Traditionsidentify and participate in cultural traditions from students’ own cultures13Theatre’s Historical TraditionsGreek Theatre traditionsIdentify and gain a basic understanding of the ancient Greek theatre tradition13Theatre’s Historical TraditionsJapanese Theatre traditionsidentify and gain a basic understanding of Japanese theatre traditions13Theatre’s Historical TraditionsCommedia Dell’Arteidentify and will gain a basic understanding of Commedia Dell’Arte traditions13Theatre’s Historical TraditionsShakespearean Theatre traditionsidentify and will gain a basic understanding of Shakespearean theatre traditions13Theatre’s Historical TraditionsMusical Theatredemonstrate an understanding that musicals reflect the times in which they were created13Theatre’s Historical TraditionsTheatre and modern societydemonstrate an understanding that theater traditions reflect the times in which they were created1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Fundamentals of TheatreContent Area:DramaGrade(s)10 - 12Unit Plan Title: Technology & Theater Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleTechnology is becoming more prevalent in the daily lives of our students. In the theatrical world, it is no different. This unit focuses on the study of technical theater in terms of Lighting, Sound, Scenic and Front of House. Students will have the opportunity to discover how a culture of collaboration will create a cohesive demonstrating order/form. Students can collaboratively utilize current technological devices to create and construct elements of the play which add the overall production value. Keying in on student interests of social media, the unit will turn its focus to the business side of theater, teaching the ideals of advertising, publicity and theater management. The study of these theatrical conventions will give students the skills necessary to work collaboratively on a design team not only on stage, but in the real world as well. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.Accomplished1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.Advanced1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Advanced1.4.12adv.Pr4b: Create and justify the selection of technical elements used to develop and build a design that communicates the concept of a drama/theatre production.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.Accomplished1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11a: Integrate knowledge of cultural, global and historic belief systems into creative choices in a devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth.?1.2.12prof.Pr4a: Integrate various arts, media arts forms and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.L6. Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when encountering an unknown term important to comprehension or expression.Essential Question(s)How can the same work of art communicate different messages to different people?How are the theatre artist’s processes and the audience’s perspectives impacted by analysis and synthesis?How do different components contribute to the overall theatrical performance? How do symbolism and metaphor contribute to meaning in the arts?Enduring UnderstandingsTheatre artists develop personal processes and skills for a performance or design.Theatre artists make choices to convey meaningTheatre artists, through a shared creative experience with an audience, present stories, ideas, and envisioned worlds to explore the human experience.Attention to detail in creating theatrical design (sound, lighting, scenic and effects) enhances the overall effectiveness of composition.Design (sound, lighting, scenic and effects) style impacts an audience’s discovery of a performance.Culture of collaboration will create a cohesive design (sound, lighting, scenic and effects) demonstrating order/form. Traditional technical theatrical roles (director, technical director, lighting designer, sound designer, scenic artist) provide unique contributions for a successful production.Cohesive design (costume, sound, light, scenic, film) reflects authentic collaboration and demonstrates order/form.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationAFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCreate a rendering for one design concept of a production (costume, light, sound, scenic, film)Fulfill their role as a theater practitioner in design teams.Design a concept for one design area (costume, light, sound, scenic).Demonstrate an understanding and appreciation of the roles of theater practitioners (including director, stage manager, designers, operators, actors, producers), listing their responsibilities and contributions to a production.Articulate cultural/historical influences of particular eras/genres to a design team and/or concept.AssessmentsPre and Formative: Open ended Questioning, Pre Assessment Quizzes for Knowledge. Students will perform the scripted play from memory that incorporates multiple technical elements.Benchmark/Authentic Assessment: Build a production personnel flow chart adding personnel as each designer/crew is learned · Daily “Ticket out the Door” on mood and atmosphereObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative: Students will demonstrate competency in: Class Discussions, Research Projects, Cooperative Group Designs ProjectsWritten response The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Process Portfolio: This will document all facets of the learning process. It should show how the student integrates knowledge and/or skills during progress towards mastery of the selected objective. It should include student reflections upon the learning process, such as, reflective journal entries, think logs and other forms of metacognitive processing. Showcase Portfolio:It should only include examples of the student’s best and most complete work, as determined through a combination of student and teacher input. The showcase portfolio should also include student written analysis and reflections upon the learning and the selection processes of the works included in the portfolio.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Technical Theater Tour –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of technical theatre terms and parts by participating in a theatre tour, completing a graphic organizer, and writing what they want to learn more about in technical theatre.Technical Notations:??Now divide the class into 4 groups.???We will be going into the auditorium to label some of the things we have just learned the names for.??Each group will be given a list of ten terms along with 10 notecards, labeled 1-10.??You task is to attach the correct number label to the actual item on stage.???Tech Job Descriptions: Instruct them to put a short description of each job as you talk about it.??Start at the top and ask students to identify the jobs that they know, and if they don’t then you can provide a definition.Tech Theater Video: Have students write things about technical theatre they would like to learn more about.??As they watch it, what intrigues them, what would they like to do.Section Two: Basics of Design – SUGGESTED ACTIVITIESUnderstand how to design technical theatre components, such as, costumes, sets, props, make-up, lighting and sound. Develop a theatre personnel flow chart; include the designer, chief, and crew for each major element of theatre production. Introduce the various types of stage spaces and areas for each type of stageDraw a simple floor plan for a selected piece of production script.Investigate theater and technical opportunities within the school, after-school programs and performance options.Create a marketing poster for a show with an identifiable dominant image.Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).Create a crew check list for a week-long production schedule.Create a mini-design portfolio for a scene using collage, swatches, original drawings/diagrams, found objects/images, and writing. Respond to design elements in a theater performance, noting the elements of spatial relationships, symbols, patterns, dissonance and similarities by providing examples.Section Three: Costume Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices.Pull costumes from existing stock or one’s own wardrobe. Label and catalog the items. Sew on a button, or sew a hem by hand or using a machine.Costume CreationsGroups make, model, explain their design creations. Designing the Play’s CostumesGroups are assigned specific plays/productions to fully design a costume pieces or pieces. Section Four: Lighting/Sound Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of how to use light to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play.Station 1:??Sound Design - Explore how a sound designer reads a script for sound cues.?? Station 2:??Light for Living- Lighting designers need to know how lighting affects a space.??Here you will be creating an overhead drawing of your living room at home, indicating sources of light and what directions the light goes in the room and where it creates shadow.??You will also write one paragraph describing how you think the lighting in your living room creates a mood for that room.??Is it different from any other room in the house?Station 3:??Key/Fill/Top Light-This is the standard procedure for lighting on stage.??In groups of three within your group, you will try to imitate the lighting of photographs by using flashlights on a group member.??After experimenting with white light, you will use gels (color) to create a specific mood for scene you create.??You will write one paragraph describing you key and fill lights, the colors you used, and the resulting mood of the scene.?Light A Scene - In a classroom using a variety of found lights, such as flashlights, clip lights and lamps. Use portable lighting units such as Par Can 30s in a classroom or theater. Operate school auditorium lighting using existing or rented lighting board. Sound Design - Make a CD or audio tape to score a scene. Practical Practice - Run the sound for a show, including CD or tape player, microphone and speaker set-up.Section Five: Set Design –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of set pieces and design by creating a model set for a play script of their choice.Measure a room and create a ground plan including furniture and other elements from the room. Design a scene in a classroom using found objects. Spike the set and furniture pieces from a student-generated ground plan for a scene or school production. Work with teacher or technical director in constructing scenery for a production.Diagram and build a flat. Section Six: Advertising –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of advertising by analyzing various methods of promotion.Movie Trailer Madness – Show a few film teasers/trailers at the beginning of the class to get their attention.What did we just watch???What are these trailers made for???Did this trailer accomplish what it was made for???Why or why not???What could this have been made for???What do you think the makers are trying to get across to you???Were you persuaded???What is advertising???What is its purpose???What makes it effective???How does this fit in with theatre?Advertising PowerPoint/SMART LessonBreak the class up into groups of 3 or 4 students and instruct them that they are going to go back and look at the trailers that have been shown today but this time they are to make note of the different elements or principles of creating an effective ad that are present in each advertisement.?Advertising Project: They will have to create an advertising campaign for the upcoming show.??Instruct them that their campaign should include a script for a 1 - 2 min. radio or TV commercial, a poster for the show, a description of their target audience as well as an estimate of what it would take to advertise to the community.Section Seven: Stage Managing –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of how to manage a staged production at their school or organization using tenets of communication, delegation and organization.Create and post cast sign-in sheets. Take blocking notes in a working rehearsal. Generate daily rehearsal schedules under the director’s guidance. Generate a master production schedule and a working production budget for an upcoming school productionAMISTAD ’s Top Ten African American Directors Of The Decade: Directors play an integral role in operational side of entertainment creation. Students can discover their favorite directors and movies, and create slideshows encompassing their portfolio of work. Students can even pretend to be famous directors themselves, creating mock resumes and portfolios showcasing their own directorial achievements. EDUCATIONTeens act out Holocaust survivors’ stories in Witness Theater: Student can learn by example and create their own theater production after covering survivor stories from the Holocaust. Students can take on various technical roles as they learn from this production’s model in order to tell stories of the past for audiences of the present. EDUCATIONResearch Project: Top Gay and Lesbian Directors Working Today. There are plenty of people behind the cameras making heater and film happen. Research one of these artists and present your finding to the class unit in either a written, vlog or group project. EDUCATION9 Theater Companies Celebrating Actors With Disabilities: Discover the theater companies whose goal is to champion artists with special needs. What drives them to be inclusive? How can these companies thrive in today’s climate? Discover these questions and find the answers in class as you research these theater companies! – See Appendix B for specialized programs that reflect the needs of students and community.Theater House visits and tours.Youtube / Literary / Archival Play Production MediaInvestigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).ResourcesWebsites:AMISTAD: : : : in Stage Management & Technical Theater -? HYPERLINK "" \t "_blank" drama.ac.uk/lighting.htmlDesign & Technical Production for High Schools -? HYPERLINK "" \t "_blank" Lighting & Theatre Effects -? HYPERLINK "" \t "_blank" lteg.htmLighting Links -? HYPERLINK "" \t "_blank" linksThe Costume Page -? HYPERLINK "" \t "_blank" Costume Site -? HYPERLINK "" \t "_blank" costumeTheatre Makeup -? HYPERLINK "" \t "_blank" catalog.htmlSTAGE CRAFT DIRECTORY of Technical Theatre Terms?()?Hundreds of British (and American) technical theatre terms, explained. In alphabetical order. Soon to be sorted by category, too. HYPERLINK "" \t "_blank" Stagecraft Frequently Asked Questions?()?Frequently asked questions from the rec.arts.theatre.stagecraft and alt.stagecraft newsgroups. HYPERLINK "" \t "_blank" Drama Department Links: Stagecraft?()?From the University of Exeter. The list includes costumes, staging, props, lighting, sound, and stage management. HYPERLINK "" \t "_blank" Association of British Theatre Technicians?()?Includes information about training, publications, and other information about several aspects of technical theatre. HYPERLINK "" \t "_blank" Entertainment Technology (ETEC)?()?This site provides access to the magazines "Entertainment Design" and "Lighting Dimensions" about show business art and technology.Books:Clark, I.E. STAGECRAFTERS’ HANDBOOK: A GUIDE FOR THEATRE TECHNICIANS, Studio City, Players Press, 1995.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Technology & TheatreTechnical Theatredemonstrate an understanding of technical theatre terms and parts by participating in a theatre tour, completing a graphic organizer, and writing what they want to learn more about in technical theatre12Technology & TheatreBasics of DesignUnderstand how to design technical theatre components, such as, costumes, sets, props, make-up, lighting and sound12Technology & TheatreCostume Designdemonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices12Technology & TheatreLighting and Sound Designdemonstrate an understanding of how to use light to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play12Technology & TheatreSet Designdemonstrate an understanding of set pieces and design by creating a model set for a play script of their choice22Technology & TheatreAdvertisingdemonstrate an understanding of advertising by analyzing various methods of promotion12Technology & TheatreStage Managingdemonstrate an understanding of how to manage a staged production at their school or organization using tenets of communication, delegation and organization2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Fundamentals of TheatreContent Area:DramaGrade(s)10 - 12Unit Plan Title:Analyzing & Critiquing Theater Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleTheater criticism is an important aspect of the young actor’s education for it encourages students to discover the differences between theater as an art form and theater as entertainment. In this unit, students are taught to explain the aesthetics of theatrical design while evaluating theatrical performances. How does artist collaboration enhance a cohesive production concept? How do students develop a critical eye that develops both self-analysis and critical response to classmates? These questions, among many others, encourage our students to develop strong opinions based on conventional theater practices. These opinions will be predicated upon careful observation, with student collaboratively investigating diverse forms of theater and film. Writing, oral, performance based reflections and study projects will assist students in presenting their personal attitudes towards the art form in an educational and beneficial way. Standard(s)CREATINGAnchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof2.Cr2a: Explore the function of history and culture in the development and subsequent interpretations of devised or scripted theatre work.1.4.12prof.Cr2b: Examine the collaborative nature of the actor, director, playwright, and designers, and explore their interdependent roles.Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.PERFORMINGRESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:Accomplished1.4.12acc.Re8a: Analyze and assess a devised or scripted theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.1.4.12acc.Re8c: Verify and articulate how a devised or scripted theatre work communicates for a specific purpose and audience.Advanced1.4.12adv.Re8a: Research and synthesize cultural and historical information related to a devised or scripted theatre work to support or evaluate artistic choices.1.4.12adv.Re8b: Analyze and evaluate varied aesthetic interpretations of production elements for the same devised or scripted theatre work.1.4.12adv.Re8c: Compare and debate the connection between devised or scripted theatre work and contemporary issues that may impact audiences.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9c: Support and explain aesthetics, preferences, and beliefs to create a context for critical research that informs artistic decisions in devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.Anchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11b: Use basic research methods to better understand the social and cultural background of devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L6. Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when encountering an unknown term important to comprehension or expression.Essential Question(s)What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?How does artist collaboration enhance a cohesive production concept?How can you use critical response to inform more advanced choices in the artistic process?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Personal artistic choices combined with group collaboration and diverse perspectives create a well thought out artistic product. Investigation into textual clues to problem solve contributes to the production process and the final creation of the end product.Discovery gained through constructive feedback, the writing process, and self-reflection can expand a production team’s ability to create a refined finished product .Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesApply acting skills, such as: voice, movement or text analysis to a final presentation of a sceneSelf-reflect and give constructive criticism to classmates.Create and discuss critical thinking, question prompts involved in self and group assessment.Understanding that discovery gained through constructive feedback, the writing process, and self-reflection can expand a production team’s ability to create a refined finished product.AssessmentsPre and Formative: Critique one aspect of a performance, Theatre terminology Pre-TestConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Benchmark/Authentic Assessment: Student performance and reflective critiques. Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Written response The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Summative: Students will demonstrate competency in:Analyze a theatrical performance addressing aesthetic elements.Analyze and write a peer evaluation of a performance addressing actor’s pare and contrast television to live theatre.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Theater Criticism –SUGGESTED ACTIVITIESStudents will analyze and write a peer evaluation of a performance addressing actor’s choices. Criticism PowerPoint: Students discuss appropriate criticism techniques.Lecture, discussion, model writing a critiqueList critique techniques using the appropriate terminology.Peer Evaluations: Watch and write a critique of an improvised, class performance and give positive feedback.Practical Thinking: Use library resources to research a play being performed by a professional company. Attend the performance. Read published reviews of the performance.Write a critique of a professional production and submit it to a local publication.Section Two: Theater Aesthetics –SUGGESTED ACTIVITIESAnalyze a theatrical performance addressing aesthetic elements. Aesthetics PowerPoint: Students discuss aesthetic elements of theaterPhysiological - unconscious physical reactions to what is seen/heard such as blinking at a bright lightCultural - responses that can vary among different people based on age, gender, races, nationality, religion, or social groupsPersonal - responses that are based upon an individual’s experiences Aesthetic Exercises: Compare the various cultural/physiological/personal aesthetics.I SPY WITH MY LITTLE EYE Students will demonstrate an understanding of visual elements as aspects of their environment and an ability to articulate what they see by playing a very simple “Hints and Guessing” game.Utilizing Technical Theater design as a basis of imageryI’ve Been Wondering. . .Students will demonstrate an understanding of aesthetics as a discussion of “points of view” by defining important aesthetic questions in the arts and discussing the issues in small groups and presenting the conclusions (pro and con) to the class.Living ArtInterpretation of works of art may extend to dramatic presentations through reader’s theater (students write dialogue for the people in an artwork, then perform the parts with different voices), “living paintings” or tableaux, and sound symphonies (students act out the sounds that are suggested by the artwork). A variety of approaches will lead students to enter and interpret many works of art from multiple perspectives.DESCRIPTIVE WRITING USING POST-IT NOTES: With Small Groups: Assign students to groups of three or four. Give each group a study print (or let each group choose an image) and a pad of Post-It Notes (the smallest size available). Ask students to use only the visual evidence in the work for this study.Section Three: Theater and Film –SUGGESTED ACTIVITIESThe student will identify how other arts such as Film are applied in theaterTheater and Film PowerPoint: Students discuss appropriate similarities and differences between film and live theater techniques.Television 1990s-present United StatesComedy · Drama · Musicals · Reality T.V.Live Theatre 1990s-present United StatesComedy · Drama · Musicals · ImprovisationCompare and Contrast SessionsStudents can develop Venn DiagramsWrite research projectsDisplay dioramas, board presentationsPerformance Presentations. Representing Society in Theater and Film Find a problem in society. Consider how it would be represented on television. Write the script. Justify the choices in the script.Perform the pare and contrast worksheet including details of both styles of performance.Practical Thinking: Use resources to find a production that has been BOTH a film and live theater event. Disney Musicals & CartoonsWrite a compare and contrast piece describing the strengths and weakness of the practical aesthetics. AMISTAD EDUCATIONFLIPGRID Theater Analysis: Students will view and critique the provided link and give their “Theater Review” as a professional theater critique. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Wheels of a Dream: Color Purple: EDUCATIONFLIPGRID Movie Analysis: Students will view and critique the provided link and give their “Movie Review” as a professional theater critique. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Students should choose one movie to view, and/or research. EDUCATIONFLIPGRID Theater Compare and Contrast: Students will view and compare/contrast the provided links. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. "Sixteen Going On Seventeen" Andrew Keenan-Bolger, Jay Armstrong Johnson Going On Seventeen from The Sound of Music EDUCATIONFLIPGRID Theater Analysis: Student will view and critique the provided link and give their comments. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Shakespeare performed by Down’s Syndrome adults - See Appendix A for accommodations and modifications for all subgroupsTake trips to libraries or museums (art, cultural, history and natural history) for research purposes. Associated activities include: journal entries - collages - creative writing - research papers linked to the creation, design or production of plays Use the theater archives and collections of the New York Public Library for the Performing at Lincoln Center in researching a school play to be produced. Use online research to examine a theater company in a different culture or country. Use theater archives, libraries or museums to compare and contrast two different productions of the same theater piece. Photos, design drawings, Playbills, videos, and costume renderings can be used to show how different companies interpret and produce the same pare two productions of the same play produced in different times or cultures. Use online resources to research a theater company from a different country. If this company were coming to New York, attend a rehearsal, ask the company to conduct a master class, or invite the company to the school.ResourcesONLINE RESOURCESAMISTAD: Wheels of a Dream: Color Purple: : : "Sixteen Going On Seventeen" Andrew Keenan-Bolger, Jay Armstrong Johnson Going On Seventeen from The Sound of Music : Shakespeare performed by Down’s Syndrome adults Criticism Online: Contains Gale’s Contemporary Literary Criticism, Nineteenth-Century Literature Criticism, and Twentieth-Century Literary Criticism.JSTOR Includes full-text theater and performing arts journals from their inception to 3-5 years ago.The School Page -? HYPERLINK "" \t "_blank" schoolshows.demon.co.ukTheatre Arts Guide -? Arts Resources on the Web -? and MediaCritical Survey of Drama: Essays arranged alphabetically by author being discussed, with references to additional resources. Last volume contains essays related to drama in general.Major Modern Dramatists: Presents excerpts from reviews, articles, and books about major modern dramatists.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Analyzing & Critiquing TheatreTheatre Criticismanalyze and write a peer evaluation of a performance addressing actor’s choices23Analyzing & Critiquing TheatreTheater Aestheticstheatrical performance addressing aesthetic elements23Analyzing & Critiquing TheatreTheater and Filmidentify how other arts such as Film are applied in theater1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order. Fundamentals of TheatreContent Area:DramaGrade(s)10-12Unit Plan Title:Intro to PlaywritingCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleWords, Words, Words. This playwrighting workshop impresses upon students the importance of the written word in theater. Students will discover the ins and outs of fundamental script design, while bolstering their conceptions of plot structure. By studying and researching famous works and playwrights of the 20th century, students will be given the opportunity to create balanced, “well written”, characters and plots. Equipped with the knowledge of historical periods, students can enhance real-world connections to literary characters while they create their collaboratively conceived characters and stories. Character analysis research will be an integral component of this unit, not only through textual means. Improvisation performance will assist in the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction. The aim of this unit to follow our student’s creative process from the page to ultimately the stage. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3c: Explore technical design choices that support the story and emotional impact of a scripted or devised theatre work.Accomplished1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.PERFORMINGAnchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9b: Use understandings of cultures and contexts to shape personal responses to devised or scripted theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11b: Use basic research methods to better understand the social and cultural background of devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R3.Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.NJSLSA.W4.Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.NJSLSA.L3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.Essential Question(s)What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?What happens when artists and audiences share a live theatre experience?Enduring UnderstandingsTheatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.The creation of a script may enhance the discovery of current social, political, historical, and cultural themes and issues, and philosophies.Elements of script design and plot structure (Hero’s Journey).Major playwrights of the 20th century/Major works of the 20th Century.Character development techniques inform the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction.Improvisational skills inform the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDemonstrate an insightful understanding of works in theatre by analyzing and interpreting what is presented in formal and informal productions, films and electronic media.Practice and refine writing techniques for the development of ideas, the creation of text and subtext and the development of characters and settings.Expand knowledge of the various activities of the playwright, actor, director, and designers by participating in the collaborative process that occurs in producing original theatrical productions.Describe the sets, costumes, lighting and sound for effective interpretation of your scripts.Make writing choices, using script analysis, character research, reflection, and revision to create original plays from classical, contemporary, realistic, or nonrealistic styles. Work collaboratively as an ensemble, continuing to demonstrate and improve communication, design, organizational and writing skills.AssessmentsPre and Formative: Observation of students as they participate in discussions, group planning, rehearsals and performances shows degree of understanding, commitment and cooperation. ResearchDiscussion, Observation of Performances, Script reading, Performing in short playsCollaborating with directors, actors and designers to complete projectsReflective writingWritten critiquesBenchmark/Authentic Assessment: Critiques of the work of self and others will show depth of understanding and personalization of the material.Performing in short playsReading scripts and viewing performances using established criteria will demonstrate student skill and growth.Summative: Students will demonstrate competency in:Reading research and reflective writing will show student range of understanding of the major concepts in playwriting and their personal relationship to them. Reflective writingWritten critiquesAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Intro to Playwriting –SUGGESTED ACTIVITIESStudents will understand the role of the playwright in relation to scripting theatre and theatrical history. Playwriting PowerPoint: The teacher presents a power point on history of playwriting and students complete simple worksheets based on the power point.Read, view and discuss plays written in a traditional style such as works by Arthur Miller, Neil Simon, August WilsonExplore personal stories by telling, performing, discussing, and writing them.Section Two: Intro to Dramatic Writing –SUGGESTED ACTIVITIESStudents will understand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character.Free Writing: Students will write five minutes based on specific teacher-given prompts. They will be given several prompts which help with free writing and creativity. Playwriting PowerPoint: The teacher presents a power point on basics of playwriting and students complete simple worksheets based on the power point.Students, using teacher-provided worksheets, will be able to determine and record the basic elements of a play such as beginning, middle, end, conflict, plot, and character.Collaborative Playwriting: Students will demonstrate their increased ability to be creative with brainstorming story ideas by writing their own story synopsis.Group ideas will be based upon teacher generated images, quotes and/or plot plays.Depict a simple, known story in three physical or drawn images (beginning, middle, end).Section Three: Plot Structure –SUGGESTED ACTIVITIESStudents will understand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character.Aristotle’s Dramatic Structure: Students will demonstrate their ability to identify and define the five aspects of Aristotle’s dramatic structure by outlining and performing stories.Remind the students of the definitions of the elements and how the dramatic structure of a play follows the graph Exposition – background information (who, what, where, why, when; normal lifeInciting Incident – an action that sets the conflict in action (normal life changes)Rising Action – the story thickens and obstacles arisesClimax – highest point of the play (most emotional, the choice, etc.)Denouement/Falling Action – the untying of the know or resolutionPop Culture Plots: Use a clip/media to enhance the students awareness of Plot Structure.Group Work – Divide the students up into groups of 4-5. Have them come up with a common, well-known story (fable, fairy tale, children’s book, etc.). The students should create an outline of their story on paper, defining the moments for each element of dramatic structure. Then they need to prepare to perform their story in two versions:?The story with correct dramatic structure form.The story with one or two elements of dramatic structure removed.Checking for Understanding – Explain how dramatic structure in plotline helps to give form to plays and makes stories more interesting to follow.Section Four: The Hero’s Journey –SUGGESTED ACTIVITIESStudents will understand how the structure of the Hero’s Journey can influence character design in a given plot.Hero’s Journey Intro: Students will demonstrate their ability to identify and define the stages of the Hero’s Journey by outlining and performing stories.The Call to AdventureRefusal of the CallThe Beginning of the Adventure/ThresholdSupernatural Aid/Mentor The Road of TrialsThe Experience with Unconditional Love/Temptress: The Ultimate BoonRefusal of the ReturnRescue from Without The Crossing or Return Threshold/Master of Two WorldBrainstorm a plot comprising of a sequence of actions characters with clear intentions/wants - obstacles to characters’ wants - character growth or transformation from overcoming an obstacle or resolving conflict - unified and consistent theme - written stage directions, including character descriptions and notes - clear and articulated choices about dramatic style, structure and convention.Section Five: Stage Direction –SUGGESTED ACTIVITIESStudents will demonstrate an ability to write stage directions and lines in the correct format by writing the beginning/first entrance and first few lines of their scene.Simon Sez Stage Directions: Blindfold a student and every other person receives a random object. When everyone has an item, tell the students with random objects to find the person closest to them with a blindfold.Observe the world around you and why it is important to pay attention to.Was it hard to give directions? Was it hard to understand directions? What was the easiest/hardest part? Why do we need directions in scripts? What should we include in directions?Set the Scene: Write the beginning of their scene in correct format including title, character list, explanations (set up), directions, and?the first few lines of dialogue.Section Six: Stage Dialogue –SUGGESTED ACTIVITIESStudents will demonstrate an ability to write motivating, interesting dialogue by writing the dialogue for one section of their script.Dialogue vs. Description: Students should be able to portray a believable character using written clues Before reading a script,?the author will tell what each character's objective is. Then each group member will discuss the motivation behind the lines: why is that line there? How does that motivate the character toward his objective? Create storytelling circles to discover elements of character development.Discuss characters withclear intentions/wants obstacles to characters’ wants character growth or transformation from overcoming an obstacle or resolving conflictA small peer review. Assess and be available for questions during this time.Section Seven: Writing the Script –SUGGESTED ACTIVITIESStudents will synthesize playwriting skills by beginning their first full draft of their scene.Writing: Create/write original work drawn from or inspired by a variety of source materials, including literature, history, current events, music, poetry, interviews, themes and their own imaginations.Group Help: In trios, exchange scenes and, based on notes from the playwright, write a director’s and a designer’s concept statement for each other’s scenes. Share the trio’s ideas with the other members of your group.Analyze your peer’s dramatic script for elements of structure, character development, conflict and plot.Peer Reviews: Students will be able to improve on their scripts by receiving feedback from peer critique papers.Write an outline of strengths and weaknesses for a partners script focusing StructureCharacter development/transformationMoments of conflict and plotSection Eight: Translating the Script to Performance –SUGGESTED ACTIVITIESStudents will cast their scenes and rehearse in class. Scenes do not need to be memorized, but must be performed with characterization and performance in mind. Short Cuts: Students will informally present the scenes.Perform the written word in a reading or memorized presentation.Script Assessment: Students will show their ability respond to the work of their peers. Feedback?CharactersRelationshipsDramatic ActionConflict Overall Feel and EffectivenessAMISTAD EDUCATIONThe Harlem Renaissance: Novels and Poetry from the Jazz Age: The Harlem Renaissance was a movement in the 1920s and 1930s during which there was an explosion of African-American art and literature. This lesson looks at the themes, causes, and important figures of the Harlem Renaissance. EDUCATIONScripts for Free: has a plethora of free, member only, scripts which you can access at any time. There is a vast collection of Holocaust themed scripts which can serve as a model not only for playwrighting, but acting study as well. Use these scripts appropriately in your theater classroom, as you learn about the Holocaust through dramatic performance. []=84LGTBQIA EDUCATIONOscar Wilde: Take a look into the life and work of one of the greatest playwrights of his time. Hailed, persecuted and revered, Oscar Wilde wrote what others deemed too taboo and controversial. Read, analyze, discuss and use the provided resources to fill hours of lessons! EDUCATIONActors connect with student playwrights with autism at Theatre Horizon: An excellent window into the arena of special needs students writing short plays. Use the skills, techniques and lessons from the video to incorporate into your own theater classroom. – See Appendix B for specialized programs that reflect the needs of students and community.Enter playwrighting competitions, including: The Scholastic Art and Writing Awards: artandwritingawards/about.htm Young Playwrights: petitions. htmlResourcesBooks:Catron, Louis E. The Elements of Playwriting. Macmillan, 1993.Clark, Leroy. Practical Playwriting: A Guide to Writing for the Stage. Pearson Education, Inc., 2007.Dorf. Jonathan. Young Playwrights 101. YouthPlays Press, 2005.Hatcher, Jeffrey. The Art & Craft of Playwriting. Story Press, 1996.Frensham, Raymond G. SCREENWRITING, Lincolnwood, NTC Publishing Group, 1996.Plays, Inc. THE BIG BOOK OF FOLKTALE PLAYS: ONE ACT ADAPTATIONS OF FOLKTALES FROM AROUND THE WORLD FOR STAGE AND PUPPET PERFORMANCE, Boston, Plays, Inc., 1997.Websites:AMISTAD: : []=84LGBTQIA: : & Playwriting -? HYPERLINK "" \t "_blank" resources/links/PlaysandPlaywritingLinks.htmPlaywriting 101 -? HYPERLINK "" \t "_blank" Plays Magazine -? HYPERLINK "" \t "_blank" Playwrights Noticeboard -? HYPERLINK "" \t "_blank" markets.htmPlaywrights Project -? HYPERLINK "" \t "_blank" Stage Kids - The Edu-Tainment Company -? HYPERLINK "" \t "_blank" Storytelling & Creative Dramatics -? Pedia-Listing of Playwrights and Plays -? HYPERLINK "" \t "_blank" elactheatre/library/plays.htmTheatreFolk Original Plays -? HYPERLINK "" \t "_blank" Young Playwrights -? HYPERLINK "" \t "_blank" *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Intro to PlaywritingIntro to Playwritingunderstand the role of the playwright in relation to scripting theatre and theatrical history14Intro to PlaywritingIntro to Dramatic Writingunderstand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character14Intro to PlaywritingPlot Structureunderstand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character14Intro to PlaywritingThe Hero’s Journeyunderstand how the structure of the Hero’s Journey can influence character design in a given plot14Intro to PlaywritingStage Directiondemonstrate an ability to write stage directions and lines in the correct format by writing the beginning/first entrance and first few lines of their scene14Intro to PlaywritingStage Dialoguedemonstrate an ability to write motivating, interesting dialogue by writing the dialogue for one section of their script14Intro to PlaywritingWriting the scriptsynthesize playwriting skills by beginning their first full draft of their scene24Intro to PlaywritingTranslating the script to performancecast their scenes and rehearse in class. Scenes do not need to be memorized, but must be performed with characterization and performance in mind2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Fundamentals of TheatreContent Area:DramaGrade(s)10 - 12Unit Plan Title:Intro to PlaywritingCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleWords, Words, Words. This playwrighting workshop impresses upon students the importance of the written word in theater. Students will discover the ins and outs of fundamental script design, while bolstering their conceptions of plot structure. By studying and researching famous works and playwrights of the 20th century, students will be given the opportunity to create balanced, “well written”, characters and plots. Equipped with the knowledge of historical periods, students can enhance real-world connections to literary characters while they create their collaboratively conceived characters and stories. Character analysis research will be an integral component of this unit, not only through textual means. Improvisation performance will assist in the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction. The aim of this unit to follow our student’s creative process from the page to ultimately the stage. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3c: Explore technical design choices that support the story and emotional impact of a scripted or devised theatre work.Accomplished1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.PERFORMINGAnchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9b: Use understandings of cultures and contexts to shape personal responses to devised or scripted theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11b: Use basic research methods to better understand the social and cultural background of devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R3.Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.NJSLSA.W4.Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.NJSLSA.L3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.Essential Question(s)What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?What happens when artists and audiences share a live theatre experience?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists reflect to understand the impact of drama processes and theatre experiences.The creation of a script may enhance the discovery of current social, political, historical, and cultural themes and issues, and philosophies.Elements of script design and plot structure (Hero’s Journey).Major playwrights of the 20th century/Major works of the 20th Century.Character development techniques inform the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction.Improvisational skills inform the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDemonstrate an insightful understanding of works in theatre by analyzing and interpreting what is presented in formal and informal productions, films and electronic media.Practice and refine writing techniques for the development of ideas, the creation of text and subtext and the development of characters and settings.Expand knowledge of the various activities of the playwright, actor, director, and designers by participating in the collaborative process that occurs in producing original theatrical productions.Describe the sets, costumes, lighting and sound for effective interpretation of your scripts.Make writing choices, using script analysis, character research, reflection, and revision to create original plays from classical, contemporary, realistic, or nonrealistic styles. Work collaboratively as an ensemble, continuing to demonstrate and improve communication, design, organizational and writing skills.AssessmentsPre and Formative: Observation of students as they participate in discussions, group planning, rehearsals and performances shows degree of understanding, commitment and cooperation. ResearchDiscussion, Observation of Performances, Script reading, Performing in short playsCollaborating with directors, actors and designers to complete projectsReflective writingWritten critiquesBenchmark/Authentic Assessment: Critiques of the work of self and others will show depth of understanding and personalization of the material.Performing in short playsReading scripts and viewing performances using established criteria will demonstrate student skill and growth.Summative: Students will demonstrate competency in:Reading research and reflective writing will show student range of understanding of the major concepts in playwriting and their personal relationship to them. Reflective writingWritten critiquesAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Intro to Playwriting –SUGGESTED ACTIVITIESStudents will understand the role of the playwright in relation to scripting theatre and theatrical history. Playwriting PowerPoint: The teacher presents a power point on history of playwriting and students complete simple worksheets based on the power point.Read, view and discuss plays written in a traditional style such as works by Arthur Miller, Neil Simon, August WilsonExplore personal stories by telling, performing, discussing, and writing them.Section Two: Intro to Dramatic Writing –SUGGESTED ACTIVITIESStudents will understand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character.Free Writing: Students will write five minutes based on specific teacher-given prompts. They will be given several prompts which help with free writing and creativity. Playwriting PowerPoint: The teacher presents a power point on basics of playwriting and students complete simple worksheets based on the power point.Students, using teacher-provided worksheets, will be able to determine and record the basic elements of a play such as beginning, middle, end, conflict, plot, and character.Collaborative Playwriting: Students will demonstrate their increased ability to be creative with brainstorming story ideas by writing their own story synopsis.Group ideas will be based upon teacher generated images, quotes and/or plot plays.Depict a simple, known story in three physical or drawn images (beginning, middle, end).Section Three: Plot Structure –SUGGESTED ACTIVITIESStudents will understand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character.Aristotle’s Dramatic Structure: Students will demonstrate their ability to identify and define the five aspects of Aristotle’s dramatic structure by outlining and performing stories.Remind the students of the definitions of the elements and how the dramatic structure of a play follows the graph Exposition – background information (who, what, where, why, when; normal lifeInciting Incident – an action that sets the conflict in action (normal life changes)Rising Action – the story thickens and obstacles arisesClimax – highest point of the play (most emotional, the choice, etc.)Denouement/Falling Action – the untying of the know or resolutionPop Culture Plots: Use a clip/media to enhance the students awareness of Plot Structure.Group Work – Divide the students up into groups of 4-5. Have them come up with a common, well-known story (fable, fairy tale, children’s book, etc.). The students should create an outline of their story on paper, defining the moments for each element of dramatic structure. Then they need to prepare to perform their story in two versions:?The story with correct dramatic structure form.The story with one or two elements of dramatic structure removed.Checking for Understanding – Explain how dramatic structure in plotline helps to give form to plays and makes stories more interesting to follow.Section Four: The Hero’s Journey –SUGGESTED ACTIVITIESStudents will understand how the structure of the Hero’s Journey can influence character design in a given plot.Hero’s Journey Intro: Students will demonstrate their ability to identify and define the stages of the Hero’s Journey by outlining and performing stories.The Call to AdventureRefusal of the CallThe Beginning of the Adventure/ThresholdSupernatural Aid/Mentor The Road of TrialsThe Experience with Unconditional Love/Temptress: The Ultimate BoonRefusal of the ReturnRescue from Without The Crossing or Return Threshold/Master of Two WorldBrainstorm a plot comprising of a sequence of actions characters with clear intentions/wants - obstacles to characters’ wants - character growth or transformation from overcoming an obstacle or resolving conflict - unified and consistent theme - written stage directions, including character descriptions and notes - clear and articulated choices about dramatic style, structure and convention.Section Five: Stage Direction –SUGGESTED ACTIVITIESStudents will demonstrate an ability to write stage directions and lines in the correct format by writing the beginning/first entrance and first few lines of their scene.Simon Sez Stage Directions: Blindfold a student and every other person receives a random object. When everyone has an item, tell the students with random objects to find the person closest to them with a blindfold.Observe the world around you and why it is important to pay attention to.Was it hard to give directions? Was it hard to understand directions? What was the easiest/hardest part? Why do we need directions in scripts? What should we include in directions?Set the Scene: Write the beginning of their scene in correct format including title, character list, explanations (set up), directions, and?the first few lines of dialogue.Section Six: Stage Dialogue –SUGGESTED ACTIVITIESStudents will demonstrate an ability to write motivating, interesting dialogue by writing the dialogue for one section of their script.Dialogue vs. Description: Students should be able to portray a believable character using written clues Before reading a script,?the author will tell what each character's objective is. Then each group member will discuss the motivation behind the lines: why is that line there? How does that motivate the character toward his objective? Create storytelling circles to discover elements of character development.Discuss characters withclear intentions/wants obstacles to characters’ wants character growth or transformation from overcoming an obstacle or resolving conflictA small peer review. Assess and be available for questions during this time.Section Seven: Writing the Script –SUGGESTED ACTIVITIESStudents will synthesize playwriting skills by beginning their first full draft of their scene.Writing: Create/write original work drawn from or inspired by a variety of source materials, including literature, history, current events, music, poetry, interviews, themes and their own imaginations.Group Help: In trios, exchange scenes and, based on notes from the playwright, write a director’s and a designer’s concept statement for each other’s scenes. Share the trio’s ideas with the other members of your group.Analyze your peer’s dramatic script for elements of structure, character development, conflict and plot.Peer Reviews: Students will be able to improve on their scripts by receiving feedback from peer critique papers.Write an outline of strengths and weaknesses for a partners script focusing StructureCharacter development/transformationMoments of conflict and plotSection Eight: Translating the Script to Performance –SUGGESTED ACTIVITIESStudents will cast their scenes and rehearse in class. Scenes do not need to be memorized, but must be performed with characterization and performance in mind. Short Cuts: Students will informally present the scenes.Perform the written word in a reading or memorized presentation.Script Assessment: Students will show their ability respond to the work of their peers. Feedback?CharactersRelationshipsDramatic ActionConflict Overall Feel and EffectivenessAMISTAD EDUCATIONThe Harlem Renaissance: Novels and Poetry from the Jazz Age: The Harlem Renaissance was a movement in the 1920s and 1930s during which there was an explosion of African-American art and literature. This lesson looks at the themes, causes, and important figures of the Harlem Renaissance. EDUCATIONScripts for Free: has a plethora of free, member only, scripts which you can access at any time. There is a vast collection of Holocaust themed scripts which can serve as a model not only for playwrighting, but acting study as well. Use these scripts appropriately in your theater classroom, as you learn about the Holocaust through dramatic performance. []=84LGTBQIA EDUCATIONOscar Wilde: Take a look into the life and work of one of the greatest playwrights of his time. Hailed, persecuted and revered, Oscar Wilde wrote what others deemed too taboo and controversial. Read, analyze, discuss and use the provided resources to fill hours of lessons! EDUCATIONActors connect with student playwrights with autism at Theatre Horizon: An excellent window into the arena of special needs students writing short plays. Use the skills, techniques and lessons from the video to incorporate into your own theater classroom. – See Appendix B for specialized programs that reflect the needs of students and community.Enter playwrighting competitions, including: The Scholastic Art and Writing Awards: artandwritingawards/about.htm Young Playwrights: petitions. htmlResourcesBooks:Catron, Louis E. The Elements of Playwriting. Macmillan, 1993.Clark, Leroy. Practical Playwriting: A Guide to Writing for the Stage. Pearson Education, Inc., 2007.Dorf. Jonathan. Young Playwrights 101. YouthPlays Press, 2005.Hatcher, Jeffrey. The Art & Craft of Playwriting. Story Press, 1996.Frensham, Raymond G. SCREENWRITING, Lincolnwood, NTC Publishing Group, 1996.Plays, Inc. THE BIG BOOK OF FOLKTALE PLAYS: ONE ACT ADAPTATIONS OF FOLKTALES FROM AROUND THE WORLD FOR STAGE AND PUPPET PERFORMANCE, Boston, Plays, Inc., 1997.Websites:AMISTAD: : []=84LGBTQIA: : & Playwriting -? HYPERLINK "" \t "_blank" resources/links/PlaysandPlaywritingLinks.htmPlaywriting 101 -? HYPERLINK "" \t "_blank" Plays Magazine -? HYPERLINK "" \t "_blank" Playwrights Noticeboard -? HYPERLINK "" \t "_blank" markets.htmPlaywrights Project -? HYPERLINK "" \t "_blank" Stage Kids - The Edu-Tainment Company -? HYPERLINK "" \t "_blank" Storytelling & Creative Dramatics -? Pedia-Listing of Playwrights and Plays -? HYPERLINK "" \t "_blank" elactheatre/library/plays.htmTheatreFolk Original Plays -? HYPERLINK "" \t "_blank" Young Playwrights -? HYPERLINK "" \t "_blank" *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Intro to PlaywritingIntro to Playwritingunderstand the role of the playwright in relation to scripting theatre and theatrical history14Intro to PlaywritingIntro to Dramatic Writingunderstand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character14Intro to PlaywritingPlot Structureunderstand the role of the playwright in relation to scripting theatre and how playwriting skills can communicate conflict, plot and character14Intro to PlaywritingThe Hero’s Journeyunderstand how the structure of the Hero’s Journey can influence character design in a given plot14Intro to PlaywritingStage Directiondemonstrate an ability to write stage directions and lines in the correct format by writing the beginning/first entrance and first few lines of their scene14Intro to PlaywritingStage Dialoguedemonstrate an ability to write motivating, interesting dialogue by writing the dialogue for one section of their script14Intro to PlaywritingWriting the scriptsynthesize playwriting skills by beginning their first full draft of their scene24Intro to PlaywritingTranslating the script to performancecast their scenes and rehearse in class. Scenes do not need to be memorized, but must be performed with characterization and performance in mind2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Fundamentals of TheatreContent Area:DramaGrade(s)10-12Unit Plan Title:The Play: From Vision to RealityCareer Ready Practice(s)CRP8. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. Career-ready individuals readily recognize problems in the workplace, understand the nature of the problem, and devise effective plans to solve the problem. They are aware of problems when they occur and take action quickly to address the problem; they thoughtfully investigate the root cause of the problem prior to introducing solutions. They carefully consider the options to solve the problem. Once a solution is agreed upon, they follow through to ensure the problem is solved, whether through their own actions or the actions of othersOverview/RationaleThe focus of this unit is to explore elements of producing a play, including playwriting, directing, producing, and casting.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced1.4.12adv.Pr5a: Experiment with theatrical styles to form unique choices for a directorial concept in a devised or scripted theatre work.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:Accomplished1.4.12acc.Re8a: Analyze and assess a devised or scripted theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.Advanced1.4.12adv.Re8a: Research and synthesize cultural and historical information related to a devised or scripted theatre work to support or evaluate artistic choices.1.4.12adv.Re8c: Compare and debate the connection between devised or scripted theatre work and contemporary issues that may impact audiences.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?How does creating and performing in the arts differ from viewing the arts?Enduring UnderstandingsTheatre artists make choices to convey meaningTheatre artists, through a shared creative experience with an audience, present stories, ideas, and envisioned worlds to explore the human experience.Theatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.There are many careers in theatre aside from acting.Theatrical ensemble work techniques often transfers across work environments.Theatrical traditions of ensemble work for theatre create the foundations for creativity.All members of the theatrical ensemble promote the relationships and rules as part of the culture within the art form.The traditional theatrical ensemble transforms the culture and values with the addition of student written scripts.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationAFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesExamine themes and motifs within a given playUnderstand the historical significance of theatre, film, television, and/or electronic mediaCompose an original theatre selection for performance incorporating the ensemble processDirect peers in an ensemble productionAssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in writing and promoting plays.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallCooperative learningDirect instruction Effective questioningIdentifying similarities and differencesLectureRole Play/simulations/dramaTargeted feedback research and effective practiceWord Wall ActivitiesD- SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: PlaywritingPicture prompt sceneDiscuss Aristotle's six elements of DramaApply basic plot structure to known plays and moviesBrainstorm ideas for student written playStudents discuss and write a playLesson 2: The Director and ProducerDiscuss the different jobs of the director and producerExplore the role of a dramaturgList and discuss other members of the production teamScript analysisDevelop a director’s visionCreate a program for class developed playLesson 3: The CastDiscuss the casting processUnderstand audition etiquetteMock auditionsCast class playOrganize information into a viable rehearsal scheduleAMISTAD EDUCATIONHOLOCAUST EDUCATIONLGTBQIA EDUCATIONIDEA EDUCATIONExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.Audition workshopOHS/OPA fall drama and spring musicalsResourcesBasic Drama Projects 8th EditionBroadway playbillsResume template*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Putting on a playPlaywritingDevelop idea for play5Putting on a playPlaywritingWrite original play10Putting on a playDirector and ProducerDevelop director’s vision5Putting on a playDirector and ProducerDesign program and flyer5Putting on a playCastOrganize rehearsal schedule5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderFundamentals of TheatreContent Area:DramaGrade(s)10 - 12Unit Plan Title:Theatre and Its CounterpartsCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.Overview/RationaleThe focus of this unit is to explore musical theatre and other theatrical forms, including performance art, multimedia, film, and television. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.1.4.12adv.Pr4b: Create and justify the selection of technical elements used to develop and build a design that communicates the concept of a drama/theatre production.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced1.4.12adv.Pr5a: Experiment with theatrical styles to form unique choices for a directorial concept in a devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9b: Apply concepts from devised or scripted theatre work for personal realization about cultural perspectives and understanding.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9b: Use understandings of cultures and contexts to shape personal responses to devised or scripted theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.4.11b: Explore how personal beliefs and biases can affect the interpretation of research data applied in devised or scripted theatre work.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How, when, and why do theatre artists’ choices change?When is criticism vital and when does it take away from the meaning?How does creating and performing in the arts differ from viewing the arts?What are the fundamental differences between a “thoughtful” and a “thoughtless” critique?Enduring UnderstandingsTheatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.Design choices and artistic expressions reflect cultural influence.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyECritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesUnderstand elements of musical theatreAnalyze a potential musical idea in terms of viability, characters, setting, plot, and audience appealExplore theatrical forms outside the realm of traditional theatreUnderstand how elements of theatre and film differLearn about the filmmaking processInterview people who have careers in various types of theatreAnalyze a particular TV show in terms of characters, plot elements, settings, tone, and target audienceWrite an objective and fair review of a theatre, film, or television performance.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in analyzing various types of theatre and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallCooperative learningDirect instruction Effective questioningIdentifying similarities and differencesLectureRole Play/simulations/dramaTargeted feedback research and effective practiceWord Wall ActivitiesD- SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Musical TheatreDiscuss the history of musical theatreAnalyze songs from musicalsView performances from Tony Award winning musicalsperform song lyrics as a monologueDiscuss Adaptation and marketabilityCreate a proposal for a new musicalLesson 2: Stage to FilmDiscuss early filmcompare/contrast technical requirements for film and stageWatch video clips that contain different technical shotsScene adaptation screenplayLesson 3: MoviesFilm Journal EntryCreate a storyboard worksheetDiscuss the four phases of the filmmaking processExplore a soundstageDiscuss films in terms of setting, locations, director, cinematography, and actingContinuity activityLesson 4: TelevisionTelevision Journal entryDiscuss shows that are on television nowExplore TV GuideWatch examples of various television genresDiscuss the controversy behind televisionCreate a concept for a new reality show/ SitcomRemote ControlLesson 5: CritiqueRead Theater ReviewsDiscuss properties of a successful performanceExplore constructive criticismCritique clips of theatrical productionsAMISTAD EDUCATIONAll-Black Theater present OKLAHOMA!: This article introduce you to an all black version of Oklahoma!. Students should read the article, watch the supplied clips and compare and contrast them with the original version. EDUCATIONALLIANCE FOR JEWISH THEATRE: is made up of theatre-artists, theatres, and other people connected to theatre to promote the creation, presentation, and preservation of both traditional and non-traditional theatrical endeavors by, for, and about the Jewish experience. Classes can explore the shows, missions, productions, and teaching seminars located within their website for further study. EDUCATIONQueer Youth Theater: Use this site as a window into the vast network of LGBTQIA supported, youth theater companies across the United States. EDUCATIONETC!: Exceptional Theater Company is an all inclusive theater program for teens and adults with special needs. Through the power of theater our actors learn life skills that teach them to be the best versions of themselves! Use this in your classroom to introduce students to varied means of theater! Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: : : : Drama Projects 8th Edition Tony awards performance videos*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Theatre and its counterpartsMusical TheatreDevelop idea for new musical5Theatre and its counterpartsFilmCreate storyboard5Theatre and its counterpartsTelevisionCreate TV show concept pitch5Theatre and its counterpartsCritiqueReview a theatrical production5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderFundamentals of TheatreContent Area:DramaGrade(s)10-12Unit Plan Title:Technical TheatreCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.Overview/RationaleThe focus of this unit is to understand the principles of technical theatre. Students will learn about the different types of stages and their characteristics. They will also begin to understand how set design, costumes, make-up, and props affect a stage production.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.Accomplished1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.Advanced1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof.Cr2b: Examine the collaborative nature of the actor, director, playwright, and designers, and explore their interdependent roles.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3c: Explore technical design choices that support the story and emotional impact of a scripted or devised theatre work.Accomplished1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.Advanced1.4.12adv.Cr3c: Originate and construct technical design choices that support the story and emotional impact of a devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.Advanced1.4.12adv.Pr6a: Produce a devised or scripted theatre production for a specific audience that employs research and analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturg.PERFORMINGAnchor Standard 6: Conveying meaning through art.Performance Expectations:1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.Advanced1.4.12adv.Pr6a: Produce a devised or scripted theatre production for a specific audience that employs research and analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturg.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Accomplished1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Advanced1.4.12adv.Re9c: Support and explain aesthetics, preferences, and beliefs to create a context for critical research that informs artistic decisions in devised or scripted theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.Advanced1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth.?1.2.12prof.Pr4a: Integrate various arts, media arts forms and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.?????????New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W7. Conduct short as well as more sustained research projects, utilizing an inquiry-based research process, based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can one performance communicate different messages to different people?Enduring UnderstandingsTheatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Theatre artists apply criteria to investigate, explore and assess drama and theatre work.The creation of a play may enhance the discovery of current social, political, historical, and cultural themes and issues, and philosophies.Traditional theatrical culture embodies stage norms (such as: safety procedures, stage manager responsibilities, load-in, director’s concepts) and allows for open collaboration.Technical theater vocabulary (such as; arbor, weight, fly) strengthens the performers’ understanding of style, composition and technique.Through observation and critical investigation of script sources the collaboration with directors enhances understanding of design style within a cohesive concept.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsAGlobal Awareness ECreativity and InnovationAEnvironmental LiteracyTCritical Thinking and Problem SolvingEHealth LiteracyACommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesIllustrate the attributes of safety, construction, and production of technical theatre elementsCompare and contrast various careers in technical theatreTrace the development of technical aspects of theatre throughout major points of historyDesign costumes and make-up that is appropriate for specific charactersWrite or devise a short original play that conforms to the dramatic structure of one theatrical genre with a clear beginning, middle, and endDirect a scene from a published or original work demonstrating suitable script analysis and clear visual aestheticsAscertain the aesthetic of a theatrical production based on the technical production and performance valuesEvaluate the technical and artistic merits of a theatrical production within the context of its social, historical and/or political significance, craftsmanship, and originality as criteria for an informed response regarding the successful communication of the director’s visionAssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark /Authentic Assessment– performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in designing technical aspects for scripts.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD-Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD – SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Costumespicture promptfashion interviewlook at costumes from different genres and time periodsdiscuss costume ideas for a particular playsketch costume ideasdesign a costume plotUnconventional costume challengeLesson 2: Makeupdiscuss stage makeuplook at examplesdetermine appropriate makeup for a charactersketch distinctive facial features to delineate charactersapply stage makeupLesson 3: Propscreate scenes to incorporate given propsread a playdevelop a prop list for the playgather props from the listLesson 4: Set Design and ConstructionDiscuss set constructionCreate a space activityread scenes from playsStudents design sets for each sceneStudents build a model of their set designAMISTAD ’s Top Ten African American Directors Of The Decade: Directors play an integral role in operational side of entertainment creation. Students can discover their favorite directors and movies, and create slideshows encompassing their portfolio of work. Students can even pretend to be famous directors themselves, creating mock resumes and portfolios showcasing their own directorial achievements. EDUCATIONTeens act out Holocaust survivors’ stories in Witness Theater: Student can learn by example and create their own theater production after covering survivor stories from the Holocaust. Students can take on various technical roles as they learn from this production’s model in order to tell stories of the past for audiences of the present. EDUCATIONResearch Project: Top Gay and Lesbian Directors Working Today. There are plenty of people behind the cameras making heater and film happen. Research one of these artists and present your finding to the class unit in either a written, vlog or group project. EDUCATION9 Theater Companies Celebrating Actors With Disabilities: Discover the theater companies whose goal is to champion artists with special needs. What drives them to be inclusive? How can these companies thrive in today’s climate? Discover these questions and find the answers in class as you research these theater companies! Appendix B for specialized programs that reflect the needs of students and community. Resources AMISTAD: : : : Drama Projects HYPERLINK "" \t "_blank" bath.ac.uk/~su2bc/infoguides/index.shtml HYPERLINK "" \t "_blank" drama.ac.uk/lighting.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" lteg.htm HYPERLINK "" \t "_blank" links HYPERLINK "" \t "_blank" Broadway/Stage/2203/Smhandbook.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" index.htm HYPERLINK "" \t "_blank" Clark, I.E. STAGECRAFTERS’ HANDBOOK: A GUIDE FOR THEATRE TECHNICIANS, Studio City, Players Press, 1995. *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Technical TheatreCostumesDesign and build costumes10Technical Theatre MakeupApply stage makeup5Technical TheatrePropsDevelop prop list for a play5Technical TheatreSet DesignDesign a set for a play and build a model10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderFundamentals of TheatreContent Area:DramaGrade(s)10-12Unit Plan Title:Theatre HistoryCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to learn the history of theatre, specifically ancient, Medieval, Renaissance, and Elizabethan theatre. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.Advanced1.4.12adv.Pr6a: Produce a devised or scripted theatre production for a specific audience that employs research and analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturg.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:Accomplished1.4.12acc.Re8a: Analyze and assess a devised or scripted theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.Advanced1.4.12adv.Re8a: Research and synthesize cultural and historical information related to a devised or scripted theatre work to support or evaluate artistic choices.1.4.12adv.Re8c: Compare and debate the connection between devised or scripted theatre work and contemporary issues that may impact audiences.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.Anchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.4.11b: Explore how personal beliefs and biases can affect the interpretation of research data applied in devised or scripted theatre work.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA.L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)Why is it useful to compare theatre history to contemporary theatre practice when deciding on a production concept?How has theatre been used to express changing values in a specific society?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?How are the theatre artist’s processes and the audience’s perspectives impacted by analysis and synthesis?Enduring UnderstandingsTheatre artists allow awareness of interrelationships between self and others to inform their work.As theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.The study of theatre history reveals patterns of societal development and progress over time.The relationship between historical elements of theatre and contemporary theatre practice can inform and influence a production concept.The understanding of major developments in world theatre history broadens beliefs and values and can lead to the discovery of a society’s culture and traditions.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsAGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyTCommunicationTCivic LiteracyECollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCompare and contrast conventions of ancient and contemporary world theatrical forms.Analyze theatrical styles that challenge the social mores/zeitgeist of various historical periods.Analyze how dramatic literature and theatre is used to sway public opinion and question social norms.Differentiate ways that theatre has reflected and impacted the society and culture of its time in Western and non-Western theatrical traditions up to and including the 21st Century.Analyze how the theatre experience has or has not changed across a spectrum of historical period.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark /Authentic Assessment– performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in analyzing ancient, medieval, and renaissance theatre.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingPeer teaching/collaborationRole play/simulations/dramaTargeted feedback research and effective practiceActivitiesD – SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: StorytellingExplore the storytelling traditionExamine the role of the West African GriotPerform a dramatization of a story from the Oral TraditionOne word story activityWrite a story to personify an inanimate objectLesson 2: The Dawn of TheatreDiscuss various ancient theatre practicesExplore City DionysiaDesign Greek mask to determine characterPerform as a Greek chorusRead excerpts from Greek tragediesView examples of Chinese and Japanese drama, including Kabuki and BunrakuLesson 3: From Middle Ages to 1800sExplore Medieval DramaPresent tableausDiscover examples of Mystery, Miracle, Morality, and Passion playsWatch examples of Commedia Dell’arte Discuss Renaissance playwrights such as Cervantes, Lope de Vega, and MoliereExplore Elizabethan EnglandExamine Shakespearean plays, poems, and sonnetsWrite in Iambic PentameterAMISTAD EDUCATIONAfrican American Poetry Recitation Contest: Student can disvocer African American Poetry and perform them for the class as a vocal performance piece. Resources include: EDUCATIONMusic and the Holocaust: Through this article, students can reflect on the development of theater within Nazi concentration camps. Students can respectfully recreate small scenes depicting the struggles, or write research papers based on their findings. EDUCATIONPrejudice Study: Set the scene for the lesson by writing the word prejudice on the board and asking pupils as a class what they think the word means. If prejudice has been discussed in other lessons on, for example, racism or sectarianism, then it would be useful to draw on pupils’ knowledge on theseissues. Provide some examples of prejudiced viewpoints, for example: Act these situations out and discuss how they are harmful to supporting an environment of understanding and acceptance. ? ‘Women make bad drivers.’? ‘Unemployed people are lazy.’? ‘Groups of young people are looking to cause trouble.’IDEA EDUCATIONRecall and React: Set out a number of objects from the prop box on a tray or cloth. Give the group a full minute to concentrate and remember what is there. Then remove or cover if possible. Give a minute (or whatever is appropriate according to the ability level of the students) to see how many of the objects they can recall. Note: the number of objects on the tray can be limited according to the ability level of the students. Variation: Students whose language skills are not developed could draw the objects. ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.Virtual tour of the Globe TheatreField Trip: Shakespeareance at Drew UniversityResourcesAMISTAD: : Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ .uk/elizabethan-theatreaudiences.htm Folger Shakespeare Library - folger.edu “Shakespeare in American Communities” DVD’s: A&E’s Biography: Shakespeare Hamlet Romeo and Juliet Youtube Shakespeare, Commedia Dell’Arte, Greek Theatre*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Theatre HistoryStorytellingWrite and perform original stories5Theatre HistoryAncient TheatreCompare and contrast different ancient theatres10Theatre HistoryMedieval TheatreWrite modern morality play5Theatre HistoryElizabethan TheatreAnalyze Shakespeare text10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderActing IActing IContent Area:DramaGrade(s)9Unit Plan Title:Theatre HistoryCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to learn the history of theatre, specifically ancient, Medieval, Renaissance, and Elizabethan theatre. Standard(s)Anchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context..1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.Accomplished1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.1.4.12acc.Re8c: Verify and articulate how a devised or scripted theatre work communicates for a specific purpose and audience.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA.L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How has theatre been used to express changing values in a specific society?Enduring UnderstandingsTheatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Theatre artists apply criteria to investigate, explore and assess drama and theatre work.The study of theatre history reveals patterns of societal development and progress over time.The relationship between historical elements of theatre and contemporary theatre practice can inform and influence a production concept.The understanding of major developments in world theatre history broadens beliefs and values and can lead to the discovery of a society’s culture and traditions.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsAGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyTCommunicationTCivic LiteracyECollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCompare and contrast conventions of ancient and contemporary world theatrical forms.Analyze theatrical styles that challenge the social mores/zeitgeist of various historical periods.Analyze how dramatic literature and theatre is used to sway public opinion and question social norms.Differentiate ways that theatre has reflected and impacted the society and culture of its time in Western and non-Western theatrical traditions up to and including the 21st Century.Analyze how the theatre experience has or has not changed across a spectrum of historical period.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in comparing and contrasting ancient, medieval, and renaissance theatre.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallCooperative learningDirect instruction Effective questioningIdentifying similarities and differencesLectureSummarizing and note takingWord WallActivitiesD – SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: StorytellingExplore the storytelling traditionExamine the role of the West African GriotPerform a dramatization of a story from the Oral TraditionOne word story activityWrite a story to personify an inanimate objectLesson 2: The Dawn of TheatreDiscuss various ancient theatre practicesExplore City DionysiaDesign Greek mask to determine characterPerform as a Greek chorusRead excerpts from Greek tragediesView examples of Chinese and Japanese drama, including Kabuki and BunrakuLesson 3: From Middle Ages to 1800sExplore Medieval DramaPresent tableausDiscover examples of Mystery, Miracle, Morality, and Passion playsWatch examples of Commedia Dell’arte Discuss Renaissance playwrights such as Cervantes, Lope de Vega, and MoliereExplore Elizabethan EnglandExamine Shakespearean plays, poems, and sonnetsWrite in Iambic PentameterAMISTAD EDUCATIONA Brief History of African Americans/Blacks in Theatre: Students can read excerpts describing the impact of Black Theater in America. Students can also create informational timelines representing the rise of Black theater culture in the US. EDUCATIONThere’s a long history of Jews playing Nazis on screen: This is an introspective look on the more satirical side of film. Students can read, analyze, discuss and view clips of movie/stage/TV. This is an eye-opening experience for most, so care and respect must always be employed while covering this taboo topic. EDUCATIONThe History of Homosexuality in Theatre: A compilation Prezi presentation highlighted homosexuality in theater throughout history. Students can view, discuss or even create their own information packet projects concerning the issue. EDUCATIONThe introspective video from Michigan State Universitie’s ollege of Arts and Letters, focusing on the factors that make Theater for the Speical Needs Community successful. Theater and Autism: Appendix B for specialized programs that reflect the needs of students and community.Virtual tour of the Globe TheatreField Trip: Shakespeareance at Drew UniversityResourcesAMISTAD: : : : Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ .uk/elizabethan-theatreaudiences.htm Folger Shakespeare Library - folger.edu “Shakespeare in American Communities” DVD’s: A&E’s Biography: Shakespeare Hamlet Romeo and Juliet Youtube Shakespeare, Commedia Dell’Arte, Greek Theatre*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Theatre HistoryStorytellingWrite and perform original stories5Theatre HistoryAncient TheatreCompare and contrast different ancient theatres10Theatre HistoryMedieval TheatreWrite modern morality play5Theatre HistoryElizabethan TheatreAnalyze Shakespeare text10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderActing IContent Area:DramaGrade(s)9Unit Plan Title:The Art of Improvisation!Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleIn order to break down the intricacies of a scene, we must break it down to its most fundamental levels. Improvisation allows the individual to disseminate vast amounts of scene/monologue information into categorized areas. Utilizing the “Five W’s of Improvisation”, students will learn how to analyze the who, what, where, when, and why of devised scenes. This process ultimately makes it easier to create more “believable”, or multi-dimensional characters. The goal of this unit is to instill in our young actor’s that barriers towards creation are apparent, and it is through the “process” of improvisation when we learn how to break out of our shells. Once the “stop signs” are removed, our relationships, characters and intentions can be fully realized into a pure form of acting. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof2.Cr2a: Explore the function of history and culture in the development and subsequent interpretations of devised or scripted theatre work.Accomplished1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.1.4.12prof.Re9b: Identify and compare cultural perspectives and contexts that may influence the evaluation of a devised or scripted theatre work.1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How do groups productively problem solve in collaboration?What influence does character, relationship, time, setting and conflict have on improvisation?Enduring UnderstandingsTheatre artists rely on intuition, curiosity and critical inquiry.Theatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Collaboration creation is often inspired by the influence of characters, relationships, setting and conflict.Expression in improvisation and group collaboration with prompts demands personal reflection and group problem solving techniques.Discovery of the setting and character is often revealed through the practice of improvisation.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationCivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDiscover a well - defined character through improvisation.Create performances based on a prompt that show conflict and character development at an introductory level.Justify choices in creating setting and time in improvised performance.Describe and/or demonstrate the five W’s (who, what, where, when, why) through performance of final scene.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process.Preliminary Written Response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc.; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviewsBenchmark/Authentic AssessmentTeacher side-coaching to prompt establishing scene characters and character relationships Establish scene-given circumstances through teacher questioningPerformance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Summative : Students will demonstrate competency in:Performance Assessments such as observation and correction for discreet skill attainment.Showcase Portfolio: this is the best type of portfolio for a summative assessment of a student’s mastery of curricular objectives. It should only include examples of the student’s best and most complete work, as determined through a combination of student and teacher input.Across the unit students will keep notes through journaling, using appropriate theatre terminology/vocabulary, about characterization.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: The Do’s and Don’ts ! –SUGGESTED ACTIVITIESStudents will apply their understanding of the basics of improvisation by identifying improv skills in a film and defining guidelines.PowerPoint/SmartBoard Presentation: The Do’s and Don’t’s:DO:1. Commitment 100%2. Listen to the other players3. Support your team members4. Forward the ActionAVOID:1. Denial2. Telling rather than showing3. Forcing funniness4. Worry about making mistakes The Power of Yes: Accept the improvisation given circumstances when given to you and your partner. Improv Implementation: Collaborate with improvisation partners and create an improv sceneApply self-control Understand and apply “yes, and…” Create and Apply non-verbal characterizationsAccept the improvisation given circumstances Character identification Character relationships Time PlaceSection Two: The Questions! –SUGGESTED ACTIVITIESStudents involved in activities geared to create and build collegiality so that students can begin to develop a sense of ensemble and risk-taking comfort.Ask Questions! Students do improvisation with emphasis on naming the other character and establishing a relationship between the two characters.Pairs of students create scenes where they must accept the given circumstances of character identification, time, and place. The two student actors collaborate to find workable objectives for their scene characters.Justify choices in creating setting and time in improvised performance.Students may reflect on different interpersonal communication styles and perspectives within groups Students may lead an ensemble activity for the class.PowerPoint/SmartBoard Presentation: Questions Who am I? Who are you? What are we? Why are we here?Questions Activity: Students will create and perform a “Who, What, When, Where, Why” activities such as the following;In small groups of 4-5, students will generate situations ofCharacter traitsStudents may create a character independently from the character trait work and perform created character in small groupsAction phrases Using a picture, students create and perform the scene based on the photo that takes either before or after the photo was takenSituations of TimeStudents may find a variety of pictures and make a collage that shows a timeline for a sceneSetting TableausStudents may tell, write, or perform a familiar fairytale in a new locationWhy Motivations Students may write the varied emotions viewed in the scene and what are possible justifications for said emotions Following the activity, students will independently reflect on the group the specific question definition and what influenced their improve decisions and why. This information can be collected through class discussion and/or written reflection journals.Section Three: Objective and Tactics –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of the use of strong objectives and tactics as well as the use of a variety of tactics when trying to achieve their objective by exploring levels and using a contentless scene.?Contentless Scene: A scene where there is not set context. The students create their own subtext. Ask for students to review and define what their chosen goals. Use given circumstances to establish a scene objective.What was effective? Did they use a variety of tactics? Allow students to perform, leaving 5 minutes for wrap-up and filling out worksheet.Theatre Games – Supplemental ActivitiesFour Corners It is Tuesday Taxicab Celebrity Interview Further EnrichmentResearch and find examples of improvised scenes Students develop a scene script from a successful improvisationSection Four: Variety is the Spice of Improv –SUGGESTED ACTIVITIES Students will demonstrate their understanding of how the style can change a scene by playing “Style Changing” activities.Times, They Are a-Changing: Students perform in a program of scenes, monologues and structured improvisations that includes works from a variety of styles, periods, genres and cultures (including their own) demonstrating the ability to: Create a variety of vivid, idiosyncratic characters Play dramatic objectives truthfully Make imaginative, expressive use of props, costumes, and the imagined world of the playUse improvisation as a performance techniqueUse the voice and body expressively in the service of the play Respond and concentrate as part of an ensemble Work given circumstances to establish a scene objective.Use the body to demonstrate a command of physical energy, space, time, patterns, composition, contrast and period movement.Silent Movie ImprovStudents using the acquired acting skills from the previous lessons create a silent movie scene that establishes the at least 3 separate character identification, character relationships, time, place, and scene objective through physical characterization and non-verbal communication.Students may perform activities that are more advanced such as including subtext or subplots.Section Five: Show, Don’t Tell! –SUGGESTED ACTIVITIESStudents will apply their understanding of showing in improv by participating in improve activities and pantomime workshops and reflecting on their experience.PowerPoint/SmartBoard Presentation: Chaplin/BeanIntroduce students to the basic principles of pantomime.Chaplin’s, “The Kid”Mr. Beans, “At the Library”Compare and Contrast similarities and differences.Movement ActivitiesSpace Objects, Tug of War, Apple PickingStudents work cooperatively with each other to display improve motivations of;RelationshipSizeTime in SpaceExaggerationExpression in improvisation and group collaboration with prompts demands personal reflection and group problem solving techniques.Section Six: Improv Performance –SUGGESTED ACTIVITIES Students will demonstrate their understanding of the rules of improv by participating in a final improv performance/competition. ComedySportz CompetitionVarious improv games are played. Points are awarded accorded to the specific game. Focus on…Discover a well - defined character through improvisation. Create performances based on a prompt that show conflict and character development at an introductory level. Justify choices in creating setting and time in improvised performance. Demonstrate the five W’s (who, what, where, when, why) through performance of final scene.Improv Reflection: Students will write/journal a self-assessment of their performances of how they; Used the 5 W’sHow they collaborated with othersHow they used improvisational skills in their performances during the showcase assessment.AMISTAD EDUCATIONThe Black Version is a completely improvised show that started at the Groundings Theatre in Los Angeles in 2010 to sold out crowds and great reviews. With proper vetting students can witness an exclusive group of Black artists perform improvisation to a vast array of audiences1 EDUCATIONExploring Survivor Stories: This activity uses drama techniques to explore the experiences of Holocaust and genocide survivors. This lesson provides drama activities pioneered by Bertolt Brecht, which help the audience to learn facts about what happened and protect performers from trying to re-enact traumatic situations. EDUCATIONOpenly Gay in Improv: Mike Kosinski, current cast member for the Second City talks about being Openly Gay in Improv, and at Second City. Student can watch the video and reflect in small group/ large group discussions. EDUCATIONImprov in the Special Needs Community: The following links showcase how improvisation can serve not only as a teaching device, but as a therapy tool for the special need’s community. Use the tactics and skills showcased in your own classroom or share the videos with your students and discuss the context within. The Improvaneers! The world's first all Down syndrome improv troupe!: Therapy – Transforming Lives in the Special Needs Community – See Appendix B for specialized programs that reflect the needs of students and community.Participate in group exercises, drills, improvisations and theater games. Rehearse and perform a scene in front of others. Rehearse and perform the same scene in three distinct styles or genres. Research and portray a character, using at least one appropriate costume piece, prop, gesture, need and physical shape. Track character development and emotional changes in a scripted sceneResourcesBooksImprov! A Handbook for the Actor - Atkins, Greg The Ultimate Improv A Complete Guide to Comedy Improvisation - Nevraumont, Edward J. and Nicholas Hanson (ed).Improvisation for the Theatre- Viola Spolin Theatre Games for the Classroom A Teacher’s Handbook- Viola Spolin Theatre Games for Rehearsal: A Director’s Handbook- Viola SpolinA variety of magazines with pictures of people.WebsitesAMISTAD: : : : episodes of “Whose Line is it Anyway” DVD – Popular TV show based on improvisation starters, episodes available on YouTube (Guide for general performances in theatre) 2012/improv-tips-and-tactics_52678.html (Improv tips and tactics article) (The Process of Drama) (Site with numerous improvisation exercises)\glossaryofterms (Online theatre terms glossary) (Lessons and resources for teaching improvisation) (Cards with “who”)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Art of ImprovisationThe Dos and Don’tsapply their understanding of the basics of improvisation by identifying improv skills in a film and defining guidelines12Art of ImprovisationThe Questionsdevelop a sense of ensemble and risk-taking comfort12Art of ImprovisationObjectives and Tacticsdemonstrate an understanding of the use of strong objectives and tactics as well as the use of a variety of tactics when trying to achieve their objective by exploring levels and using a contentless scene22Art of ImprovisationVariety is the Spice of Improvdemonstrate their understanding of how the style can change a scene by playing “Style Changing” activities22Art of ImprovisationShow, Don’t Tellapply their understanding of showing in improv by participating in improve activities and pantomime workshops and reflecting on their experience22Art of ImprovisationImprov Performancedemonstrate their understanding of the rules of improv by participating in a final improv performance/competition2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Acting IContent Area:DramaGrade(s)9 Unit Plan Title:The Play: From Vision to RealityCareer Ready Practice(s)CRP8. CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. Career-ready individuals readily recognize problems in the workplace, understand the nature of the problem, and devise effective plans to solve the problem. They are aware of problems when they occur and take action quickly to address the problem; they thoughtfully investigate the root cause of the problem prior to introducing solutions. They carefully consider the options to solve the problem. Once a solution is agreed upon, they follow through to ensure the problem is solved, whether through their own actions or the actions of othersOverview/RationaleThe focus of this unit is to explore elements of producing a play, including playwriting, directing, producing, and casting.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.1.4.12prof.Cr3c: Explore technical design choices that support the story and emotional impact of a scripted or devised theatre work.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does creating and performing in the arts differ from viewing the arts?Enduring UnderstandingsTheatre artists, through a shared creative experience with an audience, present stories, ideas, and envisioned worlds to explore the human experience.Theatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Theatre artists apply criteria to investigate, explore and assess drama and theatre work.There are many careers in theatre aside from acting.Theatrical ensemble work techniques often transfers across work environments.Theatrical traditions of ensemble work for theatre create the foundations for creativity.All members of the theatrical ensemble promote the relationships and rules as part of the culture within the art form.The traditional theatrical ensemble transforms the culture and values with the addition of student written scripts.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationAFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesExamine themes and motifs within a given playUnderstand the historical significance of theatre, film, television, and/or electronic mediaCompose an original theatre selection for performance incorporating the ensemble processDirect peers in an ensemble productionAssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in writing and promoting plays.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallCooperative learningDirect instruction Effective questioningIdentifying similarities and differencesLectureRole Play/simulations/dramaTargeted feedback research and effective practiceWord Wall ActivitiesD- SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: PlaywritingPicture prompt sceneDiscuss Aristotle's six elements of DramaApply basic plot structure to known plays and moviesBrainstorm ideas for student written playStudents discuss and write a playLesson 2: The Director and ProducerDiscuss the different jobs of the director and producerExplore the role of a dramaturgList and discuss other members of the production teamScript analysisDevelop a director’s visionCreate a program for class developed playLesson 3: The CastDiscuss the casting processUnderstand audition etiquetteMock auditionsCast class playOrganize information into a viable rehearsal scheduleAMISTAD EDUCATIONAll-Black Theater present OKLAHOMA!: This article introduce you to an all black version of Oklahoma!. Students should read the article, watch the supplied clips and compare and contrast them with the original version. EDUCATIONALLIANCE FOR JEWISH THEATRE: is made up of theatre-artists, theatres, and other people connected to theatre to promote the creation, presentation, and preservation of both traditional and non-traditional theatrical endeavors by, for, and about the Jewish experience. Classes can explore the shows, missions, productions, and teaching seminars located within their website for further study. EDUCATIONQueer Youth Theater: Use this site as a window into the vast network of LGBTQIA supported, youth theater companies across the United States. EDUCATIONETC!: Exceptional Theater Company is an all inclusive theater program for teens and adults with special needs. Through the power of theater our actors learn life skills that teach them to be the best versions of themselves! Use this in your classroom to introduce students to varied means of theater! Appendix B for specialized programs that reflect the needs of students and community.Audition workshopOHS/OPA fall drama and spring musicalsResourcesAMISTAD: : : : Drama Projects 8th EditionBroadway playbillsResume template*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Putting on a playPlaywritingDevelop idea for play5Putting on a playPlaywritingWrite original play10Putting on a playDirector and ProducerDevelop director’s vision5Putting on a playDirector and ProducerDesign program and flyer5Putting on a playCastOrganize rehearsal schedule5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderActing IContent Area:DramaGrade(s)9Unit Plan Title:Theatre and Its CounterpartsCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.Overview/RationaleThe focus of this unit is to explore musical theatre and other theatrical forms, including performance art, multimedia, film, and television. Standard(s) CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof2.Cr2a: Explore the function of history and culture in the development and subsequent interpretations of devised or scripted theatre work.1.4.12prof.Cr2b: Examine the collaborative nature of the actor, director, playwright, and designers, and explore their interdependent roles.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.1.4.12prof.Cr3c: Explore technical design choices that support the story and emotional impact of a scripted or devised theatre work.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventionsPERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.1.4.12prof.Re9b: Identify and compare cultural perspectives and contexts that may influence the evaluation of a devised or scripted theatre work.1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth.?1.2.12prof.Pr4a: Integrate various arts, media arts forms and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?When is criticism vital and when does it take away from the meaning?How does creating and performing in the arts differ from viewing the arts?What are the fundamental differences between a “thoughtful” and a “thoughtless” critique?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.Design choices and artistic expressions reflect cultural influence.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyECritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesUnderstand elements of musical theatreAnalyze a potential musical idea in terms of viability, characters, setting, plot, and audience appealExplore theatrical forms outside the realm of traditional theatreUnderstand how elements of theatre and film differLearn about the filmmaking processInterview people who have careers in various types of theatreAnalyze a particular TV show in terms of characters, plot elements, settings, tone, and target audienceWrite an objective and fair review of a theatre, film, or television performance.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in analyzing various types of theatre and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallCooperative learningDirect instruction Effective questioningIdentifying similarities and differencesLectureRole Play/simulations/dramaTargeted feedback research and effective practiceWord Wall ActivitiesD- SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Musical TheatreDiscuss the history of musical theatreAnalyze songs from musicalsView performances from Tony Award winning musicalsperform song lyrics as a monologueDiscuss Adaptation and marketabilityCreate a proposal for a new musicalLesson 2: Stage to FilmDiscuss early filmcompare/contrast technical requirements for film and stageWatch video clips that contain different technical shotsScene adaptation screenplayLesson 3: MoviesFilm Journal EntryCreate a storyboard worksheetDiscuss the four phases of the filmmaking processExplore a soundstageDiscuss films in terms of setting, locations, director, cinematography, and actingContinuity activityLesson 4: TelevisionTelevision Journal entryDiscuss shows that are on television nowExplore TV GuideWatch examples of various television genresDiscuss the controversy behind televisionCreate a concept for a new reality show/ SitcomRemote ControlLesson 5: CritiqueRead Theater ReviewsDiscuss properties of a successful performanceExplore constructive criticismCritique clips of theatrical productionsAMISTAD EDUCATIONFLIPGRID Theater Analysis: Students will view and critique the provided link and give their “Theater Review” as a professional theater critique. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Wheels of a Dream: Color Purple: EDUCATIONFLIPGRID Movie Analysis: Students will view and critique the provided link and give their “Movie Review” as a professional theater critique. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Students should choose one movie to view, and/or research. EDUCATIONFLIPGRID Theater Compare and Contrast: Students will view and compare/contrast the provided links. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. "Sixteen Going On Seventeen" Andrew Keenan-Bolger, Jay Armstrong Johnson Going On Seventeen from The Sound of Music EDUCATIONFLIPGRID Theater Analysis: Student will view and critique the provided link and give their comments. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Shakespeare performed by Down’s Syndrome adults Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: Wheels of a Dream: Color Purple: : : "Sixteen Going On Seventeen" Andrew Keenan-Bolger, Jay Armstrong Johnson Going On Seventeen from The Sound of Music : Shakespeare performed by Down’s Syndrome adults Drama Projects 8th Edition Tony awards performance videos*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Theatre and its counterpartsMusical TheatreDevelop idea for new musical5Theatre and its counterpartsFilmCreate storyboard5Theatre and its counterpartsTelevisionCreate TV show concept pitch5Theatre and its counterpartsCritiqueReview a theatrical production5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderActing IContent Area:DramaGrade(s)9 Begin with the BasicsCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to introduce the basic principles of acting, including warm-up, vocal projection, pantomime, and improvisation.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof.Cr2b: Examine the collaborative nature of the actor, director, playwright, and designers, and explore their interdependent roles.Accomplished1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.Advanced1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.Essential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How do theatre artists transform and edit their initial ideas?How can improvisation skills assist in future careers?Enduring UnderstandingsTheatre artists refine their work and practice their craft through rehearsal.Theatre artists develop personal processes and skills for a performance or design.Theatre artists make choices to convey meaningInvestigation and discovery through improvisation and original scriptwriting will bolster knowledge of human expression and emotion.Patterns in performance and rehearsal processes will establish skills necessary for successful improvisation technique.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingAHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesWork together defining and valuing each member of the ensembleDevelop interpersonal skills such as self-direction, reflectionCreate a safe working environment to promote creativityPerform improvised and original scripted workCreate and direct collaboratively an improvised and scripted performanceCritique improvised and original scripted workAssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment –performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in performing improvised characters and scenes based on a rubric.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Warm-upClass discussionmeditationvocabularyStudents create warm-up routinesvocal exercisesLesson 2: ObservationMemory gamesTapping your inner resources worksheetBlack MagicCrossed/UncrossedPractice sense memoryLesson 3: PantomimePart of the whole gamesmime games worksheetPantomime Activity sheetCharadesGuess who gamesDVD Marcel MarceauWatch The ArtistLesson 4: ImprovisationDiscuss improvisation1,2,3 countingsentence responsegreetingsstorytellingWatch clips from Whose Line is it Anyway?Improvisation games: all knowing brain, party host, hitchhiker, remote control, bus stop, open canvas.Students generate lists of characters and situations that interest them and act them out.Finding new uses for everyday objects.AMISTAD EDUCATIONThe Broadway Q&A Series: Talking with Black Theatre Artists: Learn from the best of black artists currently on Broadway and how they struggle, succeed and create careers in the entertainment industry. EDUCATIONRecreating Scenes from Diaries: Hundreds of diaries written during the Holocaust have survived, with Anne Frank’s being only the best known. The very personal nature of a diary offers students insights into the ways in which individuals tried to grapple, without the benefit of foreknowledge, with the events unfolding around them. It also, as Anne Frank’s diary has so famously demonstrated, enables students to better reflect on the humanity of the victims of the Holocaust, seeing them not only as victims but as people with complex lives and concerns. Read and recreate scenes taken form the text of some of these works. LGTBQIA EDUCATIONFrame By Frame: Gay and Lesbian Identity in Hollywood Cinema: UNL Film Studies professor Wheeler Winston Dixon examines the history of Hollywood's portrayal of gays and lesbians. Students can discuss this topic in class and find parallels in current media they are watching, listening or reading. EDUCATIONLesson Guidelines and How To’s: Some group-work safety netsRegularly work in threes as well as in pairs, so that being in a group of three doesn't become stigmatized.Use and value working individually as well as group work. Don't always end with group work.Allow observers, narrators, journalists, note-takers or cartoonists in some activities.Allow miming and gesture instead of dialogue in some activities.Use mixed-ability pairs, to allow the more able students to help their peers.Use activities where the roles in the group or pair are equally valued but unevenly weighted. For instance, in Hotseating activities, some students may find it easier to ask the questions especially if they have been prepared beforehand. If the more able student plays the character during Hotseating, it gives less able students an excellent demonstration of how the activity works.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: : Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ Youtube - Whose Line is it Anyway, Improvaganza, RiotDVD – Marcel Marceau, Charlie Chaplin, The Artist*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Basics of ActingWarm-upDevelop physical and vocal warm-up5Basics of ActingObservationSharpen observation skills5Basics of ActingPantomimePerform pantomimed scenes10Basics of ActingImprovisationPerform improvised scenes10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderActing IContent Area:DramaGrade(s)9Unit Plan Title:The Elements of ActingCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to give the students a clear picture of how actors prepare for a role and how they, along with other members of the production team, work together to create an artistic, meaningful, and unified whole. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.R9. Analyze and reflect on how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?How can one make individual artistic choices within the confines of an ensemble?How does ensemble building assist in future careers?Enduring UnderstandingsTheatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.The importance of ensemble building and collaboration in a theatrical setting is fundamental to creating and performing a theatrical selection and/or piece.All members of the theatrical ensemble promote the relationships and rules as part of the culture within the art form.Theatrical ensemble work techniques often transfers across work and career environments.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingTHealth LiteracyACommunicationECivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesUnderstand how to execute normal body movements on stageIncorporate stage business into a sceneUse movement to create expression of thought, feeling, and characterBecome familiar with the areas of the stagePlot and execute stage directions and body positionsLearn how to build and use proper breathing and articulation to produce vocal toneUnderstand how to communicate emotions and develop a character through the voiceDevelop the concentration, skill, trust, teamwork, and courtesy necessary to work in an ensemblePerform an improvised ensemble scene with several partnersAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in critiquing and analyzing scripts and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD –Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Movementcreate a scene from blockingdiscuss stage businesscheating outTableau activitiesmovements activity sheetStage business worksheetLesson 2: Stage DirectionsDiscuss the importance of following directionsPlot directions on a diagramStage directions Simon SaysStage crossesMaze activityDemonstrate body positionsLesson 3: TableauPicture PromptDiscuss the idea of stage pictures/tableau.Students work in groups of 3 or 4 to create stage pictures based on fairy tales.Students perform tableaus and "press play"Lesson 4: Voice Production and ArticulationDiscuss vocal productionMap out articulatorsVocal healthVocal exercisesCreating characters with the voiceLesson 5: Ensemble WorkGroup ExercisesWhole class improvisationDiscuss breaking characterEnsemble work activity sheetStage etiquetteAMISTAD EDUCATIONTen Contemporary African American One-Act Dramas: The plays included here were written to be a solution to my instructional needs to fill a void. These short dramas are based on the lives of African and Hispanic Americans who have made significant contributions to this nation, usually in spite of tremendous odds. In creating these plays, I have kept in mind that young people enjoy reading plays aloud, and the appreciation is increased if the content is meaningful to them. Use these plays in your classroom for performance projects or study guides.. EDUCATIONMonologues Surrounding the Holocaust: The following link is an extensive guide to many Holocaust-themed monologues for your class to explore, analyze and perform. EDUCATIONGay and Lesbian Plays: These gay and lesbian plays deal with gay and lesbian themes and include dramas, comedies, one acts and full length plays.?A listing on this page does not mean that the Playwright, Producer or Publisher are/were identified as gay, merely that the plays have a gay interest. Use these resources in your class as a means of an alternative to regular plays and sripts. EDUCATIONFollow the Leader: AimsTo encourage students to move with freedom, expression, and confidence.To encourage students attend to and imitate an action.To provide students with an opportunity to exercise responsibility for others.To ease students gently into the world of make-believe play.To provide students with the opportunity to make simple choices and solve problems.MethodInvite the students to form a line behind you, and when the music starts lead them around the room wagging your finger, nodding/shaking your head, wiggling your bottom, shaking your hips, jumping, hopping, turning, negotiating a path through the furniture in the room (or under/over/through if desired), sliding along a bench, etc. Use large exaggerated movements (many students with general learning disabilities may need to reduce the scale of the movement), but, whatever the situation, ensure that students are aware of the presence of others when making movements in order to avoid mishaps.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.Luna Stage & NJPAC coordinate scriptwriting with students culminating in a performance on a professional stage.Visit professional performances. ResourcesAMISTAD: : : : Basic Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ Vocal diagramVocal exercises worksheet*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Elements of ActingMovementPerform stage business5Elements of ActingStage DirectionsBlock a scene on various stages10Elements of ActingTableauCreate stage pictures5Elements of ActingArticulationActing with the voice10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderContent Area:DramaGrade(s)9Unit Plan Title:AuditionCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.Overview/RationaleThis unit will explore the process of casting a show and will culminate with students holding mock auditions. Standard(s)Anchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.CONNECTINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does creating and performing in the arts differ from viewing the arts?Enduring UnderstandingsTheatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Theatre artists develop personal processes and skills for a performance or design.The audition process is extremely similar to that of a job interview.Professionalism demands a friendly and polite presentation from beginning to end.Auditioning is the most important part of having a career as an actor.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesBecome familiar with the casting processUnderstand audition etiquetteConduct mock auditions to cast a playChoose appropriate monologues for various character typesOrganize information into a viable rehearsal scheduleAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in writing a resume.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Interview with a professional agency.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: The Audition ProcessDiscuss auditionsMap out audition processDiscuss the duties of the casting directorLesson 2: Audition EtiquetteDressing for an auditionChoosing a monologueIntroductionCold readingStudents conduct a mock audition with classmates, alternating the roles of director and auditionees.Develop an audition sheet containing the information that will be needed for production.Lesson 3: Rehearsal processCasting a showCreate a rehearsal scheduleAMISTAD EDUCATIONType-Casting in Hollywood: Students should examine the following article and discuss it’s implications and cases in a group setting. Students can research People of Color Audition agencies which promote fairness across the entertainment hiring industry. EDUCATIONStudents can view these to videos and use the gained knowledge to evaluate the monologue its form and capacity. What Makes a good monologue?: Monologue: EDUCATIONWrite you own Audition Monologue - Discrimination: Discuss the effects of discrimination on LGBT people. Using the examples obtained regarding discriminatory acts on LGBT people, discuss the effects that these will have on LGBT people. Focus discussion on young people. If people are discriminated against in school or in their homes for being LGBT, what forms would this take and how would it affect the young person? Have your students brainstorm and free write a short monologue to perform for the class. IDEA EDUCATIONPractice “In Front” Performing: Invite the students to move around the room, avoiding contact with each other. On a signal, for example ‘Turn to the person/people nearest to you and say hello!’ the students stop and look for the person/people nearest to them and shake hands. They can say hello and exchange names. Then the teacher calls ‘walk’, and everyone begins to move around the room once again until the signal is given to say hello again.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: : What Makes a good monologue?: Monologe: Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*AuditionAudition ProcessCreate theatre resume2AuditionAudition EtiquettePractice various types of auditions10AuditionRehearsal ProcessAct as casting director3* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderActing IContent Area:DramaGrade(s)9Unit Plan Title:MonologuesCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit focuses on the rehearsal process of a monologue, including table work, blocking, analysis, and performance.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?To what extent does constructive criticism shape the ensemble process and product?Enduring UnderstandingsTheatre artists rely on intuition, curiosity and critical inquiry.Theatre artists work to discover different ways of communicating meaning.Theatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.A theatrical student actor can evaluate and determine the proper acting technique to apply to a performance.Selecting an acting technique for a performance can influence the impact of the performance.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.Students will understand the different types of careers in theatreIn this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAnalyze various characters’ actions and personalitiesCreate powerful stage picturesCompare and contrast the motivations of charactersPresent well-rehearsed monologuesEffectively critique performances of scenesAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in critiquing and analyzing scripts and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Table workCharacter analysisScene breakdownLabel beats and tacticsDetermine subtextLesson 2: BlockingDesign the layout of the sceneryDetermine the movement of the sceneCreate stage picturesLesson 3: RehearsalStudents rehearse the monologues for instructor and peer feedbackFinal performanceAMISTAD EDUCATIONTen Contemporary African American One-Act Dramas: The plays included here were written to be a solution to my instructional needs to fill a void. These short dramas are based on the lives of African and Hispanic Americans who have made significant contributions to this nation, usually in spite of tremendous odds. In creating these plays, I have kept in mind that young people enjoy reading plays aloud, and the appreciation is increased if the content is meaningful to them. Use these plays in your classroom for performance projects or study guides.. EDUCATIONMonologues Surrounding the Holocaust: The following link is an extensive guide to many Holocaust-themed monologues for your class to explore, analyze and perform. EDUCATIONGay and Lesbian Plays: These gay and lesbian plays deal with gay and lesbian themes and include dramas, comedies, one acts and full length plays.?A listing on this page does not mean that the Playwright, Producer or Publisher are/were identified as gay, merely that the plays have a gay interest. Use these resources in your class as a means of an alternative to regular plays and sripts. EDUCATIONMonologue Methods using Animals Shapes: Encourage the students to practice making shapes with their body—bending, curling, twisting, crawling, etc. Invite them to make the shape of ‘a stone animal’ (a still image of an animal). Suggest some possible animals that they might make the shape of. Encourage them to make the shapes of the different parts of a chosen animal’s body, for example the ears, the eyes, the tail, the mouth with its tongue, the horns, the trunk, as appropriate. Then consider how a large class animal can be created, with different students choosing to represent the various parts of the animal’s body. Arrange these, paying particular attention to creating the main body (some students curled up), and then adding on the other parts. When a good shape has been made, you can release individual students from the still image and allow them to stand back from the image and look at the created animal. They return to their original position, assuming the shape that they made, and another student is released to have a look at the shape.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: : What Makes a good monologue?: Monologue: Drama Projects 8th Edition HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" index2.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" chdramaworkshop. HYPERLINK "" \t "_blank" text/home.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" plays.htm HYPERLINK "" \t "_blank" ~kidsplay/about.htm HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" resources/links/PlaysandPlaywritingLinks.ht*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*MonologuesTable workWrite character analysis5MonologuesTable workBreak up monologue into beats and tactics5MonologuesrehearsalRehearse monologues in pairs5MonologuescritiqueCritique performances and self-assessment5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Acting IIActing IIContent Area:DramaGrade(s)10Unit Plan Title:1. Technical TheatreCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.Overview/RationaleThe focus of this unit is to understand the principles of technical theatre. Students will learn about the different types of stages and their characteristics. They will also begin to understand how set design, costumes, make-up, and props affect a stage production.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth.?1.2.12prof.Pr4a: Integrate various arts, media arts forms and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.?????????New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W7. Conduct short as well as more sustained research projects, utilizing an inquiry-based research process, based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?How are the theatre artist’s processes and the audience’s perspectives impacted by analysis.How can one performance communicate different messages to different people?Enduring UnderstandingsTheatre artists, through a shared creative experience with an audience, present stories, ideas, and envisioned worlds to explore the human experience.Theatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.The creation of a play may enhance the discovery of current social, political, historical, and cultural themes and issues, and philosophies.Traditional theatrical culture embodies stage norms (such as: safety procedures, stage manager responsibilities, load-in, director’s concepts) and allows for open collaboration.Technical theater vocabulary (such as; arbor, weight, fly) strengthens the performers’ understanding of style, composition and technique.Through observation and critical investigation of script sources the collaboration with directors enhances understanding of design style within a cohesive concept.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsAGlobal Awareness ECreativity and InnovationAEnvironmental LiteracyTCritical Thinking and Problem SolvingEHealth LiteracyACommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesIllustrate the attributes of safety, construction, and production of technical theatre elementsCompare and contrast various careers in technical theatreTrace the development of technical aspects of theatre throughout major points of historyDesign costumes and make-up that is appropriate for specific charactersWrite or devise a short original play that conforms to the dramatic structure of one theatrical genre with a clear beginning, middle, and endDirect a scene from a published or original work demonstrating suitable script analysis and clear visual aestheticsAscertain the aesthetic of a theatrical production based on the technical production and performance valuesEvaluate the technical and artistic merits of a theatrical production within the context of its social, historical and/or political significance, craftsmanship, and originality as criteria for an informed response regarding the successful communication of the director’s visionAssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark /Authentic Assessment– performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in designing technical aspects for scripts.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD-Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD – SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Costumespicture promptfashion interviewlook at costumes from different genres and time periodsdiscuss costume ideas for a particular playsketch costume ideasdesign a costume plotUnconventional costume challengeLesson 2: Makeupdiscuss stage makeuplook at examplesdetermine appropriate makeup for a charactersketch distinctive facial features to delineate charactersapply stage makeupLesson 3: Propscreate scenes to incorporate given propsread a playdevelop a prop list for the playgather props from the listLesson 4: Set Design and ConstructionDiscuss set constructionCreate a space activityread scenes from playsStudents design sets for each sceneStudents build a model of their set designAMISTAD ’s Top Ten African American Directors Of The Decade: Directors play an integral role in operational side of entertainment creation. Students can discover their favorite directors and movies, and create slideshows encompassing their portfolio of work. Students can even pretend to be famous directors themselves, creating mock resumes and portfolios showcasing their own directorial achievements. EDUCATIONTeens act out Holocaust survivors’ stories in Witness Theater: Student can learn by example and create their own theater production after covering survivor stories from the Holocaust. Students can take on various technical roles as they learn from this production’s model in order to tell stories of the past for audiences of the present. EDUCATIONResearch Project: Top Gay and Lesbian Directors Working Today. There are plenty of people behind the cameras making heater and film happen. Research one of these artists and present your finding to the class unit in either a written, vlog or group project. EDUCATION9 Theater Companies Celebrating Actors With Disabilities: Discover the theater companies whose goal is to champion artists with special needs. What drives them to be inclusive? How can these companies thrive in today’s climate? Discover these questions and find the answers in class as you research these theater companies! Appendix B for specialized programs that reflect the needs of students and community. Resources AMISTAD: : : : Drama Projects HYPERLINK "" \t "_blank" bath.ac.uk/~su2bc/infoguides/index.shtml HYPERLINK "" \t "_blank" drama.ac.uk/lighting.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" lteg.htm HYPERLINK "" \t "_blank" links HYPERLINK "" \t "_blank" Broadway/Stage/2203/Smhandbook.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" index.htm HYPERLINK "" \t "_blank" Clark, I.E. STAGECRAFTERS’ HANDBOOK: A GUIDE FOR THEATRE TECHNICIANS, Studio City, Players Press, 1995. *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Technical TheatreCostumesDesign and build costumes10Technical Theatre MakeupApply stage makeup5Technical TheatrePropsDevelop prop list for a play5Technical TheatreSet DesignDesign a set for a play and build a model10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderActing IIContent Area:DramaGrade(s)10 Unit Plan Title:2: Theatre HistoryCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to learn the history of theatre, specifically ancient, Medieval, Renaissance, and Elizabethan theatre. Standard(s)CREATINGAnchor Standard 2: Organizing and developing ideas.Performance Expectations:Proficient1.4.12prof2.Cr2a: Explore the function of history and culture in the development and subsequent interpretations of devised or scripted theatre work.Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.RESPONDINGAnchor Standard 6: Conveying meaning through art.Performance Expectations:Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.Advanced1.4.12adv.Pr6a: Produce a devised or scripted theatre production for a specific audience that employs research and analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturg.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.Accomplished1.4.12acc.Re8a: Analyze and assess a devised or scripted theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.1.4.12acc.Re8c: Verify and articulate how a devised or scripted theatre work communicates for a specific purpose and audience.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.4.11b: Explore how personal beliefs and biases can affect the interpretation of research data applied in devised or scripted theatre work.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA.L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)How do theatre artists transform and edit their initial ideas?How do theatre artists fully prepare a performance or design?How do theatre artists use tools and techniques to communicate ideas and feelings?Why is it useful to compare theatre history to contemporary theatre practice when deciding on a production concept?How has theatre been used to express changing values in a specific society?Enduring UnderstandingsTheatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Theatre artists develop personal processes and skills for a performance or design.The study of theatre history reveals patterns of societal development and progress over time.The relationship between historical elements of theatre and contemporary theatre practice can inform and influence a production concept.The understanding of major developments in world theatre history broadens beliefs and values and can lead to the discovery of a society’s culture and traditions.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsAGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyTCommunicationTCivic LiteracyECollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCompare and contrast conventions of ancient and contemporary world theatrical forms.Analyze theatrical styles that challenge the social mores/zeitgeist of various historical periods.Analyze how dramatic literature and theatre is used to sway public opinion and question social norms.Differentiate ways that theatre has reflected and impacted the society and culture of its time in Western and non-Western theatrical traditions up to and including the 21st Century.Analyze how the theatre experience has or has not changed across a spectrum of historical period.AssessmentsPre and Formative - Pre-assess improvisation understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark /Authentic Assessment– performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in analyzing ancient, medieval, and renaissance theatre.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingPeer teaching/collaborationRole play/simulations/dramaTargeted feedback research and effective practiceActivitiesD – SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: StorytellingExplore the storytelling traditionExamine the role of the West African GriotPerform a dramatization of a story from the Oral TraditionOne word story activityWrite a story to personify an inanimate objectLesson 2: The Dawn of TheatreDiscuss various ancient theatre practicesExplore City DionysiaDesign Greek mask to determine characterPerform as a Greek chorusRead excerpts from Greek tragediesView examples of Chinese and Japanese drama, including Kabuki and BunrakuLesson 3: From Middle Ages to 1800sExplore Medieval DramaPresent tableausDiscover examples of Mystery, Miracle, Morality, and Passion playsWatch examples of Commedia Dell’arte Discuss Renaissance playwrights such as Cervantes, Lope de Vega, and MoliereExplore Elizabethan EnglandExamine Shakespearean plays, poems, and sonnetsWrite in Iambic PentameterAMISTAD EDUCATIONAfrican American Poetry Recitation Contest: Student can disvocer African American Poetry and perform them for the class as a vocal performance piece. Resources include: EDUCATIONMusic and the Holocaust: Through this article, students can reflect on the development of theater within Nazi concentration camps. Students can respectfully recreate small scenes depicting the struggles, or write research papers based on their findings. EDUCATIONPrejudice Study: Set the scene for the lesson by writing the word prejudice on the board and asking pupils as a class what they think the word means. If prejudice has been discussed in other lessons on, for example, racism or sectarianism, then it would be useful to draw on pupils’ knowledge on theseissues. Provide some examples of prejudiced viewpoints, for example: Act these situations out and discuss how they are harmful to supporting an environment of understanding and acceptance. ? ‘Women make bad drivers.’? ‘Unemployed people are lazy.’? ‘Groups of young people are looking to cause trouble.’IDEA EDUCATIONRecall and React: Set out a number of objects from the prop box on a tray or cloth. Give the group a full minute to concentrate and remember what is there. Then remove or cover if possible. Give a minute (or whatever is appropriate according to the ability level of the students) to see how many of the objects they can recall. Note: the number of objects on the tray can be limited according to the ability level of the students. Variation: Students whose language skills are not developed could draw the objects. ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.Virtual tour of the Globe TheatreField Trip: Shakespeareance at Drew UniversityResourcesAMISTAD: : Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ .uk/elizabethan-theatreaudiences.htm Folger Shakespeare Library - folger.edu “Shakespeare in American Communities” DVD’s: A&E’s Biography: Shakespeare Hamlet Romeo and Juliet Youtube Shakespeare, Commedia Dell’Arte, Greek Theatre*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Theatre HistoryStorytellingWrite and perform original stories5Theatre HistoryAncient TheatreCompare and contrast different ancient theatres10Theatre HistoryMedieval TheatreWrite modern morality play5Theatre HistoryElizabethan TheatreAnalyze Shakespeare text10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderActing IIContent Area:DramaGrade(s)10Unit Plan Title:3: Creating a CharacterCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThe focus of this unit is to teach students to analyze characters from clues in the play’s text and give students tools to use in the development of characters in a variety of comic and dramatic roles.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced1.4.12adv.Pr5a: Experiment with theatrical styles to form unique choices for a directorial concept in a devised or scripted theatre work.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:Accomplished1.4.12acc.Re8a: Analyze and assess a devised or scripted theatre work by connecting it to art forms, history, culture, and other disciplines using supporting evidence and criteria.1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.Advanced1.4.12adv.Re8a: Research and synthesize cultural and historical information related to a devised or scripted theatre work to support or evaluate artistic choices.1.4.12adv.Re8c: Compare and debate the connection between devised or scripted theatre work and contemporary issues that may impact audiences.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.Essential Question(s)How do we communicate meaning through theatre?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?Enduring UnderstandingsTheatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.Actors’ personal emotions inform the development and portrayal of character relationships through using personal emotional experiences throughout the acting process.Character development techniques inform the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction.Improvisational skills inform the playmaking and writing processes, and contribute to the actor’s capacity for spontaneous ingenuity and self-direction.The physicality of the actor often expresses key elements of the emotional landscape of a character.Character building and analysis can be beneficial in careers that involve psychology and social work.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationECivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesBuild on the creative process in character development and script improvisationArticulate a rationale for artistic choices concerning historical periods, genres, and relevant playwrightsCommunicate meaning by including perception of character intent and back story to engage an audienceDemonstrate the influences of character choices within the group dynamics of the play through choices in expression, imagination, and appreciationAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in critiquing and analyzing scripts and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD - Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD– SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Character AnalysisPartner interviewImprovised scenes playing the partnerDiscuss characters, motivation, objectives, tactics, and obstaclesmotivation chartgenerate objective/tactic listaction bananaCan I sit?Open subtext monologueLesson 2: Character DevelopmentRecreate a close friend or family member using your posture, vocal rhythm and tone, facial expression, and a few key phrases.Discuss basic plot structureApply basic plot structure to familiar storiesOpen subtext scenesCharacter development for monologues and scenesRead a scene from A Doll's House and explore its subtextPlay Line-o-rama with sentence slips and subtext cardsSubtext challengeLesson 3: Dramatic RolesExplore the four elements of DramaBuilding a dramatic character activityRead and discuss soliloquies from Shakespearean tragediesPractice dialectsWrite and perform short dramatic monologuesLesson 4: Comic Rolesdiscuss the differences between types of comediesdiscover the rule the three in comedic performance clipsAnalyze famous comedic actors and charactersStudents write and perform comedic monologuesAMISTAD EDUCATIONThe Greatest Black Actors in Film History: From any era and genre, these are the greatest Black actors in film history, ranked by the community to determine who is the best of all time. These Black actors are the top in the business, and many are also among the best living actors today. From those who have portrayed classic Black characters in film, to award winning actors, only the most deserving actors are on this list. Research your favorite actor, report your reasoning why they are your favorite. Make your own list. Discuss and analyze what makes these actors and actresses the best in their class. EDUCATIONEthics on Film: Discussion of "Schindler's List": After viewing the movie, discuss the article with your students. How are these characters portrayed? Did the actors represent them effectively and appropriately? Discuss or design video blogs to express your ideas. EDUCATIONRepresentation is Waning? This is a hot topic in the world of Hollywood right now? Is their a respective amount of LGTBQIA representation in film/tv/stage. Read and discuss the article in class as a means of diving further into the argument! EDUCATIONSLOW CHASE Game: The slow chase The students decide in pairs who is A and who is B. Depending on the story or theme that the students might be studying at the time, A can be the secret agent and B the villain (or a thief and a stroller/ shopper, an animal and its prey, Jack Frost and spring buds, etc.). The secret agent shadows the villain (the animal follows its prey; Jack Frost follows the spring buds, etc.). If the facilities are available and it is safe, the dramatic landscape (the area used) can have a few blocks or upturned chairs or tables, perhaps covered with a sheet, to represent corners to creep round or places to hide. The pursued always keeps a step ahead of the pursuer. It can be done in slow motion in order to exaggerate the actions and movements. Note: The idea is not simply to have one person chasing another round the room. Music can be used to make the slow chase more effective and to signal times to hide (by stopping the music or making a percussion sound). There should be a reasonable distance between each pair to give them room to move well and time to hide.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.Subtext Challenge View a production at a local theatreOHS/OPA fall play and spring musicalResourcesAMISTAD: : : Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Creating a CharacterCharacter AnalysisExamine character’s objectives, obstacles, and motivations.10Creating a CharacterCharacter DevelopmentDevelop character’s backstory and his/her purpose in the story10Creating a CharacterDramatic RolesBuild dramatic characters10Creating a CharacterComic RolesWrite comedic monologues10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderActing IIContent Area:DramaGrade(s)10-12Unit Plan Title:4: Scene StudyCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit focuses on the rehearsal process of a scene, including table work, blocking, analysis, and performance.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.1.4.12prof.Cr3c: Explore technical design choices that support the story and emotional impact of a scripted or devised theatre work.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.Essential Question(s)What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?What clues are given in the rehearsal process to help establish predictable patterns?Enduring UnderstandingsTheatre artists rely on intuition, curiosity and critical inquiry.Theatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.A theatrical student actor can evaluate and determine the proper acting technique to apply to a performanceSelecting an acting technique for a performance can influence the impacts of the performance.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAnalyze various characters’ actions and personalitiesCreate powerful stage picturesCompare and contrast the motivations of charactersPresent well-rehearsed scenesEffectively critique performances of scenesAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in critiquing and analyzing scripts and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD – SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Table workCharacter analysisScene breakdownLabel beats and tacticsDetermine subtextLesson 2: BlockingDesign the layout of the sceneryDetermine the movement of the sceneCreate stage picturesLesson 3: RehearsalStudents rehearse the scenes for instructor and peer feedbackFinal performanceAMISTAD EDUCATIONCivil Rights Plays and Black History Plays for Modern Audiences: Use this link as a resource to develop and perform theater utilizing these Black History plays and skits. EDUCATIONScene Study Resources: Choose any one of these fabulous plays compiled by a variety of playwrights. All plays focus on the Holocaust and can be viewed for free on . Lesson ideas as well as topic questions acompnay each script for additional learning and focus. []=84LGTBQIA EDUCATION5 essential tips for straight actors playing gay characters: We’ve reached an interesting time for LGBT representation in pop culture. As the debate rages on about gayface, and whether it’s okay for straight people to play gay characters at all, there are seemingly more LGBT individuals involved in every aspect of the entertainment industry. This article and clips can assist a young actor learn how to take on the role of gay character as a straight actor. EDUCATIONGame: Opposite Thought The students are grouped in pairs, A and B. A mimes an action, for example eating an apple and B asks him/her, ‘What are you doing?’ A must respond giving a wrong answer, for example ‘I am riding a bicycle’. Roles are then swapped. Extension activity: A short dialogue can ensue with B trying to persuade A that he/she is not doing what he/she says (for example, eating an apple), and A must create arguments to support what he/she says he/she is doing. For example, ‘Even though it looks like I am riding a bicycle, it is a new type of approach to healthy eating!’ Roles are then swapped.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.OHS Drama ShowcaseAttend a play at a local theatreResourcesAMISTAD: : []=84LGTQIA: Drama Projects 8th Edition HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" index2.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" chdramaworkshop. HYPERLINK "" \t "_blank" text/home.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" plays.htm HYPERLINK "" \t "_blank" ~kidsplay/about.htm HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" resources/links/PlaysandPlaywritingLinks.ht*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Scene StudyTable workWrite character analysis5Scene StudyTable workBreak up scenes into beats and tactics5Scene StudyrehearsalRehearse scenes in pairs5Scene StudycritiqueCritique performances and self-assessment5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderActing IIContent Area:DramaGrade(s)10Unit Plan Title:5: Theatre for Social ChangeCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP8. Utilize critical thinking to make sense of problems and persevere in solving them. Career-ready individuals readily recognize problems in the workplace, understand the nature of the problem, and devise effective plans to solve the problem. They are aware of problems when they occur and take action quickly to address the problem; they thoughtfully investigate the root cause of the problem prior to introducing solutions. They carefully consider the options to solve the problem. Once a solution is agreed upon, they follow through to ensure the problem is solved, whether through their own actions or the actions of others.Overview/RationaleThe focus of this unit is to allow students to use theatre as a tool to express themselves and bring attention to societal events that they wish could change.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.1.4.12prof.Cr3c: Explore technical design choices that support the story and emotional impact of a scripted or devised theatre work.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9a: Analyze and compare artistic choices developed from personal experiences in multiple devised or scripted theatre works.1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key or supporting details and ideas.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?What can an artist do to change the way an audience looks at theatre?How can actors have an impact on the lives of those who view their art?Enduring UnderstandingsThe relationship between historical elements of theatre and contemporary theatre practice can inform and influence a production concept.The understanding of major developments in world theatre history broadens beliefs and values and can lead to the discovery of a society’s culture and traditions.As theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists reflect to understand the impact of drama processes and theatre experiences.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationACivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesDemonstrate and expand dramatic concepts through improvisations.?Use improvisation as an approach to scripted material.Analyze self and others verbally and through keeping entries in a journal.Write scenes that represent things in society that can be changed.AssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in writing and performing original scripts.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningEffective questioningField experience, field trip, or field studyFlexible/strategic groupingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practice ActivitiesD – SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Children’s theatreStudents will choose a fairy tale. They will write a scene for children using that fairy tale’s characters. The characters will be facing a problem familiar to children. Show how the character may solve that problem.Lesson 2: Social ChangeStudents will be put into groups. Each group will then decide on one local social issue which they will use as the basis for the acting component. Each group will be assigned a form of Social Change Theatre; research the form and its uses in the past. Each group will present that social issue in a scene using the assigned form of Social Change Theatre.AMISTAD EDUCATIONCrossroads: How black theater lifts voices, sparks change: How does a theater company deal with social change? How do they represent it’s message and how can they inform the masses? Question these and more when you and you students research this theater organization and their impact on local communities, as they advocate for positive social change. EDUCATIONJewish Theater, Every Good Question Deserves Another Question: What is the future of Jewish theatre in the United States??In this series, co-curators David Winitsky, Artistic Director of?New York’s? HYPERLINK "" \t "_blank" Jewish Plays Project?and?Guy?Ben-Aharon, Producing Artistic Director of?Boston’s? HYPERLINK "" \t "_blank" Israeli Stage, asked Jewish theatre practitioners from major regions of the country what Jewish theatre means to them. Read, view and discuss the impact of social change vs. theater in today’s political and racial climate. EDUCATIONTheatre for Social Change: LGBTQ + Theatre: Study Social Change issues in the LGTQIA community and take this quiz! EDUCATIONHow Teachers Can Promote Social Change in the Classroom: An excellent resource for any teacher wanting to promote social change within the special needs classroom. Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: : : : of the Oppressed, Augusto BoalBasic Drama Projects 8th Edition HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" theatre/thed.htm HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" stemnet.nf.ca/~mcoady HYPERLINK "" \t "_blank" *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Using Theatre to bring about Social ChangeChildren’s theatreAdapt fairy tale into modern scene10Using Theatre to bring about Social ChangeSocial ChangeWrite scenes5Using Theatre to bring about Social ChangeSocial ChangeCast, block, rehearse, and present scenes10Using Theatre to bring about Social ChangeSocial ChangeCommunity outreach10* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Acting IIIActing IIIContent Area:DramaGrade(s)11Unit Plan Title:Designing the ProductionCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleA designer’s number one job is to capture the artistic essence of a production and translate its message with style and subtlety. Analyzing the various production design areas gives students an appreciation for the enormity of work that goes into each and every production. Creative expression with a clear vision, structure and design are all qualities that a collaborative production team must have in order to breathe life into any performance. Designing a show through respectful cooperation, hands-on construction/creation and positive critiquing are essential for the young actor’s growth on and off the stage. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.Accomplished1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.Advanced1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Advanced1.4.12adv.Pr4b: Create and justify the selection of technical elements used to develop and build a design that communicates the concept of a drama/theatre production.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.Accomplished1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11a: Integrate knowledge of cultural, global and historic belief systems into creative choices in a devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth.?1.2.12prof.Pr4a: Integrate various arts, media arts forms and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.Essential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How do theatre artists transform and edit their initial ideas?How can a play inspire positive action?Enduring UnderstandingsTheatre artists, through a shared creative experience with an audience, present stories, ideas, and envisioned worlds to explore the human experience.Theatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Theatre artists apply criteria to investigate, explore and assess drama and theatre work.Shape, mood, texture, script context, etc… contribute to the visual interest of designer’s creation motivations for creation. Attention to details such as texture, shape, movement, and color in design leads to clear expression during collaboration regarding the vision of actors and directors for each character/scene or production.Planning an order of steps and forming a list of required supplies dictates the design and construction during the pre-production phase.The responsibilities of designers in the three stages of Pre-Production, Production and Performance.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCreate a rendering for one design concept of a production (costume, props, makeup)Fulfill their role as a theater practitioner in design teams.Work collaboratively on a design team.Design a concept for one design area (costume, props, makeup)Identify the essential qualities of a character in order to make informed artistic choices about color, shape, movement, and texture.AssessmentsPre and Formative: Informal questioning pertaining to students’ experiences with live performances to assess student prior knowledge. SGO pre-assess examinations, Open discussion · Small group discussion · Creative drama activities Written response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment: Ask questions pertaining to performance spaces and how to make them more interesting for a performanceObservations: Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.PerformancesSummative :Development of a design concept Execution and completion required illustrations based on assigned positionIdentify new performance spaces around the school campus Explore new ideas about costumes, props, masks, and set pieces with students Present stories the students already know in different spaces Specific questions directed by teacherAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: The Production Vision – SUGGESTED ACTIVITIESStudents further their understanding of design and technical theater by connecting design choices to the requirements of a script. Making the Artistic Choice – Have students discuss the setting needs: style, colors, shapes, etc. for a play adapted from a story; suggested: The Mystery of Biltmore House or The Mystery of Blackbeard the Pirate by Carole Marsh, or a story from The People Could Fly: American Black Folktales by Virginia Hamilton.Reference the short story to determine the technical needs for dramatic presentation.Discuss the needs for costumes, props, masks, set pieces, and lighting.Section Two: The Director’s Concept –SUGGESTED ACTIVITIESStudents will understand the position of a director on a production team, and his/her responsibilities, a director’s concept and how to develop a concept. Director PowerPoint/SMARTBoard - role of the director and the various responsibilities related toBlocking ConceptMovement and stage composition Coaching actors Communicating with actors, designers and technical crewsShow a video of a production meeting so students will understand that the Director is responsible for the team understanding the concept.Creating the Concept: Shape a small group tableau, deciding which student will take the role of director.Groups all work with the same script, i.e. Reader’s Theater Scripts. Each student will take turns recognizing and discussing set, prop, costume, lighting and sound design in theatrical productions.Create Group Tableaus, deciding which character will take focus in the scene.Written/Oral/Performance based discussions guided by teacher.Section Three: Costume/Prop Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices.Costume CreationsGroups make, model, explain their design creations. Collaborate to create simple costumes for acting out a drama.Read a play and create a costume rendering for a character.Designing the Play’s CostumesHave students select from an already collected group of costume pieces, fabric swatches, ribbons, and old hats to create a simple costume they can wear based on a characters from the story they read.Prop Design Explore props and how they can enhance creative play. Using the simple short story that was read to the class, and prompted by the teacher, make a list of all of the “props”, or things that the character might hold in their hand Once the list is complete, and after diligent discussion, have students draw a color representation to be used in their reenactment.Section Four: Set Design –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of set pieces and design by creating a model set for a play script of their choice.The Sets Around You: Measure a room and create a ground plan including furniture and other elements from the room. Renderings: Create a rendering for a stage backdrop and then execute the rendering to scale on a brown paper mural or painted backdrop.Design a Set: Collaborate to create simple sets for acting out a drama.Devise a scenic concept for a play read in class, including backdrops, props, furniture and other scenic elements.Using cardboard boxes, colored paper, tape, and crayons – create simple sets based on the short story the class read.Diorama DesignsMultimedia Renderings and designs. Section Five: Lighting/Sound Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of how to use light /sound to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play.Light and Sound PowerPoint/SMARTBoard - role of the light/sound designers and the various responsibilities related toSpatial relationships Color Patterns Mood ThemeShow a video of a sound designer/light designer meeting so students will understand what a day in the life of is like. Match the Music: Creating a sound plot and mimicking the mood/theme of a photograph.Create a tape or CD of music and sound effects for a scene.Light for Living- Lighting designers need to know how lighting affects a space.??Here you will be creating an overhead drawing of your living room at home, indicating sources of light and what directions the light goes in the room and where it creates shadow.??You will also write one paragraph describing how you think the lighting in your living room creates a mood for that room.??Is it different from any other room in the house?Section Six: Group Companies – SUGGESTED ACTIVITIESStudents will reenact the story they have been working on, using their newly created props and costume, light, set pany Presentations: Describing your design in detail, giving justification for each, as well as describing how it fits with the director’s concept.Students reenact the short story they read integrating sets, costumes, masks, and props.After each presentation, allow students to ask questions. Remind the students that they can ask questions about the creation process or any clarifications they might need. Remind the students that we are not critiquing the design; it is a time to understand the design process.AMISTAD ’s Top Ten African American Directors Of The Decade: Directors play an integral role in operational side of entertainment creation. Students can discover their favorite directors and movies, and create slideshows encompassing their portfolio of work. Students can even pretend to be famous directors themselves, creating mock resumes and portfolios showcasing their own directorial achievements. EDUCATIONTeens act out Holocaust survivors’ stories in Witness Theater: Student can learn by example and create their own theater production after covering survivor stories from the Holocaust. Students can take on various technical roles as they learn from this production’s model in order to tell stories of the past for audiences of the present. EDUCATIONResearch Project: Top Gay and Lesbian Directors Working Today. There are plenty of people behind the cameras making heater and film happen. Research one of these artists and present your finding to the class unit in either a written, vlog or group project. EDUCATION9 Theater Companies Celebrating Actors With Disabilities: Discover the theater companies whose goal is to champion artists with special needs. What drives them to be inclusive? How can these companies thrive in today’s climate? Discover these questions and find the answers in class as you research these theater companies! See Appendix B for specialized programs that reflect the needs of students and community.Theater House visits and tours.Youtube / Literary / Archival Play Production MediaInvestigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).Participate in the running of a show as part of the properties, deck, electrics and costume crews.ResourcesWebsites: AMISTAD: : : Information Guides -? HYPERLINK "" \t "_blank" bath.ac.uk/~su2bc/infoguides/index.shtmlCareers in Stage Management & Technical Theater -? HYPERLINK "" \t "_blank" drama.ac.uk/lighting.htmlDesign & Technical Production for High Schools -? HYPERLINK "" \t "_blank" Lighting & Theatre Effects -? HYPERLINK "" \t "_blank" lteg.htmLighting Links -? HYPERLINK "" \t "_blank" linksStage Managers Handbook -? HYPERLINK "" \t "_blank" Broadway/Stage/2203/Smhandbook.htmlStage Managers Home Page -? Theater Resources -? HYPERLINK "" \t "_blank" Tools for Stagecraft -? HYPERLINK "" \t "_blank" index.htm (Compilation of tips for classroom drama productions) (Guidance on various production roles and responsibilities)STAGE CRAFT DIRECTORY of Technical Theatre Terms?()?Hundreds of British (and American) technical theatre terms, explained. In alphabetical order. Soon to be sorted by category, too. HYPERLINK "" \t "_blank" Stagecraft Frequently Asked Questions?()?Frequently asked questions from the rec.arts.theatre.stagecraft and alt.stagecraft newsgroups. HYPERLINK "" \t "_blank" Drama Department Links: Stagecraft?()?From the University of Exeter. The list includes costumes, staging, props, lighting, sound, and stage management. HYPERLINK "" \t "_blank" Association of British Theatre Technicians?()?Includes information about training, publications, and other information about several aspects of technical theatre. HYPERLINK "" \t "_blank" Entertainment Technology (ETEC)?()?This site provides access to the magazines "Entertainment Design" and "Lighting Dimensions" about show business art and technology.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Designing the productionProduction Visionconnecting design choices to the requirements of a script12Designing the productionDirector’s conceptunderstand the position of a director on a production team, and his/her responsibilities, a director’s concept and how to develop a concept12Designing the productionCostume/prop designdemonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices12Designing the productionSet Designdemonstrate an understanding of set pieces and design by creating a model set for a play script of their choice12Designing the productionLighting/Sound designdemonstrate an understanding of how to use light /sound to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play22Designing the productionGroup Companiesreenact the story they have been working on, using their newly created props and costume, light, set designs2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Acting IIIContent Area:DramaGrade(s)11Unit Plan Title:Adapting the Dramatic StoryCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit focuses on unearthing the practical, artistic expression of our young actors. Here, we delve into how dramatic stories are adapted by means of design choice and collaborative vision. Students discover the elements of how stories are written, structured and then adapted to meet specific production needs. Students explore artistic choices in an adapted scene/play through ensemble improvisation of theatre professionals. Working effectively in a production team and/or ensemble to improvise a play/scene adapted from source material as is an effective way to allow students to express their creative qualities. Implementing historical and cultural research to authentically adapt source material will support the ideals of cultural representation. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3c: Explore technical design choices that support the story and emotional impact of a scripted or devised theatre work.Accomplished1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.PERFORMINGAnchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9b: Use understandings of cultures and contexts to shape personal responses to devised or scripted theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11b: Use basic research methods to better understand the social and cultural background of devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.NJSLSA.R6. Assess how point of view or purpose shapes the content and style of a text.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA. W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA. W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.Essential Question(s)What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?What would the world be like if we weren’t able to artistically express ourselves?Enduring UnderstandingsTheatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.Dramatic stories incorporate exposition, character, conflict, climax and resolution.Unifying a variety of elements in a production creates a complex and textured composition.Gestures, facial expressions, and sounds techniques influence believability of characters/scenes.Theatrical practitioners utilize techniques of pantomime, tableau, mood to artistically express moments in story.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesImprovise and imitate scenes from a story (historical or fictional)Use improvisation skills to reveal understanding of artistic choices.Critique artistic choices from source material as a theater/film practitioner.Explore artistic choices in an adapted scene through ensemble improvisation of theatre professional.Work effectively in an ensemble to improvise a scene adapted from source material as theatre professionals.Use historical and cultural research to authentically adapt source material.AssessmentsPre and Formative - · Monitoring students’ activities · Observing students’ activities · Review of guidelines for the assignments, Evaluate students’ experiences with script and stage compositions. Benchmark/Authentic Accessment - Guided questions · Memorization Quizzes, Review beginning, middle, end, conflict, and resolution · Writing dialogue leading into or resolving the action during a song · Teacher will evaluate students’ progress at memorizingSummative - Writing prompts on characteristics of a design elements, stage directions, etc. · Comprehension questions on the adaptation process of stores to stage · Final Performance ReflectionsAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Adapting the Plot Structure –SUGGESTED ACTIVITIESStudents will demonstrate understanding of exposition, conflict, climax and resolution by improvising, in small ensemble groups, alternative endings to a folk tale.Understanding Plot Structure POWERPOINT: Introduce the students of the definitions of the elements and how the dramatic structure of a play follows the graph Exposition – background information (who, what, where, why, when; normal lifeInciting Incident – an action that sets the conflict in action (normal life changes)Rising Action – the story thickens and obstacles arisesClimax – highest point of the play (most emotional, the choice, etc.)Denouement/Falling Action – the untying of the know or resolution.Improvised Plots Brainstorm: Students will continue their journaling process to brainstorm (cluster map tool below) and articulate the plot elements of a folk tale. What is the main conflict of the story? What are the main lessons of the story? Who are the main characters? What’s the difference between a script and a narrative story?Improvise the SceneStudents will devise improved action leading to a brand new resolutionResolution from a Hat – Students will choose and perform new resolution.Journal – Did your resolution fit? What worked? What didn’t?Section Two: Protagonist and Antagonist Tableaus –SUGGESTED ACTIVITIESStudents Will demonstrate understanding of the conflict between protagonist and antagonist in a tall tale tableus.Tall Tale Tableaus - Student groups will create a series of at least 6 stage pictures (tableaus) that tell a recognizable story non-verbally between GOOD and EVIL. Journal: “What do you think is happing in in this tableau? What helped you to understand the message of the tableau? What confuses you in the tableau? What would you do if you were creating this idea through tableau?”Adapting a story into a theatrical composition requires investigation into the critical elements of the plot including specific character traits.Man Vs. Machine Tableau – Read and perform the conflict between protagonist and antagonist from the Tall Tale John Henry. Create a Flow Map of the John Henry story. Write an imaginary conversation between John Henry and the Machine using dialogue.How do we explore complex ideas and universal themes in literature and life when it comes to GOOD vs. EVIL?Section Three: Stage Directions and the Story –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of stage directions so that they can begin to identify additional performance elements within a script.Script to Stage - Students will use their journal (using a T-Chart) to identify performance elements within a script (e.g. stage directions, character notes)Stage Directions help describe;Story elements Theme and moral of the story Character motivation (T-Chart graphic organizer)Students may add in possible director notes to a script.Stage Direction Charades – Teacher will present a POWERPOINT of various stage directions from scenes/plays/skits.Story elements · Theme and moral of the story · Character motivationStudents must choose 5 different stage directions and interpret a scene out of them of their own design.Journal: What can stage directions tell us? How do we interpret them on stage from the page?Section Four: Blocking the Story – SUGGESTED ACTIVITIESStudents will demonstrate their knowledge of stage directions and other basics by blocking and how it directly effects characterization.Body Positions - Students will demonstrate their understanding of body language and posture by being able to identify the 5 body positions on and off stage. Full Front, ? Turn, Profile, ? Turn, Full BackHow does each position communicate different intentions and meanings?Students practice positions of stage with mock scenes creating and guided by instructor.Why do we adapt Body Position?Theme/idea Use of body positioning to display character emotionsCharacter Motivations and IntentionsStudent Scene BlockingStudents observe, the teacher will help one partnership at a time to block the first half of a scene.When all scenes have had their first halves blocked, the partnerships will on their own block the second halves of their scenes.Students will present for the class the second halves of their scenes. (T-Chart graphic organizer)Students may add in possible director notes to a script.Section Five: Breathing Life with Costume/Prop/Set– SUGGESTED ACTIVITIESStudent groups will work together to identify/compile a list of technical elements needed for each scene and costume / prop pieces for each character. Costume Creations - Students will collect/make all needed items and use in rehearsal processes. Teachers may use a 4-Column graphic organizer to connect characters, scenes, costumes and props. (Four column graphic organizer)Groups make, model, explain their design creations. The Master of Props – Students can devise and create an Online/Paper Catalog for props used in a show.Student will learn how to categorized the props for a play/story.Character, Scene, Theme, Funtionality, etc…Lay out and label a prop table.Construct and repair basic props using a variety of materials and skills. Create props from papier-maché.Designing the Set - Students will apply their knowledge of set design by creating a simple set design as a group for a Tall Tale of Fairy Tale.Devise a scenic concept for a play read in class, including backdrops, props, furniture and other scenic elementsCreate a rendering for a stage backdrop and then execute the rendering to scale on a brown paper mural or painted backdrop.Build a mini-model of a proscenium theater with moveable scenic elements for the story/playDisplay Set Functions of Mood, Theme, Color, Practicality Section Six: Memorize the Lines– SUGGESTED ACTIVITIESTranslating a story to the stage relies upon students rehearsing and eventually memorizing the given script in order to expresses the story’s essential qualities.Memorization Tips and Hints – POWERPOINT/SMARTBoardMemory ImagesWritten WordsSing Out Your LinesSound RecordingsPartner Study.Get Your Lines! - Students will rehearse short scenes from the folktale without referring to the text.Utilize breath control and vocal tones to create mood and character within a dramatic improvisation.Students may refer to notecards or other visual aids as needed.Repeat that improvisation to the bet of your ability with your partner.Switch Roles! What did you remember? Did you speak VERBATIM?Students may perform multiple roles for the performance.Section Seven: Story to Stage Translations– SUGGESTED ACTIVITIESTranslating a story to the stage relies upon stage composition (i.e. scenery, blocking, and technical elements) to expresses the story’s essential qualities.Scripted Performance - Students will perform the scripted play from memory that incorporates multiple technical elements. Students may need support in finalizing their roles and responsibilities such as peers helping to run lines, using note cards as cues, and using checklists for entrances and exits.Journal: Students will reflect through discussion and/or journaling on the most important thing they learned about performing a scripted work.AMISTAD EDUCATIONChoose your African Fable - While writing for plays and/or fables, students can choose between a wide range of culturally specific, African Folktales. The following website in an excellent resource which contains dozens of African folktales to study, critique and eventually perform. EDUCATIONPerformance Poetry: Poems are, of course, commonly used as stimulus materials in Drama and can be profitably applied in the creation of pieces based on the Holocaust, both because of their expressive power and because of their openness to interpretation. Many striking poems were written during the Holocaust by Jews, especially in the Warsaw and Vilna Ghettos, and non-Jews, while the subject has proved to be of enduring interest to some of the greatest poets of the post-war era. Students can research and devise their own poems representations their interpretation of the struggles and trials during this time. LGBTQIA EDUCATIONAdapting the Classics: Students are charged with adapting a modern or classic fairy tale/folk tale/tall tale/allegory into a new version which encapsulates the issues reflective of the LGBTQIA community. Characters, setting, plots and dialogue are encouraged to be altered in order to create something new from something old!IDEA EDUCATIONStory Boarding for Special Needs: Students will learn the elements of writing a short story. Students will plan, revise, and publish an original children's book after reading many other children's books to understand how they work. Students will utilize a variety of ways to express themselves in their story with drawings, the layout of their book and it's presentation. –See Appendix B for specialized programs that reflect the needs of students and community.In pairs, assume characters and write letters to each other.Develop scenes through improvisation, theater games or writing that have distinct character, clear relationships, conflict, setting, actions and beginning middle-end. Use situations from literature, history or current events to create tableaux, and then devise character monologues from that frozen moment.Dramatize an existing story with attention to sequence of events, conflict, character intent and resolution. Improvise a scene based on written material such as a newspaper article or journal. Improvise and then script a two-character dialogue that includes a conflict and resolution with clear character intent. Critique original peer-written works, using a rubric based on the elements of dramatic structure.Explore local and community theaters in your neighborhood, identifying the areas of the theater, the type of theater space and the intended audience. State the principal purpose of this theater and the types of performance(s) for which it was created.ResourcesBooks:12 Fabulously Funny Folktale Plays-Justin Mccory Martin Fables -Arnold LobelReally Good Readers' Theater - Folk Tales Book Set 1, Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN: Volume II: GRADES 4 – 6, Lyme, 1996.Plays, Inc. THE BIG BOOK OF FOLKTALE PLAYS: ONE ACT ADAPTATIONS OF FOLKTALES FROM AROUND THE WORLD FOR STAGE AND PUPPET PERFORMANCE, Boston, Plays, Inc., 1997.Slaight, Craigh; Esty, THE SMITH AND KRAUS PLAY INDEX FOR YOUNG Jennifer & Monteleone, ACTORS GRADES 6-12, Lyme, Smith and Kraus, 1999.Websites:AMISTAD: : (Site with several FolkTale renditions) (Site with lesson plan on modernizing folk tales) (Ideas for assigning various roles to students for performance preparation) (Compilation of tips for classroom drama productions) (Tips on memorizing lines) (Memorization strategies)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Adapting the Dramatic StoryAdapting the plot structuredemonstrate understanding of exposition, conflict, climax and resolution by improvising, in small ensemble groups, alternative endings to a folk tale13Adapting the Dramatic StoryProtagonist and antagonist tableausdemonstrate understanding of the conflict between protagonist and antagonist in a tall tale tableaus.13Adapting the Dramatic StoryStage directions and the storydemonstrate an understanding of stage directions so that they can begin to identify additional performance elements within a script.13Adapting the Dramatic StoryBlocking the storydemonstrate their knowledge of stage directions and other basics by blocking and how it directly effects characterization13Adapting the Dramatic StoryBreathing life with costumes/props/setidentify/compile a list of technical elements needed for each scene and costume / prop pieces for each character23Adapting the Dramatic StoryMemorize linesrehearsing and eventually memorizing the given script in order to expresses the story’s essential qualities13Adapting the Dramatic StoryStory to Stage translationsTranslating a story to the stage relies upon stage composition (i.e. scenery, blocking, and technical elements) to expresses the story’s essential qualities2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Acting IIIContent Area:DramaGrade(s)11Unit Plan Title:Musical Theater: A Cultural MirrorCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleDemonstrating the understanding of historical and cultural context of scripts, scenes, and performances is a crucial component in the young actor’s development. This unit endeavors to integrate the histories and conceptual viewpoints from performances in the Musical Theater genre. Cultural perspectives from various periods of history influenced Musical Theater and in return, this stylized genre was able to mirror societal moods and trends. By exploring historically and culturally significant musical theater productions, students will be able to view the past not only through the pages of a script, but through the literal adaptation of a character’s point of view. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3c: Originate and construct technical design choices that support the story and emotional impact of a devised or scripted theatre work.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced1.4.12adv.Pr5a: Experiment with theatrical styles to form unique choices for a directorial concept in a devised or scripted theatre work.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.1.4.12adv.Re7b: Use historical and cultural context to structure and justify personal responses to devised or scripted theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9b: Apply concepts from devised or scripted theatre work for personal realization about cultural perspectives and understanding.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9b: Use understandings of cultures and contexts to shape personal responses to devised or scripted theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.4.11b: Explore how personal beliefs and biases can affect the interpretation of research data applied in devised or scripted theatre work.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.R6. Assess how point of view or purpose shapes the content and style of a text.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA. W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.Essential Question(s)How are the theatre artist’s processes and the audience’s perspectives impacted by analysis and synthesis?What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?What can the acting performances in other cultures teach us about ourselves and about life?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists reflect to understand the impact of drama processes and theatre experiences.The different interpretations of history based upon individual or societal perspectives that are exhibited through Musical Theater performance.American musical theatre is one of the truly unique contributions to world theatre. Musical theatre developed from specifically American entertainment styles.The musical theater genre has the ability to show how diversity has impacted historical events and that it exists as an artistic mirror to societal trends and moods.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesPortray diverse cultural historical perspectives in a theatrical performance.Create characters that convey historical conflict from multiple perspectives.Identify and analyze different interpretations of History based upon individual or societal perspectives that are exhibited through theatrical performance.AssessmentsPre and Formative - · Monitoring students’ activities · Observing students’ activities · Review of guidelines for the assignments, Evaluate students’ experiences with musicals. (Heard of, seen live, performed in, seen videos)Written response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment - Guided questions · Review beginning, middle, end, conflict, and resolution · Writing dialogue leading into or resolving the action during a song · Teacher will evaluate students’ progress at memorizingConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Summative - Writing prompts on characteristics of a musical · Comprehension questions on the history of musicals · Mini-musical creation rubricPortfolios Portfolios may contain many different types of documentation for what students know and are able to do. Items in a portfolio may be teacher-selected, student-selected, or a combination of these.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Musical Theater –SUGGESTED ACTIVITIESStudents will demonstrate an understanding that musicals reflect the times in which they were created Musical Theater History – PowerPoint/SMARTBoard1950s – Showboat – 2000s WickedVaudeville, West Side Story, Pirates of Penzance, etc…Influence of TV/FILM/CINEMARepresentation of SocietyAssess - Complete a short worksheet and by using that worksheet as a guide in a game show-style quiz.Musical Theater Project (3 Choices)Students will present a particular decade in a group from 1920-2000 to the class (this will include a performance from their era).Select a musical from this era and perform a 2 minute scene from it with some dialogue.ORMake a Musical Theater TimelineORDesign a Costume Collage from at least 5 different Musicals Section Two: The Music of a Musical –SUGGESTED ACTIVITIESStudents will learn how music and singing come together in a performance. The Sound of Music in Theater – PowerPoint/SMARTBoardSilent Film Show the students a short movie clip on silent three times, each time with a different, varied musical selection behind it. After each clip the students will discuss what they thought was happening.What did music add to the clip and what does it add to theatre/film in general?Divide the students into small groups and ask them to create a short silent movie using one of the three musical selections as their background.Watch each other’s movies and discuss how each group used the music and what they thought was effective etc.Section Three: Dance for a Musical –SUGGESTED ACTIVITIESStudents will learn how dancing functions to come together in a performance. Dancing in Musical Theater - PowerPoint/SMARTBoardMovement has a purpose in musical theatre. 1) Furthers plot 2) Introduces/gives deeper analysis of characters 3) Expresses emotion.Improv Fairy Tale Dance: Students will demonstrate their understanding of how to communicate through movement by improvising a group dance.Divide the class into small groups and let them pick a slip with a fairytale on it. Give them time to briefly tell a fairytale using only movement. They can choose whether to use music or not. Cinderella, Rapunzel, The Three Little Pigs, Snow White and the Seven Dwarves, Little Red Riding HoodHave the class perform the dance all together and video tape it.?Section Four: Acting for a Musical –SUGGESTED ACTIVITIESStudents will learn how acting functions to come together in a performance. Musical Theater Acting - PowerPoint/SMARTBoardMusical Theater Acting is much different than play acting.Quick relationship development is needed.Natural Time is abridged and serves the arc of the musical.Immediacy of Emotions and Motivations Short Scene Snip-its: Student will perform a short scene from a musical in preparation for working on a longer scene from their group musical project.Little Shop of Horrors – Act I Scene 3, p. 38-40The Secret Garden – Scene 3 “The Greenhouse,” p. 32-34The Music Man – Scene 4 “The Library”, pg. 38-42Journal: How were they different from the dramatic and comedic scenes?Ask what observations they made about musical theatre acting.Characters must be developed offstage and through character analysis.Section Five: Making the Mini Musical –SUGGESTED ACTIVITIESStudents will combine dramatic lines, vocals, and choreography to create a short Revue of learned musicals.Broadway Revue - Students are presented a program with a loose order so that the students have a choice as to what they perform. Students are grouped in three categories;Actors, Singers and dancersAll are responsible for creating, rehearsing and performing specific their musical theatre piece.Dress Rehearsals - Students will go through, one more time the logistics for their performance.?How do we collaborate to put the play section together?How do we combine rhythm, movement and words to create the play scene?How do we complete the play?Final Performance: Students perform their pieces and present musical theater genres. Journal: Discuss with the students what they’ve learned through studying Musical Theatre. How is it different from straight theatre? How is it similar? What do they like/dislike about it? Has their appreciation for musical theatre grown over the unit??AMISTAD EDUCATIONThe Best of Black Musical Theater Performances! – Students can watch, critique, and reflect upon incredible musical theater performance from a vast selection of black artists. EDUCATIONFiddler on the Roof Study: Fiddler on the Roof is not actually a Holocaust movie but the theme is still the persecution of the Jews but this time in the early 1900's in Russia. Student can watch choice clips, reenact scenes, perform musical numbers and dances. Pst reflection is paramount to connecting the persecution stories told in the musical with that of the real event of a Holocaust era struggle. EDUCATION15 LGBT-Themed Plays and Musicals That Changed Society: The following link introduces young audiences to plays and musicals that support the ideals and issues of the LGBTQIA community. Have students research one musical and analyze it’s message. Students can also be asked to perform scenes and songs in a performance matter as means of an project assessment. EDUCATIONIncorporating rules with pictures, and using schedules, can help students independently follow the flow of the lesson. By having pictures connected to each rule—students are able to see what the expectation looks like. By having a schedule, students will be able to see what will happen first, next, and so on. This can be extremely useful for students who are on the autism spectrum, or have anxiety. Teachers can reuse this schedule for each lesson, to help build a strong routine so students will know the order of every lesson. For example, in each lesson: first is set-up, then is warm-up, then is method book work, etc.Teachers can incorporate several strategies to help connect to OT/PT skills:ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.View and respond to a variety of live performances representing a range of styles (classical, contemporary, non-Western, musical theater, puppetry, etc.) and venues (Broadway, off-Broadway, college, high school, etc.)Create original music or use found music in a student performance for entrance music, underscoring or interludes.Create original choreography for a scene in a musical or drama. Participate in and create stage combat and fight choreography for a scene.Attend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesAMISTAD: : : scenes from: Annie, Hairspray, Oklahoma, The Secret Garden, The Music Man Willy Wonka, etc.Textbook: Exploring Theatre- pages on history of musicals · DVDs of various musicals · CDs of various songsWebsites:: Musical Theater for Kids - ' Musical Theatre Collection - Volume 1 (Vocal Collection) Book with online audioKids' Musical Theatre Collection - Volume 2: With a CD of Piano AccompanimentsKids' Musical Theatre Anthology Book/CD (Broadway Presents!)Broadway Presents: Teens' Musical Theatre Anthology Female Edition CD Included PVGMusical Theatre: A HistoryBroadway Musicals, Show-by-Show: Eighth EditionSilver, Fred AUDITIONING FOR THE MUSICAL THEATRE, New York, New Market Press, 1985. A New York vocal coach provides tactics for auditions in musical theatre.*See Appendix B for resourcesSuggested Time Frame:Pacing Guide BelowUnitConceptsTopicsSkillsDays of Instruction*4Musical TheatreMusical theatre historydemonstrate an understanding that musicals reflect the times in which they were created24Musical TheatreMusic of a musicallearn how music and singing come together in a performance24Musical TheatreDance for a musicalhow dancing functions to come together in a performance24Musical TheatreActing for a musicallearn how acting functions to come together in a performance24Musical TheatreMaking the mini musicalcombine dramatic lines, vocals, and choreography to create a short Revue of learned musicals2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order. Acting IIIContent Area:DramaGrade(s)11Unit Plan Title:Theater’s Historical TraditionsCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleTheatre of today has traditions rooted in the historical cultures of Asia, Africa, Europe, and the Americas. From the Greek Chorus, to the Shakespearean Theater, to the American Musical, it is apparent that theater has become one of the most transcendent art forms in human history. While performative elements are present in every society, it is customary to acknowledge a distinction between theatre as an?art form?and entertainment and theatrical?or?performative?elements in other activities. By studying current entertainment forms such as Television/Film and comparing/contrasting the elements found in theatrically based art forms, students will be able to make cultural and historical connections. Using theater history as a means to introduce cultural, societal, political, and racial issues of various historical periods allows students to have a broader sense of the world. Theatre can be used to represent knowledge, to persuade and to educate and there’s no better way to teach this then learning from what the past has taught us.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context..1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.Accomplished1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.1.4.12acc.Re8c: Verify and articulate how a devised or scripted theatre work communicates for a specific purpose and audience.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL4 Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.Essential Question(s)What happens when theatre artists use their imaginations and/or learned theatre skills while engaging in creative exploration and inquiry?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?How, when, and why do theatre artists’ choices change?How does acting influence storytelling and storytelling influence acting?Enduring UnderstandingsTheatre artists allow awareness of interrelationships between self and others to inform their work.Theater through the ages has acted as an educational tool for communicating cultural beliefs, societal shifts, religious affiliations and political propaganda.Unifying a variety of elements in a production creates a complex and textured composition.Cultural references and relationships are embedded within scripted scenes and influence character development.Actors’ cultural perspectives and expressions influence character choices which, in turn, affect the other actors in a scripted scene.There is a clear distinction between theatre as an?art form?and entertainment and theatrical?or?performative?elements in other activities. Cultural diversity helps us to create compelling theatre experiences.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesImprovise and imitate scenes from a story (historical or fictional).Critique artistic choices from source material as a theater/film practitioner.Work effectively in an ensemble to improvise a scene adapted from source material as theatre professionals.Create characters that convey historical conflict from multiple perspectives.Analyze script and performance content from a multicultural point-of-view.Portray diverse cultural historical perspectives in a theatrical performance.AssessmentsPre and Formative – POWERPOINT/ SMARTboard pre-assessments, Class led discussions, Teacher observation of research progress , Teacher observation of project development, Teacher assistance and preview of technology usageWritten Response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment- · Student multimedia presentations · Self-assessment · Peer assessment · Final visual representations assessment · Teacher assessment of knowledge gainedObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative : Students will demonstrate competency in: Using a test developed from the material presented, the teacher will assess knowledge gained from the student presentations.Documentation Portfolio: This type of portfolio is often called a “working” portfolio. This is a collection of work over time showing growth and improvement. It reflect the student’s learning of specific and identified objectives and outcomes. Process Portfolio: This documents all facets of the learning process. This type of portfolio is particularly useful in documenting a student’s overall learning process. It should show how the student integrates knowledge and/or skills during progress towards mastery of the selected objectiveAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Cultural Traditions –SUGGESTED ACTIVITIESStudents will identify and participate in cultural traditions from students’ own cultures.PowerPoint/SMARTBoard- Around the World of TheaterStudents take participate in an interactive tour of theater style, tradition and history ranging from…Commedia del Art, Greek Theater, Elizabethan Theater, Modern Musicals, etc…Theater History PyramidsDistribute Theatre History Charts and briefly go over periods included. Show pictures. Divide class into groups for each period. Groups will do additional research and plan ways to share information.Ancient Greece, Egypt, China, and West Africa.Reflections: How can your family traditions be shared with future generations? What can you do personally to help?Section Two: Greek Theater Traditions –SUGGESTED ACTIVITIESStudents will identify and Will gain a basic understanding of the ancient Greek theatre tradition.PowerPoint/SMARTBoard- Greek Gods and their Influence on TheaterStudents take participate in an interactive tour of Greek theater style, tradition Greek GodsFoundations of the Greek Chorus, ThespisTheater of DionysisMask PlayThe Greek MythPowerPoint/SMARTboard presentation.Make your own Greek Myth surrounding around conflict.Love, War, Hate, Disease, Famine, Etc…Utilize Greek Gods and foundations of scripiting to create your own myth.Performing Greek Myths and LegendsDistribute famous Greek plays and briefly go over legends included. Show pictures. Divide class into groups for each period. Groups will do additional research and plan ways to share information.Demeter and PersephoneIcarus and the MinotaurThe OdysseyStudents will present their stories to the class. Group discussions and FLOWCHARTS will aide in identifying Greek style and traditions. Section Three: Japanese Theater Traditions –SUGGESTED ACTIVITIESStudents will identify and will gain a basic understanding of Japanese theatre traditions.PowerPoint/SMARTBoard- Kabuki/Noh and their Influence on TheaterStudents take participate in an interactive tour of Japanese theater style, tradition Noh TheaterKabuki TheaterBunraku TheaterStudents will reflectively discuss and write down their favorite types of Japanese Theater and how it effects the culture of theater. Japanese Movement TheaterPractice kata (performance techniques) of maruhon (puppet-like movements) ad shosagoto (controlled, dignified dance with frozen pose at end).Use audio-visuals and/or real manipulative to build understanding of the art form.Kabuki ReconstructionUsing the legend, The Oldest of Trees, students are divided into groups to stage it in the Kabuki style.Journal: Describe how the techniques and style of Kabuki theatre differ from realistic western style acting.Section Four: COMMEDIA DELL’ARTE –SUGGESTED ACTIVITIESStudents will identify and will gain a basic understanding of Commedia Dell’Arte traditions.PowerPoint/SMARTBoard- Commedia dell’arte and their Influence on TheaterStudents take participate in an interactive tour of Commedia dell’arte style, traditionsStock CharacterScenesImprovisationCharacter ArchetypesCharacter choices: Each student selects one character and one prop; rehearse movement and attitude for character.Partners: Combine different characters and assign an objective that will cause conflict such as: Isabella wants to have a huge wedding while Pantalone wants to protect and increase his wealth, Columbina wants to find a way to live away from Pantalone’s house while The Captain wants to find a rich girl to marry, Arlecchino wants money and Lelio wants him to help him get money for a wedding.Journal: Describe in detail the character you have chosen. Include objectives, motivations, relationships with other characters.Improvisation Practice - Improvise from sample scenarios using teacher provided stock characters.Create your own improvised scenes using the previously learned character archetypesWhich scenario did you like best? Why? Which scenario worked best for your character?Section Five: SHAKESPEAREAN THEATRE –SUGGESTED ACTIVITIESStudents will identify and will gain a basic understanding of Shakespearean theatre traditions.PowerPoint/SMARTBoard- Shakespeare and his Influence on TheaterStudents take participate in an interactive tour of Shakespeare style, traditionsElizabethan TheaterGlobe TheaterPlaywrightingProse and PoetryCharacter developmentLiterary conventions – Monologue, soliloquy, asidesShakespearian Insults Student can develop a taste for Shakespearian dialogue by using imagery, metaphor in insults.Character walks: Develop walks for various Shakespearean characters.Pantomime: Working simultaneously and individually, pantomime various activities as a variety of characters.Romeo, Juliet, Macbeth, Hamlet, etc…Section Six: Musical Theater –SUGGESTED ACTIVITIESStudents will demonstrate an understanding that musicals reflect the times in which they were created Musical Theater History – PowerPoint/SMARTBoard1950s – Showboat – 2000s WickedTrue American art formInfluence of TV/FILM/CINEMARepresentation of SocietyMusical Theater Research ProjectStudents will present a particular decade in a group from 1920-2000 to the class (this will include a performance from their era).Select a musical from this era and perform a 15 minute scene from it with some dialogue and at least one musical number that can be choreographed.Historical Connections with the Musical?Did the creators of the musical get their facts straight, and accurately reflect actual events? Does the song accurately reflect the history behind it? Why or why not?Section Seven: Theater and Modern Society –SUGGESTED ACTIVITIESStudents will demonstrate an understanding that theater traditions reflect the times in which they were created Non-Western genre project preparationUsing the information collected and an understanding of the culture from which the genre developed, each student will prepare a multi-media project for in-class presentation that both informs and entertains. Presentations should include, but not be limited to, the following: genre development, history, current situation, training, relationship to national culture, and performers.Each student, using available technology, will complete an in-class informal presentation of the selected Non-Western theatre genre. The informal presentation should inform and entertain. In scope, it should be both comprehensive and substantive.Creating visual representations of knowledge gainedStudents, using notes and with access to multimedia presentations, will create charts, graphs, diagrams, posters and pictures showing similarities and differences among the various Non-Western theatre genres presented and Western theatre.Whole class assessmentUsing a test developed from the material presented, the teacher will assess knowledge gained from the student presentations.What did we just watch???What are these trailers made for???Did this trailer accomplishAMISTAD EDUCATIONA Brief History of African Americans/Blacks in Theatre: Students can read excerpts describing the impact of Black Theater in America. Students can also create informational timelines representing the rise of Black theater culture in the US. EDUCATIONThere’s a long history of Jews playing Nazis on screen: This is an introspective look on the more satirical side of film. Students can read, analyze, discuss and view clips of movie/stage/TV. This is an eye-opening experience for most, so care and respect must always be employed while covering this taboo topic. EDUCATIONThe History of Homosexuality in Theatre: A compilation Prezi presentation highlighted homosexuality in theater throughout history. Students can view, discuss or even create their own information packet projects concerning the issue. EDUCATIONThe introspective video from Michigan State Universitie’s ollege of Arts and Letters, focusing on the factors that make Theater for the Speical Needs Community successful. Theater and Autism: – See Appendix B for specialized programs that reflect the needs of students and community.Locate and identify theater artifacts from contemporary or historical theater using original documents or reprints, including programs, articles, posters, and photos of notable theater professionals. Use online resources to deepen students understanding of theater performance by researching historical and cultural setting, period dress and customs.Visit museums or use a museum’s website to view resources related to a play, the performance tradition, or the historical period of the work. For example, study the representations of performers in ancient Greece and Rome on urns or friezes at the Metropolitan Museum of Art to inform a production of Medea.In groups, assemble multimedia biographies of notable performers, such as Paul Robeson, Eleanor Duse, James O’Neill or Marcel Marceau. Investigate the question: “Why this artist is notable within his/her own culture or time period.View and respond to a variety of live performances representing a range of styles (classical, contemporary, non-Western, musical theater, puppetry, etc.) and venues (Broadway, off-Broadway, college, high school, etc.).ResourcesWebsitesAMISTAD: : : : Theater and Autism: Hall: article/the_basics/art_tours.html Centerline Scenic Studios/Works in progress: progress. html The Kennedy Center: about/virtual_Access to for videos on…Kabuki TheaterGreek MythPantomime and Improv HistoriesMusical Theater Innovations. Books:Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN: Volume II: GRADES 4 – 6, Lyme, 1996.Beard, Jocelyn, Editor SCENES FROM CLASSIC PLAYS, 468 B.C. TO 1970 A.D., Newbury, Smith and Kraus, 1993.Cassady, Marsh THE THEATRE AND YOU: A BEGINNING, Colorado Springs, Meriwether Publishers, 1992.Oates, Whitney J. & SEVEN FAMOUS GREEK PLAYS, New York, Vintage, O’Neill, Jr., Eugene, Editors 1950.Papp, Joseph & SHAKESPEARE ALIVE!, New York, Bantam, 1988. Kirkland, Elizabeth Describes London during Shakespeare’s time, Elizabethan theatre, how plays were produced, music of the time, where Shakespeare got his plots, and how he transformed them.Woofin, Ruper INTRODUCING ARISTOTLE, Totem Books, LTD, 2001.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Theatre’s Historical TraditionsCultural Traditionsidentify and participate in cultural traditions from students’ own cultures13Theatre’s Historical TraditionsGreek Theatre traditionsIdentify and gain a basic understanding of the ancient Greek theatre tradition13Theatre’s Historical TraditionsJapanese Theatre traditionsidentify and gain a basic understanding of Japanese theatre traditions13Theatre’s Historical TraditionsCommedia Dell’Arteidentify and will gain a basic understanding of Commedia Dell’Arte traditions13Theatre’s Historical TraditionsShakespearean Theatre traditionsidentify and will gain a basic understanding of Shakespearean theatre traditions13Theatre’s Historical TraditionsMusical Theatredemonstrate an understanding that musicals reflect the times in which they were created13Theatre’s Historical TraditionsTheatre and modern societydemonstrate an understanding that theater traditions reflect the times in which they were created1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Content Area:Acting IIIGrade(s)11Unit Plan Title:Forming the Theater Company! Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleIntroduced in the 5th grade, and further developed in the 6th grade, students will focus on producing a play from scratch. It is important to instill a culture of collaboration that will create a cohesive design (directing, producing, costume, makeup, props, etc.) demonstrating order/form. The process of theatrical production often relies upon a synergy of traditional practical theatrical roles, which students will have the opportunity to take ownership over. This unit aims to teach what successful collaboration looks like in the professional theater world. The focus will the 4 stages of Production; the Pre-Production Phase (design choice, budgetary financing, script structuring, auditioning), to the Production Phase (design construction, direction, acting study), to Performance Phase, (stage managing, crew cooperation, FoH), to finally Post Production (reflective analyzis, financial issues). Students who can collaboratively work towards a single, unified goal will gain a level of respect for theater as a demanding art form, but as a viable career choice. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.Accomplished1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.Advanced1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Advanced1.4.12adv.Pr4b: Create and justify the selection of technical elements used to develop and build a design that communicates the concept of a drama/theatre production.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.Accomplished1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11a: Integrate knowledge of cultural, global and historic belief systems into creative choices in a devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?Why is the united-performance effort considered the true artistic endeavor?How does design, art, cultural, economic and technical elements in settings of plays affect the performance of scripted material?Enduring UnderstandingsAttention to detail in creating theatrical design (costume, props, make-up) enhances the overall effectiveness of composition. Culture of collaboration will create a cohesive design (costume, makeup, props) demonstrating order/form. Theatrical production designs often rely upon a synergy of traditional practical theatrical roles.Roles of theater practitioners, (including director, costume designer, prop master, actors, makeup designer) listing their responsibilities and contributions to a production.How a design concept fits into a production and what specific skills are needed to meet that concept. Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesHow sets differ in terms of artistic, technical and cultural design.Identify and disseminate the different parts of a set, such as culture, time period, social status, costumes, and technical components make up a cohesive idea.Design various sets to accompany a script, to give different meanings.Work collaboratively on a design team.Identify the history, place, time, and social structure of the script environment.Brainstorm, collaborate, practice and produce a unified, theatrical vision.Perform scripted work with the use of technical elements to enhance the performance.Determine how differing stage sets communicate various information to the audience, i.e. mood, time, setting, relationship, etc…AssessmentsPre and Formative – POWERPOINT/ SMARTboard pre-assessments, Class led discussions, Teacher observation of research progress, Teacher observation of project development, Teacher assistance and preview of technology usageWritten Response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment - · Student multimedia presentations · Self-assessment · Peer assessment · Final visual representations assessment · Teacher assessment of knowledge gainedObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative: Students will demonstrate competency in: Using a test developed from the material presented, the teacher will assess knowledge gained from the student presentations.Documentation Portfolio: This type of portfolio is often called a “working” portfolio. This is a collection of work over time showing growth and improvement. It reflects the student’s learning of specific and identified objectives and outcomes. Process Portfolio: This will document all facets of the learning process. This type of portfolio is particularly useful in documenting a student’s overall learning process. It should show how the student integrates knowledge and/or skills during progress towards mastery of the selected objectiveAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord Wallto learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Technical Theater Intro –SUGGESTED ACTIVITIESStudents will demonstrate understanding of the members of a theatre production team and their responsibilities by participating in class activities, discussions.PowerPoint/SMART Intro:??Students will learn about the various roles of the production team and their subsequent duties/responsibilities. Review with students what technical jobs are available in the theatre including: stage management, technical director, and design elements, such as lighting, sound, costumes and props.Tech Theater Chart: Create a time line and flow chart to demonstrate an understanding of the tenets of the production processes.Section Two: Pre-Production –SUGGESTED ACTIVITIESStudents will demonstrate a basic knowledge of the processes that take place during the pre-production phase of a show.Publicity:??Students will learn how hired to publicize the play they have been reading in class.Instruct students to create a rough draft of a poster advertising the play.Poster Competition displaying important facets of effective advertising. Auditioning: Students will gain an understanding of what a formal/professional audition entails by viewing a sample audition and identifying its elements.Auditioning is a necessary and important part of any theatrical production and is the gateway you must pass through in order to attain any more theatrical pile a list of things that are appropriate/necessary/good for formal auditions as well as a list of things that are not.?Mock AuditionsStudents will take turns holding and performing in auditions in front of the class. Reading the Script: Students will demonstrate understanding of the importance of reading the script in developing a production concept by reading a summary of a play, participating in activities and discussions and by selecting a particular scene on which they will base their director’s concepts and design elements for their production book.Section Three: Production Phase –SUGGESTED ACTIVITIES Students will understand the position of theater leadership on a production team, and his/her responsibilities, a director’s concept and how to develop a concept. Design Concepts:??Students will demonstrate understanding of a director’s concept and how to develop a concept by participating in activities and discussions and by creating a director’s concept for their chosen scene from.Students will assume the role of Director, Technical Director, or one of the designers for an in class.Each student will produce the required paper work to complete the task assumed. Example: Stage Manager-rehearsal schedule, call board, contact list, prompt book, etc. The student will assist the director or teacher with management of other students involved in the production based upon selected position.Example: Technical Director-members of the build crew, the paint crew, as well as working directly with the designers and the director to create a concept-driven and cohesive production.Journal Reflection: Students will maintain a journal throughout the process and write a reflection on the strengths and/or personal needs discovered during the leadership process.Section Four: Costume Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices.Pull costumes from existing stock or one’s own wardrobe. Label and catalog the items. Sew on a button, or sew a hem by hand or using a machine.Costume CreationsGroups make, model, explain their design creations. Designing the Play’s CostumesGroups are assigned specific plays/productions to fully design a costume pieces or pieces. Section Five: Set Design –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of set pieces and design by creating a model set for a play script of their choice.Measure a room and create a ground plan including furniture and other elements from the room. Design a scene in a classroom using found objects. Spike the set and furniture pieces from a student-generated ground plan for a scene or school production. Work with teacher or technical director in constructing scenery for a production.Diagram and build a flat. Section Six: Forming the Company –SUGGESTED ACTIVITIESStudents will demonstrate understanding of the members of a theatre production team and their responsibilities by taking on specific theater roles in class activities, discussions.Hierarchy, Safety, and Design: Class discussion of the multiple aspects of a theatre production from a leadership point of view. Group Companies: Students will take on the roles of the various theater jobs. Technical director or group leader, Scenic designer, Lighting designer, Costume designer, Sound designer, Props master Give each group a one-act script. They are to read the script first. The scenic designer is in charge of analyzing script for scenic requirements and producing a ground plan; lighting designer is in charge of writing lighting cues and when they occur; the sound designer is responsible for writing in sound cues, when they occur and developing a list of sound cues; the costume designer is in charge of creating a costume plot; and the props master is responsible for developing a list of props required by the script. The technical director will collaborate with all aspects. Maintain a daily journal of progress on the project.Section Seven: Post-Production –SUGGESTED ACTIVITIESStudents will demonstrate understanding of a theatrical production manager, house manager, and stage manager as well as their responsibilities and will demonstrate their knowledge by answering questions and participating in learning activities.Stage Managing:??Students will learn how to become a stage manager and their subsequent responsibilitiesCreate and post cast sign-in sheets. Take blocking notes in a working rehearsal. Generate daily rehearsal schedules under the director’s guidance. FOH PowerPoint Presentation Duties, ResponsibilitiesSection Eight: Group Company Final –SUGGESTED ACTIVITIESStudents will demonstrate their understanding of the role of a theatre production team.Group Assessments: Definition of each member, and his/her responsibilities, talents/skills by taking a test Working in a Production Book (portfolio) which is based on a chosen scene of their choice.Includes hands-on, creative projects for specific positions on a production team and similar to what they would do if working an actual production.?Company Presentations: Describing your design in detail, giving justification for each, as well as describing how it fits with the director’s concept.After each presentation, allow students to ask questions. Remind the students that they can ask questions about the creation process or any clarifications they might need. Remind the students that we are not critiquing the design; it is a time to understand the design process.AMISTAD EDUCATIONAll-Black Theater present OKLAHOMA!: This article introduce you to an all black version of Oklahoma!. Students should read the article, watch the supplied clips and compare and contrast them with the original version. EDUCATIONALLIANCE FOR JEWISH THEATRE: is made up of theatre-artists, theatres, and other people connected to theatre to promote the creation, presentation, and preservation of both traditional and non-traditional theatrical endeavors by, for, and about the Jewish experience. Classes can explore the shows, missions, productions, and teaching seminars located within their website for further study. EDUCATIONQueer Youth Theater: Use this site as a window into the vast network of LGBTQIA supported, youth theater companies across the United States. EDUCATIONETC!: Exceptional Theater Company is an all inclusive theater program for teens and adults with special needs. Through the power of theater our actors learn life skills that teach them to be the best versions of themselves! Use this in your classroom to introduce students to varied means of theater! – See Appendix B for specialized programs that reflect the needs of students and community.Investigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. n Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews). Create a crew check list for a week-long production schedule. Create a mini-design portfolio for a scene using collage, swatches, original drawings/diagrams, found objects/images, and writing. Respond to design elements in a theater performance, noting the elements of spatial relationships.ResourcesWebsites: AMISTAD: : : : Costumes -? HYPERLINK "" \t "_blank" Costume History & Research -? HYPERLINK "" \t "_blank" theatre/costume.htmlElizabethan Costuming Page -? Theatrical Supply -? HYPERLINK "" \t "_blank" Graftobian Theatrical Makeup -? HYPERLINK "" \t "_blank" The Costume Gallery -? HYPERLINK "" \t "_blank" The Costume Page -? HYPERLINK "" \t "_blank" Costume Site -? HYPERLINK "" \t "_blank" costumeStage Managers Handbook -? HYPERLINK "" \t "_blank" Broadway/Stage/2203/Smhandbook.htmlStage Managers Home Page -? Theater Resources -? HYPERLINK "" \t "_blank" The Costume Gallery Rosco Rose Brand USITT (U.S. Institute for Technical Theatre) , I.E. STAGECRAFTERS’ HANDBOOK: A GUIDE FOR THEATRE TECHNICIANS, Studio City, Players Press, 1995.How to Start Your Own Theater Company by Reginald NelsonTheatre Management by David M. ConteRunning Theaters by Duncan M. WebbProducing Theatre by Donald C. FarberAnderson, Barbara, and Cletus Anderson. Costume Design. Buckman, Herman. Stage Makeup. Langley, Stephen. Theatre Management and Production in America. How to Run a Theater: A Witty, Practical, and Fun Guide to Arts Management*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Forming the theatre companyTechnical Theatredemonstrate understanding of the members of a theatre production team and their responsibilities by participating in class activities, discussions14Forming the theatre companyPre-Productiondemonstrate a basic knowledge of the processes that take place during the pre-production phase of a show14Forming the theatre companyProduction phaseunderstand the position of theater leadership on a production team, and his/her responsibilities, a director’s concept and how to develop a concept14Forming the theatre companyCostume Designdemonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices14Forming the theatre companySet Designdemonstrate an understanding of set pieces and design by creating a model set for a play script of their choice24Forming the theatre companyForming the companydemonstrate understanding of the members of a theatre production team and their responsibilities by taking on specific theater roles in class activities, discussions24Forming the theatre companyPost-Productiondemonstrate understanding of a theatrical production manager, house manager, and stage manager as well as their responsibilities and will demonstrate their knowledge by answering questions and participating in learning activities24Forming the theatre companyGroup Company Finaldemonstrate their understanding of the role of a theatre production team2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Acting IIIContent Area:DramaGrade(s)11Unit Plan Title:All the World’s A Stage: Shakespeare Study! Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleStudying Shakespeare is an excellent way to introduce students not only to a highly regarded style of characterization and acting, but also to the fundamentals of playwrighting, language and written prose. Student will study how Shakespeare’s ability to summarize the range of human emotions in simple, yet profoundly eloquent verse was perhaps the greatest reason for his enduring popularity. The evolution of stock characters, particularly his tragic heroes, is unequalled in literature and presents a superb opportunity for character study. In terms of cross-curricular education, Shakespeare improved upon the basic structure of the English language and students will have the chance to?analysis plot structure, poetical design and grammatical development at its highest forms. Historically, students will be introduced to the Elizabethan Era, a virulent era of European history where political upheaval was represented in theatrical contexts. Shakespeare serves young actors in ways un-paralleled and fosters an appreciation for not only theater history, but theater conventions as a whole. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.Anchor Standard 3: Refining and completing products.Performance Expectations:Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.RESPONDINGAnchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context..1.4.12prof.Re8c: Formulate a deeper understanding and appreciation of a devised or scripted theatre work by considering its specific purpose or intended audience.Accomplished1.4.12acc.Re8b: Construct meaning in a devised or scripted theatre work considering personal aesthetics and knowledge of production elements while respecting others' interpretations.1.4.12acc.Re8c: Verify and articulate how a devised or scripted theatre work communicates for a specific purpose and audience.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation. NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations.NJSLSA.L5. Demonstrate understanding of figurative language, word relationships, and nuances in word meaning.Essential Question(s)What cultures, history, and experiences can actors draw from to create a character? How does language, prosody, tone or dialect enhance real-world communication and conflict within scripted material?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists reflect to understand the impact of drama processes and theatre experiences.Shakespeare’s work influences modern day theater in terms of plot structure, character design and language development. Actors’ cultural perspectives and expressions influence character choices which, in turn, affect the other actors in a scripted scene.The different parts of a script, such as exposition, conflict, climax and resolution form plot.The impact that character development can have on the story line The universality of the themes and plots of Shakespearean plays transcends theatrical conventions. Shakespeare invented and extended vocabulary and syntax common to Elizabethan language.Playwrights express scripted language (Shakespearean) rhythmically.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesIdentify the history, place, time, and social structure of the script environment.Analyze biographical information about Shakespeare.Analyze and critique the universality of the themes and plots of Shakespearean plays.Interpret the different parts of a script, such as exposition, conflict, climax and resolution.Identify the emotion of the characters in the script.Perform scripted work with the use of technical elements to enhance the performance.Study and gain proficiency on the Shakespearean language and rhythmic techniques.AssessmentsPre and Formative – Open ended Questioning, Pre Assessment Quizzes for Knowledge. Students will perform the scripted play from memory that incorporates multiple technical elements. Improvising exercises based on Renaissance acting style and Iambic Pentameter · Shakespeare worksheets (worksheet s/iambic-pentameter) · Scene analysis · Scene scoring · Character sketch · Monitoring of rehearsals by teacher and students · Journal of character progression by students throughout rehearsal processWritten Response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment: Shakespeare Timelines, Creating Costume Designs, Research Projects· Daily “Ticket out the Door” on mood and atmosphereObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative – Students will demonstrate competency in: Class Discussions, Research Projects, Cooperative Group Designs ProjectsDocumentation Portfolio: This type of portfolio is often called a “working” portfolio. This is a collection of work over time showing growth and improvement. It reflects the student’s learning of specific and identified objectives and outcomes. Process Portfolio: This will document all facets of the learning process. This type of portfolio is particularly useful in documenting a student’s overall learning process. It should show how the student integrates knowledge and/or skills during progress towards mastery of the selected objectiveAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Intro to Elizabethan Theater –SUGGESTED ACTIVITIESStudents will gain a basic understanding of Shakespearean theatre traditions.PowerPoint/SMART Intro:??Students will learn about William Shakespeare and the theatre history of the Renaissance Period. Prior knowledge assessment of Shakespeare will be given. DVD’s and handouts from “Shakespeare in American Communities” provided to teachers involved in Shakespeare to Go presentations will be presented to class. Other handouts from The Drama Sourcebook can be used to help further information about Shakespeare. Shakespearian Timelines: Focus on creating timelines surrounding…Shakespeare Life, Work and Elizabethan EraSection Two: The Language of Shakespeare –SUGGESTED ACTIVITIESStudents will learn the fundamental language devices incorporated in Shakespeare’s works. Iambic Improvisations: Complete worksheets using Iambic pentameter and universal truths (worksheets/i ambic-pentameter). Other handouts from The Drama Sourcebook can be used to help further information about Shakespeare. Play Analysis: Break down a teacher chosen scene from any appropriate Shakespeare play. The students will analyze, evaluate, and create motivations, subtext and objectives for each beat in the scene; as well as score the script. Students will learn to apply iambic pentameter or the rhythm of prose to the scoring.Language of Shakespeare: Students learn about world in which he lived and created plays. Apply Shakespeare’s universal truths and rhythms in his writing to the modern stage.Metaphor, Simile, Imagery, etc…Shakespearian Insults! Section Three: Building Shakespearean Character –SUGGESTED ACTIVITIESStudents will gain the techniques required in order to produce well rounded Shakespearian character.Creating Character: Students will apply acting basics and period style to the building of a renaissance-style character to perform for their peers. Students will write a character sketch that reflects a well-developed character. Students will discuss the differences in modern and Renaissance period style acting after watching teacher selected scenes from various Shakespearean plays. Prior knowledge assessment of Shakespeare will be given.Masks and EmotionsStudents made two (or more) masks: one to represent the surface emotion, and one to represent the hidden emotion(s)Suggest that there are patterns in the seeming welter of emotions, definite relationships and transformations--out of which literature is born.Analyze Shakespeare’s: Students formulate ideas and own interpretation of the character and implement them into the selected scene.Remember how to build a character through a character sketch. Apply Renaissance period acting style to character development.The Shakespeare Scene: Students will rehearse the scenes in read through, blocking, working, polishing, technical, and dress rehearsals in order to perform for their peers. Apply the steps of rehearsals in order to successfully build to a performance.Scenes should incorporate the acting style of the Renaissance. Scene are directed by the teacher or the teacher may elect to choose student directors.Section Four: Voice and Diction in Shakespeare –SUGGESTED ACTIVITIESStudents will actively engage in voice and diction, “quality control”, activities geared towards generated the strength necessary to project Shakespearian work. Vocal Quality and Tone: Students will demonstrate their ability to change their vocal quality/tone by performing scenes using only changes in tone. Pitch: Students will demonstrate their ability to derive meaning from vocal pitch by performing a mini scene twice with different pitch (and thus meaning) each time.Volume and Rate: Students will demonstrate their ability to use volume and rate to enhance/change meaning by performing a skit using several different volumes.Utilize fundamentals of character development to enhance the quality of change within an actor’s instrument. Diction: Students will apply their ability to have diction in their speech by practicing a word list.Shakespearian Insults GeneratorEstablishing Character through Voice: Students will demonstrate their ability to use vocal techniques to establish character by performing a fairy tale scene using only their voices.Disney Fairy Tale, Grimm Fairy Tales can work well for the beginning voice and diction trainee. Shakespearian Insults GeneratorVocal Review and Assessment: Students will apply their ability to use a variety of vocal techniques to create a character by rehearsing their final assessment.Monologue with character trait/age written on it—1 per studentSection Five: Rehearsing Shakespeare –SUGGESTED ACTIVITIESStudents will actively engage in rehearsal of various Shakespearian works.Rehearsal Process: Students will rehearse the scenes in read through, blocking, working, polishing, technical, and dress rehearsals in order to perform for their peers.Students will demonstrate their understanding of movement in a performance piece by blocking and providing business for their Shakespearean monologue or scene. Scenes should incorporate the acting style of the Renaissance. Scene are directed by the teacher or the teacher may elect to choose student directors.Apply the steps of rehearsals in order to successfully build to a performance.Character Refinement: Students will continue their character work by visualizing a day-in-the-life of their Shakespearean character and by searching for more information in a Shakespeare Secondary Source.Shakespeare Previews: Students will demonstrate their knowledge of characterization, blocking, and interpretation by performing a preview of their Shakespeare monologue or scene.Shakespeare monologues/short scenes/written prose can be used for student use.Romeo and Juliet, Midsummer’s Night Dream, Macbeth, Hamlet, etc…Students will demonstrate their understanding of rehearsing by making and working on one specific acting goal for the Shakespearean monologue or scene.Assessed by their participation in rehearsing their performance pieces, their written acting goalSection Six: Performing Shakespeare –SUGGESTED ACTIVITIESStudents will actively engage in final performance of chosen and rehearsed Shakespearian works.Final Performance: Students will perform the scenes, showing a fully-developed, rehearsed character and a sense of effort towards using period acting style, for peer and teacher evaluation. Verbal and written feedback will be given to the students after the performance. Assessed through their final performances and by their written Shakespeare play analysis and Cliff Notes outline.AMISTAD EDUCATIONAfrican America Shakespeare Company: Why stop at Othello when portraying Black artists in Shakespeare? African-American Shakespeare Company opens the realm of classic theatre to a diverse audience; and provides an opportunity and place for actors of color to hone their skills and talent in mastering some of the world’s greatest classical roles. Research the company, contact them and find a network of actors of color who you can learn everything you need to know about Shakespeare! EDUCATIONHolocaust Themes Add Historical Significance to ‘Romeo and Juliet’: After reading/performing sections of the original work, students should be presented with this alternate version of Romeo and Juliet, which is centered around our star crossed lovers during the Holocaust. Lesson ideas could be free writes, scene studies, character studies, as well as historical compare and contrast discussions and costume designing. EDUCATIONSpark Discussion - Was Shakespeare gay, and does it matter? Although not a new question, its re-emergence is germane to the interpretation of his plays, and not just a scholars’ spat. Have students discuss this taboo subject and debate the issue with referential facts and textual evidence. Cite his plays, sonnets and histories as a means of defending your case in class! EDUCATIONAutism and Shakespeare: Lesson Plan: This plan focuses on building the kinesthetically based motor functions of the special needs students, all under the guise of teaching Shakespeare. Utilize some of these teaching methods in your own classroom, regardless of whether you teach for special needs. – See Appendix B for specialized programs that reflect the needs of students and community.Watch various professional Shakespearean scenes and critique acting choices.Research Renaissance and Shakespearean terminology not used in today’s English.Visit a working rehearsal for a professional or non-professional theater company.Take a backstage tour with lecture/ demonstration of basic production elements. Participate in lecture/demonstration sessions on various theater-related topics, such as design for theater.Write critiques and reviews of productions, and send them to theater press offices or education departments to spark an ongoing correspondence. Visit design studios and theater production shops to interact with designers, technicians and other backstage theater professionals. Interview by e-mail or in person a staff member at a theater or theater education organization.ResourcesBooks Welcome to the Globe! By Peter Chrisp, All the World’s a Stage by Michael BenderShulman, Michael & THE ACTOR’S SCENEBOOK: SCENES AND Mekler, Eva MONOLOGS FROM THE CONTEMPORARY PLAYS, New York, Bantam, 1984.Papp, Joseph & SHAKESPEARE ALIVE!, New York, Bantam, 1988. Shakespeare by Michael Wood, A Shakespeare Sketchbook by Renwick St. James, Tales from Shakespeare by Tina Packer, Eyewitness Shakespeare by Peter Chrisp,William Shakespeare & the Globe by Aliki, Scenes from Romeo and Juliet and Twelfth NightWebsites: AMISTAD: : : : sheets/iambic-pentameter -10-theater-superstitions/.uk/elizabethan-theatreaudiences.htm Shakespeare Library -? HYPERLINK "" \t "_blank" folger.eduProper Elizabethan Accents -? HYPERLINK "" \t "_blank" Language/index.htmlMr. William Shakespeare & the Internet -? Links -? HYPERLINK "" \t "_blank" as.miami.edu/english/jshoulson/431_99/shakelinks.htmlShakespeare Magazine -? HYPERLINK "" \t "_blank" Shakespeare Online -? HYPERLINK "" \t "_blank" nyu.edu/classes/jeffreys/links.htmShakespeare on the Internet -? HYPERLINK "" \t "_blank" sogang.ac.kr/~anthony/Shcontacts.htmShakespeare at eNotes -? HYPERLINK "" \t "_blank" Shakespeare Illustrated -? HYPERLINK "" \t "_blank" emory.edu/ENGLISH/classes/Shakespeare_Illustrated/Shakespeare.htmlPlays of William Shakespeare -? HYPERLINK "" \t "_blank" shakespr.shtmlSurfing with the Bard -? HYPERLINK "" \t "_blank" shakespeareWelcome to Shakespeare’s 3D Globe -? HYPERLINK "" \t "_blank" acslink..au/sandhurst/globeVisual Media“Shakespeare in American Communities” DVD’s: A&E’s Biography: Shakespeare Hamlet Romeo and JulietYoutube Shakespeare*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1All the World’s a StageIntro to Elizabethan Theatregain a basic understanding of Shakespearean theatre traditions11All the World’s a StageThe Language of Shakespearelearn the fundamental language devices incorporated in Shakespeare’s works11All the World’s a StageBuilding Shakespearean Charactergain the techniques required in order to produce well rounded Shakespearean character21All the World’s a StageVoice and Diction in Shakespeare actively engage in voice and diction, “quality control”, activities geared towards generated the strength necessary to project Shakespearian work21All the World’s a StageRehearsing Shakespeareactively engage in rehearsal of various Shakespearean works21All the World’s a StagePerforming Shakespeareactively engage in final performance of chosen and rehearsed Shakespearean works2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Acting IIIContent Area:DramaGrade(s)11Unit Plan Title: Technology & Theater Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleTechnology is becoming more prevalent in the daily lives of our students. In the theatrical world, it is no different. This unit focuses on the study of technical theater in terms of Lighting, Sound, Scenic and Front of House. Students will have the opportunity to discover how a culture of collaboration will create a cohesive demonstrating order/form. Students can collaboratively utilize current technological devices to create and construct elements of the play which add the overall production value. Keying in on student interests of social media, the unit will turn its focus to the business side of theater, teaching the ideals of advertising, publicity and theater management. The study of these theatrical conventions will give students the skills necessary to work collaboratively on a design team not only on stage, but in the real world as well. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.PERFORMINGAnchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Cr1a: Strategically use generative methods to create multiple ideas and refine artistic goals that increase aesthetic depth.?1.2.12prof.Pr4a: Integrate various arts, media arts forms and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations. NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.L6. Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when encountering an unknown term important to comprehension or expression.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How do different components contribute to the overall theatrical performance? How do symbolism and metaphor contribute to meaning in the arts?Enduring UnderstandingsTheatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.Attention to detail in creating theatrical design (sound, lighting, scenic and effects) enhances the overall effectiveness of composition.Design (sound, lighting, scenic and effects) style impacts an audience’s discovery of a performance.Culture of collaboration will create a cohesive design (sound, lighting, scenic and effects) demonstrating order/form. Traditional technical theatrical roles (director, technical director, lighting designer, sound designer, scenic artist) provide unique contributions for a successful production.Cohesive design (costume, sound, light, scenic, film) reflects authentic collaboration and demonstrates order/form.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyACommunicationECivic LiteracyACollaborationAFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesCreate a rendering for one design concept of a production (costume, light, sound, scenic, film)Fulfill their role as a theater practitioner in design teams.Design a concept for one design area (costume, light, sound, scenic).Demonstrate an understanding and appreciation of the roles of theater practitioners (including director, stage manager, designers, operators, actors, producers), listing their responsibilities and contributions to a production.Articulate cultural/historical influences of particular eras/genres to a design team and/or concept.AssessmentsPre and Formative: Open ended Questioning, Pre Assessment Quizzes for Knowledge. Students will perform the scripted play from memory that incorporates multiple technical elements.Benchmark/Authentic Assessment: Build a production personnel flow chart adding personnel as each designer/crew is learned · Daily “Ticket out the Door” on mood and atmosphereObservations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Summative: Students will demonstrate competency in: Class Discussions, Research Projects, Cooperative Group Designs ProjectsWritten response The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Process Portfolio: This will document all facets of the learning process. It should show how the student integrates knowledge and/or skills during progress towards mastery of the selected objective. It should include student reflections upon the learning process, such as, reflective journal entries, think logs and other forms of metacognitive processing. Showcase Portfolio:It should only include examples of the student’s best and most complete work, as determined through a combination of student and teacher input. The showcase portfolio should also include student written analysis and reflections upon the learning and the selection processes of the works included in the portfolio.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Technical Theater Tour –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of technical theatre terms and parts by participating in a theatre tour, completing a graphic organizer, and writing what they want to learn more about in technical theatre.Technical Notations:??Now divide the class into 4 groups.???We will be going into the auditorium to label some of the things we have just learned the names for.??Each group will be given a list of ten terms along with 10 notecards, labeled 1-10.??You task is to attach the correct number label to the actual item on stage.???Tech Job Descriptions: Instruct them to put a short description of each job as you talk about it.??Start at the top and ask students to identify the jobs that they know, and if they don’t then you can provide a definition.Tech Theater Video: Have students write things about technical theatre they would like to learn more about.??As they watch it, what intrigues them, what would they like to do.Section Two: Basics of Design – SUGGESTED ACTIVITIESUnderstand how to design technical theatre components, such as, costumes, sets, props, make-up, lighting and sound. Develop a theatre personnel flow chart; include the designer, chief, and crew for each major element of theatre production. Introduce the various types of stage spaces and areas for each type of stageDraw a simple floor plan for a selected piece of production script.Investigate theater and technical opportunities within the school, after-school programs and performance options.Create a marketing poster for a show with an identifiable dominant image.Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).Create a crew check list for a week-long production schedule.Create a mini-design portfolio for a scene using collage, swatches, original drawings/diagrams, found objects/images, and writing. Respond to design elements in a theater performance, noting the elements of spatial relationships, symbols, patterns, dissonance and similarities by providing examples.Section Three: Costume Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices.Pull costumes from existing stock or one’s own wardrobe. Label and catalog the items. Sew on a button, or sew a hem by hand or using a machine.Costume CreationsGroups make, model, explain their design creations. Designing the Play’s CostumesGroups are assigned specific plays/productions to fully design a costume pieces or pieces. Section Four: Lighting/Sound Design – SUGGESTED ACTIVITIESStudents will demonstrate an understanding of how to use light to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play.Station 1:??Sound Design - Explore how a sound designer reads a script for sound cues.?? Station 2:??Light for Living- Lighting designers need to know how lighting affects a space.??Here you will be creating an overhead drawing of your living room at home, indicating sources of light and what directions the light goes in the room and where it creates shadow.??You will also write one paragraph describing how you think the lighting in your living room creates a mood for that room.??Is it different from any other room in the house?Station 3:??Key/Fill/Top Light-This is the standard procedure for lighting on stage.??In groups of three within your group, you will try to imitate the lighting of photographs by using flashlights on a group member.??After experimenting with white light, you will use gels (color) to create a specific mood for scene you create.??You will write one paragraph describing you key and fill lights, the colors you used, and the resulting mood of the scene.?Light A Scene - In a classroom using a variety of found lights, such as flashlights, clip lights and lamps. Use portable lighting units such as Par Can 30s in a classroom or theater. Operate school auditorium lighting using existing or rented lighting board. Sound Design - Make a CD or audio tape to score a scene. Practical Practice - Run the sound for a show, including CD or tape player, microphone and speaker set-up.Section Five: Set Design –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of set pieces and design by creating a model set for a play script of their choice.Measure a room and create a ground plan including furniture and other elements from the room. Design a scene in a classroom using found objects. Spike the set and furniture pieces from a student-generated ground plan for a scene or school production. Work with teacher or technical director in constructing scenery for a production.Diagram and build a flat. Section Six: Advertising –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of advertising by analyzing various methods of promotion.Movie Trailer Madness – Show a few film teasers/trailers at the beginning of the class to get their attention.What did we just watch???What are these trailers made for???Did this trailer accomplish what it was made for???Why or why not???What could this have been made for???What do you think the makers are trying to get across to you???Were you persuaded???What is advertising???What is its purpose???What makes it effective???How does this fit in with theatre?Advertising PowerPoint/SMART LessonBreak the class up into groups of 3 or 4 students and instruct them that they are going to go back and look at the trailers that have been shown today but this time they are to make note of the different elements or principles of creating an effective ad that are present in each advertisement.?Advertising Project: They will have to create an advertising campaign for the upcoming show.??Instruct them that their campaign should include a script for a 1 - 2 min. radio or TV commercial, a poster for the show, a description of their target audience as well as an estimate of what it would take to advertise to the community.Section Seven: Stage Managing –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of how to manage a staged production at their school or organization using tenets of communication, delegation and organization.Create and post cast sign-in sheets. Take blocking notes in a working rehearsal. Generate daily rehearsal schedules under the director’s guidance. Generate a master production schedule and a working production budget for an upcoming school productionAMISTAD ’s Top Ten African American Directors Of The Decade: Directors play an integral role in operational side of entertainment creation. Students can discover their favorite directors and movies, and create slideshows encompassing their portfolio of work. Students can even pretend to be famous directors themselves, creating mock resumes and portfolios showcasing their own directorial achievements. EDUCATIONTeens act out Holocaust survivors’ stories in Witness Theater: Student can learn by example and create their own theater production after covering survivor stories from the Holocaust. Students can take on various technical roles as they learn from this production’s model in order to tell stories of the past for audiences of the present. EDUCATIONResearch Project: Top Gay and Lesbian Directors Working Today. There are plenty of people behind the cameras making heater and film happen. Research one of these artists and present your finding to the class unit in either a written, vlog or group project. EDUCATION9 Theater Companies Celebrating Actors With Disabilities: Discover the theater companies whose goal is to champion artists with special needs. What drives them to be inclusive? How can these companies thrive in today’s climate? Discover these questions and find the answers in class as you research these theater companies! – See Appendix B for specialized programs that reflect the needs of students and community.Theater House visits and tours.Youtube / Literary / Archival Play Production MediaInvestigate theater and technical opportunities within the school, after-school programs and performance options. Create a marketing poster for a show with an identifiable dominant image. Work as a member of a stage crew (e.g., set, props, lighting, sound and/or wardrobe crews).ResourcesWebsites:AMISTAD: : : : in Stage Management & Technical Theater -? HYPERLINK "" \t "_blank" drama.ac.uk/lighting.htmlDesign & Technical Production for High Schools -? HYPERLINK "" \t "_blank" Lighting & Theatre Effects -? HYPERLINK "" \t "_blank" lteg.htmLighting Links -? HYPERLINK "" \t "_blank" linksThe Costume Page -? HYPERLINK "" \t "_blank" Costume Site -? HYPERLINK "" \t "_blank" costumeTheatre Makeup -? HYPERLINK "" \t "_blank" catalog.htmlSTAGE CRAFT DIRECTORY of Technical Theatre Terms?()?Hundreds of British (and American) technical theatre terms, explained. In alphabetical order. Soon to be sorted by category, too. HYPERLINK "" \t "_blank" Stagecraft Frequently Asked Questions?()?Frequently asked questions from the rec.arts.theatre.stagecraft and alt.stagecraft newsgroups. HYPERLINK "" \t "_blank" Drama Department Links: Stagecraft?()?From the University of Exeter. The list includes costumes, staging, props, lighting, sound, and stage management. HYPERLINK "" \t "_blank" Association of British Theatre Technicians?()?Includes information about training, publications, and other information about several aspects of technical theatre. HYPERLINK "" \t "_blank" Entertainment Technology (ETEC)?()?This site provides access to the magazines "Entertainment Design" and "Lighting Dimensions" about show business art and technology.Books:Clark, I.E. STAGECRAFTERS’ HANDBOOK: A GUIDE FOR THEATRE TECHNICIANS, Studio City, Players Press, 1995.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*2Technology & TheatreTechnical Theatredemonstrate an understanding of technical theatre terms and parts by participating in a theatre tour, completing a graphic organizer, and writing what they want to learn more about in technical theatre12Technology & TheatreBasics of DesignUnderstand how to design technical theatre components, such as, costumes, sets, props, make-up, lighting and sound12Technology & TheatreCostume Designdemonstrate an understanding of costume design theories and practices by completing two character designs, including a paragraph justifying their color and style choices12Technology & TheatreLighting and Sound Designdemonstrate an understanding of how to use light to create a mood by completing exercises in creating a light/sound plot and mimicking the lighting of a photograph and how to analyze scripts for sound by creating a sound cue list for a class play12Technology & TheatreSet Designdemonstrate an understanding of set pieces and design by creating a model set for a play script of their choice22Technology & TheatreAdvertisingdemonstrate an understanding of advertising by analyzing various methods of promotion12Technology & TheatreStage Managingdemonstrate an understanding of how to manage a staged production at their school or organization using tenets of communication, delegation and organization2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.Acting IIIContent Area:DramaGrade(s)11Unit Plan Title:Analyzing & Critiquing Theater Career Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleTheater criticism is an important aspect of the young actor’s education for it encourages students to discover the differences between theater as an art form and theater as entertainment. In this unit, students are taught to explain the aesthetics of theatrical design while evaluating theatrical performances. How does artist collaboration enhance a cohesive production concept? How do students develop a critical eye that develops both self-analysis and critical response to classmates? These questions, among many others, encourage our students to develop strong opinions based on conventional theater practices. These opinions will be predicated upon careful observation, with student collaboratively investigating diverse forms of theater and film. Writing, oral, performance based reflections and study projects will assist students in presenting their personal attitudes towards the art form in an educational and beneficial way. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.PERFORMINGAnchor Standard 2: Organizing and developing ideas.Performance Expectations:Accomplished1.4.12acc.Cr2a: Develop a dramatic interpretation to demonstrate a critical understanding of historical and cultural influences in a devised or scripted theatre work.1.4.12acc.Cr2b: Cooperate as a creative team to make informative and analytical choices for devised or scripted theatre work.Advanced1.4.12adv.Cr2a: Collaborate as a creative team to make informative and analytical choices for devised or scripted theatre work.1.4.12adv.Cr2b: Collaborate as a creative team to make original artistic choices in devised or scripted theatre work.Anchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.1.4.12adv.Re7b: Use historical and cultural context to structure and justify personal responses to devised or scripted theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9b: Apply concepts from devised or scripted theatre work for personal realization about cultural perspectives and understanding.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9b: Use understandings of cultures and contexts to shape personal responses to devised or scripted theatre work.1.4.12adv.Re9c: Support and explain aesthetics, preferences, and beliefs to create a context for critical research that informs artistic decisions in devised or scripted theatre work.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.Advanced1.4.10a: Collaborate on devised or scripted theatre work that examines a critical global issue using multiple personal, community and cultural perspectives.Anchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.Advanced1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently.NJSLSA.W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L6. Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when encountering an unknown term important to comprehension or expression.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How does artist collaboration enhance a cohesive production concept?How can you use critical response to inform more advanced choices in the artistic process?Enduring UnderstandingsTheatre artists work to discover different ways of communicating meaning.Theatre artists refine their work and practice their craft through rehearsal.Personal artistic choices combined with group collaboration and diverse perspectives create a well thought out artistic product. Investigation into textual clues to problem solve contributes to the production process and the final creation of the end product.Discovery gained through constructive feedback, the writing process, and self-reflection can expand a production team’s ability to create a refined finished product .Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationECivic LiteracyACollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesApply acting skills, such as: voice, movement or text analysis to a final presentation of a sceneSelf-reflect and give constructive criticism to classmates.Create and discuss critical thinking, question prompts involved in self and group assessment.Understanding that discovery gained through constructive feedback, the writing process, and self-reflection can expand a production team’s ability to create a refined finished product.AssessmentsPre and Formative: Critique one aspect of a performance, Theatre terminology Pre-TestConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Benchmark/Authentic Assessment: Student performance and reflective critiques. Observations may be of formal, prompted behaviors or informal, unprompted behaviors. Methods of documenting observations for assessment include checklists, anecdotal records, matrices, and other written documentation.Written response The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Summative: Students will demonstrate competency in:Analyze a theatrical performance addressing aesthetic elements.Analyze and write a peer evaluation of a performance addressing actor’s pare and contrast television to live theatre.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide alternative response choices to questions on the elements of theatre.ELL- Create a world wall with key theatre terms/vocabulary.At-Risk- Repeat directions as needed.G&T- Create and lead the class in a theatre games, activities, or process drama techniques.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Theater Criticism –SUGGESTED ACTIVITIESStudents will analyze and write a peer evaluation of a performance addressing actor’s choices. Criticism PowerPoint: Students discuss appropriate criticism techniques.Lecture, discussion, model writing a critiqueList critique techniques using the appropriate terminology.Peer Evaluations: Watch and write a critique of an improvised, class performance and give positive feedback.Practical Thinking: Use library resources to research a play being performed by a professional company. Attend the performance. Read published reviews of the performance.Write a critique of a professional production and submit it to a local publication.Section Two: Theater Aesthetics –SUGGESTED ACTIVITIESAnalyze a theatrical performance addressing aesthetic elements. Aesthetics PowerPoint: Students discuss aesthetic elements of theaterPhysiological - unconscious physical reactions to what is seen/heard such as blinking at a bright lightCultural - responses that can vary among different people based on age, gender, races, nationality, religion, or social groupsPersonal - responses that are based upon an individual’s experiences Aesthetic Exercises: Compare the various cultural/physiological/personal aesthetics.I SPY WITH MY LITTLE EYE Students will demonstrate an understanding of visual elements as aspects of their environment and an ability to articulate what they see by playing a very simple “Hints and Guessing” game.Utilizing Technical Theater design as a basis of imageryI’ve Been Wondering. . .Students will demonstrate an understanding of aesthetics as a discussion of “points of view” by defining important aesthetic questions in the arts and discussing the issues in small groups and presenting the conclusions (pro and con) to the class.Living ArtInterpretation of works of art may extend to dramatic presentations through reader’s theater (students write dialogue for the people in an artwork, then perform the parts with different voices), “living paintings” or tableaux, and sound symphonies (students act out the sounds that are suggested by the artwork). A variety of approaches will lead students to enter and interpret many works of art from multiple perspectives.DESCRIPTIVE WRITING USING POST-IT NOTES: With Small Groups: Assign students to groups of three or four. Give each group a study print (or let each group choose an image) and a pad of Post-It Notes (the smallest size available). Ask students to use only the visual evidence in the work for this study.Section Three: Theater and Film –SUGGESTED ACTIVITIESThe student will identify how other arts such as Film are applied in theaterTheater and Film PowerPoint: Students discuss appropriate similarities and differences between film and live theater techniques.Television 1990s-present United StatesComedy · Drama · Musicals · Reality T.V.Live Theatre 1990s-present United StatesComedy · Drama · Musicals · ImprovisationCompare and Contrast SessionsStudents can develop Venn DiagramsWrite research projectsDisplay dioramas, board presentationsPerformance Presentations. Representing Society in Theater and Film Find a problem in society. Consider how it would be represented on television. Write the script. Justify the choices in the script.Perform the pare and contrast worksheet including details of both styles of performance.Practical Thinking: Use resources to find a production that has been BOTH a film and live theater event. Disney Musicals & CartoonsWrite a compare and contrast piece describing the strengths and weakness of the practical aesthetics. AMISTAD EDUCATIONFLIPGRID Theater Analysis: Students will view and critique the provided link and give their “Theater Review” as a professional theater critique. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Wheels of a Dream: Color Purple: EDUCATIONFLIPGRID Movie Analysis: Students will view and critique the provided link and give their “Movie Review” as a professional theater critique. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Students should choose one movie to view, and/or research. EDUCATIONFLIPGRID Theater Compare and Contrast: Students will view and compare/contrast the provided links. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. "Sixteen Going On Seventeen" Andrew Keenan-Bolger, Jay Armstrong Johnson Going On Seventeen from The Sound of Music EDUCATIONFLIPGRID Theater Analysis: Student will view and critique the provided link and give their comments. Choose and use a rubric to assess their ability to critically analyze theater conventions studied in class. Shakespeare performed by Down’s Syndrome adults - See Appendix A for accommodations and modifications for all subgroupsTake trips to libraries or museums (art, cultural, history and natural history) for research purposes. Associated activities include: journal entries - collages - creative writing - research papers linked to the creation, design or production of plays Use the theater archives and collections of the New York Public Library for the Performing at Lincoln Center in researching a school play to be produced. Use online research to examine a theater company in a different culture or country. Use theater archives, libraries or museums to compare and contrast two different productions of the same theater piece. Photos, design drawings, Playbills, videos, and costume renderings can be used to show how different companies interpret and produce the same pare two productions of the same play produced in different times or cultures. Use online resources to research a theater company from a different country. If this company were coming to New York, attend a rehearsal, ask the company to conduct a master class, or invite the company to the school.ResourcesONLINE RESOURCESAMISTAD: Wheels of a Dream: Color Purple: : : "Sixteen Going On Seventeen" Andrew Keenan-Bolger, Jay Armstrong Johnson Going On Seventeen from The Sound of Music : Shakespeare performed by Down’s Syndrome adults Criticism Online: Contains Gale’s Contemporary Literary Criticism, Nineteenth-Century Literature Criticism, and Twentieth-Century Literary Criticism.JSTOR Includes full-text theater and performing arts journals from their inception to 3-5 years ago.The School Page -? HYPERLINK "" \t "_blank" schoolshows.demon.co.ukTheatre Arts Guide -? Arts Resources on the Web -? and MediaCritical Survey of Drama: Essays arranged alphabetically by author being discussed, with references to additional resources. Last volume contains essays related to drama in general.Major Modern Dramatists: Presents excerpts from reviews, articles, and books about major modern dramatists.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Analyzing & Critiquing TheatreTheatre Criticismanalyze and write a peer evaluation of a performance addressing actor’s choices23Analyzing & Critiquing TheatreTheater Aestheticstheatrical performance addressing aesthetic elements23Analyzing & Critiquing TheatreTheater and Filmidentify how other arts such as Film are applied in theater1* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order. CapstoneCapstoneContent Area:DramaGrade(s)11-12Unit Plan Title:Complete the CharacterCareer Ready Practice(s) CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleCreating characters from scripts or improvisation using voice, gestures and facial expressions is a vital component of the young actor’s skill set. Learning how to analyze character, break down script and interpret dramatic scenes/function allows students to discover how to place themselves, “in someone else’s shoes”. Fifth grade students understand conflict and resolution. They can look at situations from different points of view, so the process of creating characters with various goals, thoughts, or needs is an excellent way to capture this budding curiosity. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.1.4.12adv.Pr4b: Create and justify the selection of technical elements used to develop and build a design that communicates the concept of a drama/theatre production.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced1.4.12adv.Pr5a: Experiment with theatrical styles to form unique choices for a directorial concept in a devised or scripted theatre work.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.Advanced1.4.12adv.Pr6a: Produce a devised or scripted theatre production for a specific audience that employs research and analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturg.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.1.4.12adv.Re7b: Use historical and cultural context to structure and justify personal responses to devised or scripted theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9b: Apply concepts from devised or scripted theatre work for personal realization about cultural perspectives and understanding.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9c: Support and explain aesthetics, preferences, and beliefs to create a context for critical research that informs artistic decisions in devised or scripted theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11a: Integrate knowledge of cultural, global and historic belief systems into creative choices in a devised or scripted theatre work.1.4.11b: Use basic research methods to better understand the social and cultural background of devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.4.11b: Explore how personal beliefs and biases can affect the interpretation of research data applied in devised or scripted theatre work.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL3. Evaluate a speaker's point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.NJSLSA.L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate.Essential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How do theatre artists transform and edit their initial ideas?What are gestures a universal language?How does pantomime tell a story?How do facial expressions tell a story?Enduring UnderstandingsTheatre artists make choices to convey meaning.Theatre artists, through a shared creative experience with an audience, present stories, ideas, and envisioned worlds to explore the human experience.Various dramatic gestures, tones, and movements further develop elements of a literary plot.Effective composition of characters within a dramatic tableau enhances overall expression.Actors can communicate the nature of a character through decisions in vocal expressions and intonation.Spacing, gesture and vocal qualities reveal character relationships.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessTCreativity and InnovationEnvironmental LiteracyTCritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyTCollaborationFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesInteract with other characters in scene work and melodramatic presentations.Develop melodramatic and stock characters.Perform quality improvisation and scripted performance in a sequenced drama setting. Characteristics of dramatic character (such as: hero, heroine, villain, protagonist, antagonist)AssessmentsPre and Formative – SGO pre-assess examinations, Open discussion · Small group discussion · Creative drama activitiesBenchmark/Authentic AssessmentTeacher side-coaching to prompt establishing scene characters and character relationships Establish character-given circumstances through teacher questioningPerformances and Performance EvaluationsSummative - Classroom monitoring · Full class discussion · Small group discussion · RehearsalCharacter Exams – Blocking, Subtext, Body Positions, Voice and DictionBrainPop, SMART Assess, Reflect & Response PapersCharacterization RenderingsPeer Critiques Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Characterized Movement –SUGGESTED ACTIVITIESStudents will show their ability to understand how physical movement affects character.Character Blocking – Have students design and record blocking that fits their character’s qualities/persona.Physically interpret a scene, using gesture and facial expression.As an extension, student may bring the tableau to life through invented dialogue and movement.Mirroring Movement – Students can observe and mimic movement by successfully mirroring another student’s movement.Goal of this practice and discussion is to get students to think deeper about how movement can display many types of physical, emotional characteristics. Body Language/Posture - Students will demonstrate their understanding of body language and posture by being able to identify how a person is feeling based on their body language.Emotion, Age archetypes produce specific movements and body positions. Walk-About exercisesBody Positions - Students will demonstrate their understanding of body language and posture by being able to identify the 5 body positions on and off stage. Full Front, ? Turn, Profile, ? Turn, Full BackHow does each position communicate different intentions and meanings?Students practice positions of stage with mock scenes creating and guided by instructor. Section Two: Stage Directions and Blocking –SUGGESTED ACTIVITIESStudents will demonstrate their knowledge of stage directions and other basics by blocking and how it directly effects characterization.PowerPoint/SmartBoard – Stage Directions and BlockingThe Nine Stage Spaces C, CR, CL, UC, UL UR, DC, DL, DRThe Fourth WallImportance and characterization quality of each position.Stage Space Flash ExercisesTeach Proper abbreviations for each term and introduce the symbol when a character “crosses” to a different position.?Basic principles of “cheating out” to the audience, as well as not upstaging another actor unless you need to.Student Scene BlockingStudents observe, the teacher will help one partnership at a time to block the first half of a scene.When all scenes have had their first halves blocked, the partnerships will on their own block the second halves of their scenes.Students will present for the class the second halves of their scenes.Section Three: Pantomime –SUGGESTED ACTIVITIESStudents learn the movement/pantomime techniques of age, given circumstances, place and personality.PowerPoint/SmartBoard Presentation: Chaplin/BeanIntroduce students to the basic principles of pantomime.Chaplin’s, “The Kid”Mr. Beans, “At the Library”Use vocal and physical expression to interpret a character’s thoughts, feelings and wants.Gesture and Facial ExpressionSilent Skit - Whose Line Is It Anyway???Have one of the students who is a character be a host.??Instruct the four students that they are to impersonate their characters specifically through facial expressions and popular motions that they use.?Journal: What gestures did you see???What facial expressions did you see.Musical Pantomime - Students will demonstrate an understanding of how music and story can be connected.Students will complete brainstorming activities and participate in class activities and discussions.Dynamic Music Group – Create a short scene with the teacher provided music.Classical, Rock, Soft Jazz, etc…Discuss - What images, ideas, scenes, etc. come to their mind.??Play the clip and then share your thoughts with the class and ask what they thought about.Section Four: The Object Exercises –SUGGESTED ACTIVITIESStudents will demonstrate their understanding of Uta Hagen’s The Basic Object Exercises exercise by rehearsing and performing a 2-minute slice of their life.POWERPOINT/SMARTBoard - Object Exercises: Students will demonstrate understanding of various questions and how they relate to developing character from scripted works.Who am I?What time is it?Where am I?What surrounds me?What are the given circumstances?What is my relationship?What do I want?What’s in my way?What do I do to get what I want?Recreation Nation: Students will brainstorm and recreate a slice of their life utilizing the answers gleaned from the Object Exercises.Discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)Section Five: Voice and Diction –SUGGESTED ACTIVITIESStudents will demonstrate their ability to use projection and diction.POWERPOINT/SMARTBoard – Voice and Diction Vocal AnatomyProper Technique and ControlBreath StabilityTone, pitch, volume, rate, and diction Student will participate in breathing exercises and completing an anatomy diagram worksheet. They will demonstrate their knowledge of articulation and diction by writing and performing their own tongue twister.Learning Vocal Control: Breathing ExercisesRib Expansion and Diaphragm activities.Articulators – The art of clear vocal productionsTongue Twister exerciseSally sells seashells by the seashore.Cinnamon synonym Toy boat – toy boat – toy boatDiscuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)Vocal Characterization - Students will demonstrate their ability to use vocal techniques to establish character by performing a fairy tale scene using only their voices.Fairy Tale Voices: behind some sort of screen or wall so that they have to get the whole story across with their voices only.??Each person has to have a character and has to participate.Journal: What are some examples you saw of detailed vocal choices being made to establish character???How were each of the vocal techniques we have learned used to establish character?Dialect and AccentStudents will watch various videos showcasing accent around the world.New York, English, Irish, Southern, etc…Reconstruct famous accents by implementing play and story scripts. Section Six: Emotional Connection and Subtext –SUGGESTED ACTIVITIESStudents will demonstrate their ability to understand the context of their character (socially and emotionally).The Five Senses: Students will learn the skills of visualization by participating in an activity directed by the teacher, which will require students to use their five senses to visualize themselves in their scene as their character. Students will record their feelings in a journal.Introduce the concepts of text and subtext- what is the difference between the two and how do they impact performance? Does using subtext make your character more real/human?Subtext: ?Subtext is what the character is thinking and feeling but not saying. Pair up students, giving them 5 minutes to create an “improvised” dialogue. At end of time limit, place students in audience, and call up pairs to play out dialogue (have them sit or stand facing each other; vary distance of players). Journal - How does inputting subtext affect what you think while you speak? Instead of thinking… “What is my next line”, be thinking about what your character is feeling.Draw reflection questions from what took place during dialogue. Ask questions that draw attention to detail and possible points of tension. Ask questions about credibility of scene.Section Seven: Character Performances –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of beginning acting skills by performing a solo/duo scene.Student Created AutoDramas - Develop a real or imaginary character, and rehearse and perform as that character in a student-created, scripted or improvised scene, demonstrating the ability to:Students will be asked to showcase the following;Being free from inhibitionsProper stage directionsObjectives and tacticsCharacter developmentVocal use and varietyBeing natural onstage. In the Moment Scenes – Demonstrate an evolving ability to commit to truthful acting and responding “in the moment” within imaginary circumstances.Instructor will challenge students with a randomly generated conflict that his/her character must manipulate through.AMISTAD EDUCATIONRace and Representation in American Cinema – This link provides information on Lawrence Fishburn’s portrayal of Othello, and Denzel Washington’s portrayal of Malcolm X. Students can study their theatrical training methods and incorporate their model into their own training, create slideshows of famous black actors/actresses, or critique performances by black performance artists in film, stage and screen. EDUCATIONDynamic Music Groups - While participating in this activity, students can be challenged to create scenes inspired by Holocaust era specific music. This can lead to performing serious works of theater which can help highlight the struggles of the Jewish people during the Holocaust. Where possible, spend time focusing on characters’ lives prior to and, if appropriate, after the Holocaust. In addition to reflecting historical reality, this will help students as performers to develop well-rounded, three-dimensional characters rather than caricatures. EDUCATIONWe Can Be Heroes: Making a Case for Queer Superheroes in Hollywood: Marvel/DC superheroes will be white, black, Asian, male and female, but there’s one character you almost certainly won’t see this year: an LGBTQ superhero. Read the article, research some comic books, or watch some movies with your class. Where is the representation of this community? Why do you think there is a lack of support? Analyze and discuss responsibly when covering this topic. EDUCATIONMusic + Visual Supports = Increased ComprehensionWhile music is an effective memory cue and learning modality, many students still perform best when visual cues are paired with auditory stimuli. Using flash cards, song story books, digital pictures, and even physical gestures can increase students' understanding of the lyrics they are hearing or singing.ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Differentiate characters within a play Distinguish aspects of a given play through research Select appropriate sections of a character’s lines in a play to create a cohesive and representative monologue Analyze a character that supports the overall mood, period, and content of the play selected Score a selected monologueAttend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesBooks: Muir, Kathy, ed. CHILDSPLAY: A COLLECTION OF SCENES AND MONOLOGUES FOR CHILDREN, New York, Limelight Editions, 1995.Slaight, Craigh; Esty, THE SMITH AND KRAUS PLAY INDEX FOR YOUNG Jennifer & Monteleone, ACTORS GRADES 6-12, Lyme, Smith and Kraus, 1999.Kehret, Peg ACTING NATURAL: MONOLOGS, DIALOGS AND PLAYLETS FOR TEENS, Colorado Springs, Merriwether Publishers, 1991.Ratliff, Geral Lee THE THEATRE AUDITION BOOK: PLAYING MONOLOGS FROM CONTEMPORARY, MODERN, PERIOD, SHAKESPEARE, AND CLASSICAL PLAYS, Colorado Springs, Meriwether Publishers, 1998.Theatre Games for the Classroom A Teacher’s Handbook- Viola Spolin Theatre Games for Rehearsal: A Director’s Handbook- Viola SpolinA variety of magazines with pictures of people.WebsitesAMISTAD: : : Lesson Plans -? HYPERLINK "" \t "_blank" ctl.byu.edu/home/tools/free-resources/The Actor Source -? HYPERLINK "" \t "_blank" TheatrGROUP Method Acting -? HYPERLINK "" \t "_blank" (Guide for general performances in theatre) 2012/improv-tips-and-tactics_52678.html (Improv tips and tactics article) (The Process of Drama) (Site with numerous improvisation exercises)\glossaryofterms (Online theatre terms glossary) (Lessons and resources for teaching improvisation) (Cards with “who”)*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1Complete the CharacterCharacterized movementshow their ability to understand how physical movement affects character11Complete the CharacterStage Directions and Blockingdemonstrate their knowledge of stage directions and other basics by blocking and how it directly effects characterization21Complete the CharacterPantomimelearn the movement/pantomime techniques of age, given circumstances, place and personality21Complete the CharacterObject Exercisesdemonstrate their understanding of Uta Hagen’s The Basic Object Exercises exercise by rehearsing and performing a 2-minute slice of their life11Complete the CharacterVoice and Dictiondemonstrate their ability to use projection and diction21Complete the CharacterEmotional Connection and Subtextdemonstrate their ability to understand the context of their character21Complete the CharacterCharacter Performancesdemonstrate an understanding of beginning acting skills by performing a solo/duo scene2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.CapstoneContent Area:DramaGrade(s)11 -12Unit Plan Title:Acting the Part: Scripted Scenes & MonologuesCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit introduces our students to the fundamental concepts of scripted scene and monologue work. The primary focus will be surrounded around individual/group based characterization throughout a scripted or improvised scene. Our study allows students the ability to manifest various character archetypes from an original idea, story or other form of literature grants. We intend to instill confidence in characterization skills as students discover the technical conventions of script and scene study. By utilizing primary source texts and cross-curricular models, this unit aims to use cultural backgrounds to promote and encourage performers’ exploration of character choices in scripted material.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.1.4.12adv.Pr4b: Create and justify the selection of technical elements used to develop and build a design that communicates the concept of a drama/theatre production.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced1.4.12adv.Pr5a: Experiment with theatrical styles to form unique choices for a directorial concept in a devised or scripted theatre work.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.Advanced1.4.12adv.Pr6a: Produce a devised or scripted theatre production for a specific audience that employs research and analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturg.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.1.4.12adv.Re7b: Use historical and cultural context to structure and justify personal responses to devised or scripted theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9b: Apply concepts from devised or scripted theatre work for personal realization about cultural perspectives and understanding.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9c: Support and explain aesthetics, preferences, and beliefs to create a context for critical research that informs artistic decisions in devised or scripted theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11a: Integrate knowledge of cultural, global and historic belief systems into creative choices in a devised or scripted theatre work.1.4.11b: Use basic research methods to better understand the social and cultural background of devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.4.11b: Explore how personal beliefs and biases can affect the interpretation of research data applied in devised or scripted theatre work.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLS.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.NJSLSA.R6. Assess how point of view or purpose shapes the content and style of a text.NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently.NJSLSA.W1. Write arguments to support claims in an analysis of substantive topics or texts using valid reasoning and relevant and sufficient evidence.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA. SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.NJSLSA. SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.L6. Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when encountering an unknown term important to comprehension or expression.Essential Question(s)How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people? What makes a good script?Enduring UnderstandingsTheatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.How scripts differ in terms of reading, design and notation, i.e. Beats, Measure, Direction, SubtextParts of a play script, such as exposition, conflict, climax, and resolution (Aristotle Plot Design, Freytag’s Plot Structure)Influential character relationships create complexity for character development.Character’s perspectives and expressions reveal cultural values to other characters within a scene.Cultural backgrounds and experiences promote and encourage performers’ exploration of character choices in scripted material.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesIdentify the tension and conflict in a particular script.Associate how different characters in a play have motives which can impact plot.Perform a scripted production and/or scene with the intent of the playwright.Perform scripted work with the use of technical elements to enhance the performance.Identify and interpret parts of a play script, such as exposition, conflict, climax, and resolution.Employ character choices (such as; vocal expression, physical characteristics, subtext) to create a believable productionsAssessmentsPre and Formative: Conversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Preliminary Written Response : The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment : Monologue Performance, Peer Critique Session and DiscussionsPerformance assessment is often used in arts education. Examples of performance assessments include performance tasks, oral presentations, and projects or products.Summative: Students will demonstrate competency in:Documentation Portfolio: This type of portfolio is often called a “working” portfolio. This is a collection of work over time showing growth and improvement. It reflect the student’s learning of specific and identified objectives and outcomes. The documentation portfolio may include brainstorming activities, rough drafts and final products. Showcase Portfolio: this is the best type of portfolio for a summative assessment of a student’s mastery of curricular objectives. It should only include examples of the student’s best and most complete work, as determined through a combination of student and teacher input.Across the unit students will keep notes through journaling, using appropriate theatre terminology/vocabulary, about characterization.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Deconstructing the Script –SUGGESTED ACTIVITIESStudents will learn and/or review how to analyze and deconstruct a playwright’s work to effectively perform a fully developed character using scripts from teacher selected play(s).Reading for Analysis: Students will demonstrate understanding of various emotional levels connected to specific experiences by journaling key information found in the climatic monologues such as:Historical/Cultural context around the selected theatrical work. Students will write a character sketch that reflects a well-developed character. Extended Enrichment: Students may give examples orally from the activity or in classroom discussion share thoughts and ideas about what they have viewed.Students may create a role play around an emotional topic (e.g. anti-bullying) that reflects the emotions everyday people.Section Two: Acting the Basics –SUGGESTED ACTIVITIESStudents will apply their knowledge of Characterization and interpreting their character from The Odd Couple or The Odd Couple (Female Version) by completing a Characterization worksheet.Utilizing the Basics: Remember acting basics and further create successful characters using the foundation of acting basics.Analyze playwright’s ideas and student’s own interpretation of the character and implement them into a selected scene.REMEMBERBlocking/Crossing Three tools of an actor: mind, body, and voiceStudents will write a character sketch that reflects a well-developed character. Acting the Scene: Students will perform the scenes for peer and teacher evaluation that shows a fully developed and rehearsed character and shows a sense of effort.Verbal and written feedback will be given to the students after the performance.Section Three: The Object Exercises –SUGGESTED ACTIVITIESStudents will demonstrate their understanding of Uta Hagen’s The Basic Object Exercises exercise by rehearsing and performing a 2-minute slice of their life.POWERPOINT/SMARTBoard - Object Exercises: Students will demonstrate understanding of various questions and how they relate to developing character from scripted works.Who am I?What time is it?Where am I?What surrounds me?What are the given circumstances?What is my relationship?What do I want?What’s in my way?What do I do to get what I want?Recreation Nation: Students will brainstorm and recreate a slice of their life utilizing the answers gleaned from the Object Exercises.Discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)Section Four: The Monologue –SUGGESTED ACTIVITIESStudents will select and develop a character analysis of one character from the playand translate it into a monologue.Monologue PowerPoint: Highlight famous speeches from movie, tv, filmDisplay character importance and history.“You Can’t Handle the Truth” from A Few Good Men, Atticus Finch’s courtroom sceneClass/group discussion lead to determining key elements of characterization through improvised/scripted monologues. Create the Monologue: Structure a short monologue from a chosen character’s lines. Verbal and written.Peer Cooperative Groups willAnalyze the created monologue for beats and blocking.Determine an effort made to answer the Object Exercises. Memorize the Monologue: Follow the previously developed scoring and blocking plan to prepare the monologue for in-class performance.Perform the Monologue: Observe student performances and complete performance rubricsAssess performance strengths and weaknesses through journal writing.AMISTAD EDUCATION12 Poems to Read for Black History Month - Students can research and utilize some of the famous black history poems/monologues for the performance work. EDUCATIONFilm/TV/Stage Monologues Slideshow: Students can compile a collection of famous quotes, phrases, monologues or lines from popular entertainment featuring issues of the Holocaust. Monologues can be analyzed from films like, “Schindler’s List,” “Life is Beautiful,” and “Fiddler on the Roof”LGTBQIA EDUCATIONThe Coming Out Monologues: This a collection of theatrical scripts, sides, monologues, comedy sketches, stories with a focus on the LGBTQIA community. Use this as a quick reference or as printable for your classroom.architect. – The Coming Out Monologues DownloadIDEA EDUCATIONThe Glass Menagerie – Student can read and or perform excerpts from the Tennessee Williams classic. Discussion and reflection should focus on the characters and how disabilities can impact an individual’s outlook. ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.Differentiate characters within a play Distinguish aspects of a given play through research Select appropriate sections of a character’s lines in a play to create a cohesive and representative monologue Analyze a character that supports the overall mood, period, and content of the play selected Score a selected monologueAttend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesBooksPlays, Inc. THE BIG BOOK OF FOLKTALE PLAYS: ONE ACT ADAPTATIONS OF FOLKTALES FROM AROUND THE WORLD FOR STAGE AND PUPPET PERFORMANCE, Boston, Plays, Inc., 1997Cohen, Lorraine, Editor SCENES FOR YOUNG ACTORS, New York, Avon Books, 1973.Kehret, Peg ACTING NATURAL: MONOLOGS, DIALOGS AND PLAYLETS FOR TEENS, Colorado Springs, Merriwether Publishers, 1991.Ratliff, Geral Lee THE THEATRE AUDITION BOOK: PLAYING MONOLOGS FROM CONTEMPORARY, MODERN, PERIOD, SHAKESPEARE, AND CLASSICAL PLAYS, Colorado Springs, Meriwether Publishers, 1998.Everything About Theatre!: The guidebook of theatre Fundamentals Robert L. Lee Theatre Games for Rehearsal: A Director’s Handbook- Viola SpolinShulman, Michael & THE ACTOR’S SCENEBOOK: SCENES AND Mekler, Eva MONOLOGS FROM THE CONTEMPORARY PLAYS, New York, Bantam, 1984.Uta Hagen’s?Respect for ActingSlaight, Craigh; Esty, THE SMITH AND KRAUS PLAY INDEX FOR YOUNG Jennifer & Monteleone, ACTORS GRADES 6-12, Lyme, Smith and Kraus, 1999WebsitesAMISTAD: - architect.\glossaryofterms (Online theatre terms glossary) Lesson Plans -? HYPERLINK "" \t "_blank" ctl.byu.edu/home/tools/free-resources/The Actor Source -? HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" Game Guide -? HYPERLINK "" \t "_blank" Get Your Act Together -? HYPERLINK "" \t "_blank" getyouracttogether.htmImprovisational Theatre Structures -? HYPERLINK "" \t "_blank" National Storytelling Network -? HYPERLINK "" \t "_blank" New Actors Workshop -? HYPERLINK "" \t "_blank" Story Theater -? HYPERLINK "" \t "_blank" The Spolin Center -? HYPERLINK "" \t "_blank" TheatrGROUP Method Acting -? HYPERLINK "" \t "_blank" *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*1Scripted Scenes and MonologuesDeconstructing the scriptlearn and/or review how to analyze and deconstruct a playwright’s work to effectively perform a fully developed character using scripts from teacher selected play(s)11Scripted Scenes and MonologuesActing Basicsapply their knowledge of Characterization and interpreting their character from The Odd Couple or The Odd Couple (Female Version) by completing a Characterization worksheet11Scripted Scenes and MonologuesThe Object Exercisesdemonstrate their understanding of Uta Hagen’s The Basic Object Exercises exercise by rehearsing and performing a 2-minute slice of their life11Scripted Scenes and MonologuesThe Monologueselect and develop a character analysis of one character from the play and translate it into a monologue3* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.CapstoneContent Area:DramaGrade(s)11-12Unit Plan Title:Adapting the Dramatic StoryCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit focuses on unearthing the practical, artistic expression of our young actors. Here, we delve into how dramatic stories are adapted by means of design choice and collaborative vision. Students discover the elements of how stories are written, structured and then adapted to meet specific production needs. Students explore artistic choices in an adapted scene/play through ensemble improvisation of theatre professionals. Working effectively in a production team and/or ensemble to improvise a play/scene adapted from source material as is an effective way to allow students to express their creative qualities. Implementing historical and cultural research to authentically adapt source material will support the ideals of cultural representation. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.1.4.12adv.Pr4b: Create and justify the selection of technical elements used to develop and build a design that communicates the concept of a drama/theatre production.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced1.4.12adv.Pr5a: Experiment with theatrical styles to form unique choices for a directorial concept in a devised or scripted theatre work.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.Advanced1.4.12adv.Pr6a: Produce a devised or scripted theatre production for a specific audience that employs research and analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturg.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.1.4.12adv.Re7b: Use historical and cultural context to structure and justify personal responses to devised or scripted theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9b: Apply concepts from devised or scripted theatre work for personal realization about cultural perspectives and understanding.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9c: Support and explain aesthetics, preferences, and beliefs to create a context for critical research that informs artistic decisions in devised or scripted theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11a: Integrate knowledge of cultural, global and historic belief systems into creative choices in a devised or scripted theatre work.1.4.11b: Use basic research methods to better understand the social and cultural background of devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.4.11b: Explore how personal beliefs and biases can affect the interpretation of research data applied in devised or scripted theatre work.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.NJSLSA.R6. Assess how point of view or purpose shapes the content and style of a text.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.NJSLSA. W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA. W6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.NJSLSA.W10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.Essential Question(s)How do theatre artists transform and edit their initial ideas?How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?How do theatre artists comprehend the essence of drama processes and theatre experiences?What would the world be like if we weren’t able to artistically express ourselves?Enduring UnderstandingsTheatre artists make choices to convey meaning.Theatre artists, through a shared creative experience with an audience, present stories, ideas, and envisioned worlds to explore the human experience.Theatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Dramatic stories incorporate exposition, character, conflict, climax and resolution.Unifying a variety of elements in a production creates a complex and textured composition.Gestures, facial expressions, and sounds techniques influence believability of characters/scenes.Theatrical practitioners utilize techniques of pantomime, tableau, mood to artistically express moments in story.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesImprovise and imitate scenes from a story (historical or fictional)Use improvisation skills to reveal understanding of artistic choices.Critique artistic choices from source material as a theater/film practitioner.Explore artistic choices in an adapted scene through ensemble improvisation of theatre professional.Work effectively in an ensemble to improvise a scene adapted from source material as theatre professionals.Use historical and cultural research to authentically adapt source material.AssessmentsPre and Formative - · Monitoring students’ activities · Observing students’ activities · Review of guidelines for the assignments, Evaluate students’ experiences with script and stage compositions. Benchmark/Authentic Accessment - Guided questions · Memorization Quizzes, Review beginning, middle, end, conflict, and resolution · Writing dialogue leading into or resolving the action during a song · Teacher will evaluate students’ progress at memorizingSummative - Writing prompts on characteristics of a design elements, stage directions, etc. · Comprehension questions on the adaptation process of stores to stage · Final Performance ReflectionsAlternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Adapting the Plot Structure –SUGGESTED ACTIVITIESStudents will demonstrate understanding of exposition, conflict, climax and resolution by improvising, in small ensemble groups, alternative endings to a folk tale.Understanding Plot Structure POWERPOINT: Introduce the students of the definitions of the elements and how the dramatic structure of a play follows the graph Exposition – background information (who, what, where, why, when; normal lifeInciting Incident – an action that sets the conflict in action (normal life changes)Rising Action – the story thickens and obstacles arisesClimax – highest point of the play (most emotional, the choice, etc.)Denouement/Falling Action – the untying of the know or resolution.Improvised Plots Brainstorm: Students will continue their journaling process to brainstorm (cluster map tool below) and articulate the plot elements of a folk tale. What is the main conflict of the story? What are the main lessons of the story? Who are the main characters? What’s the difference between a script and a narrative story?Improvise the SceneStudents will devise improved action leading to a brand new resolutionResolution from a Hat – Students will choose and perform new resolution.Journal – Did your resolution fit? What worked? What didn’t?Section Two: Protagonist and Antagonist Tableaus –SUGGESTED ACTIVITIESStudents Will demonstrate understanding of the conflict between protagonist and antagonist in a tall tale tableus.Tall Tale Tableaus - Student groups will create a series of at least 6 stage pictures (tableaus) that tell a recognizable story non-verbally between GOOD and EVIL. Journal: “What do you think is happing in in this tableau? What helped you to understand the message of the tableau? What confuses you in the tableau? What would you do if you were creating this idea through tableau?”Adapting a story into a theatrical composition requires investigation into the critical elements of the plot including specific character traits.Man Vs. Machine Tableau – Read and perform the conflict between protagonist and antagonist from the Tall Tale John Henry. Create a Flow Map of the John Henry story. Write an imaginary conversation between John Henry and the Machine using dialogue.How do we explore complex ideas and universal themes in literature and life when it comes to GOOD vs. EVIL?Section Three: Stage Directions and the Story –SUGGESTED ACTIVITIESStudents will demonstrate an understanding of stage directions so that they can begin to identify additional performance elements within a script.Script to Stage - Students will use their journal (using a T-Chart) to identify performance elements within a script (e.g. stage directions, character notes)Stage Directions help describe;Story elements Theme and moral of the story Character motivation (T-Chart graphic organizer)Students may add in possible director notes to a script.Stage Direction Charades – Teacher will present a POWERPOINT of various stage directions from scenes/plays/skits.Story elements · Theme and moral of the story · Character motivationStudents must choose 5 different stage directions and interpret a scene out of them of their own design.Journal: What can stage directions tell us? How do we interpret them on stage from the page?Section Four: Blocking the Story – SUGGESTED ACTIVITIESStudents will demonstrate their knowledge of stage directions and other basics by blocking and how it directly effects characterization.Body Positions - Students will demonstrate their understanding of body language and posture by being able to identify the 5 body positions on and off stage. Full Front, ? Turn, Profile, ? Turn, Full BackHow does each position communicate different intentions and meanings?Students practice positions of stage with mock scenes creating and guided by instructor.Why do we adapt Body Position?Theme/idea Use of body positioning to display character emotionsCharacter Motivations and IntentionsStudent Scene BlockingStudents observe, the teacher will help one partnership at a time to block the first half of a scene.When all scenes have had their first halves blocked, the partnerships will on their own block the second halves of their scenes.Students will present for the class the second halves of their scenes. (T-Chart graphic organizer)Students may add in possible director notes to a script.Section Five: Breathing Life with Costume/Prop/Set– SUGGESTED ACTIVITIESStudent groups will work together to identify/compile a list of technical elements needed for each scene and costume / prop pieces for each character. Costume Creations - Students will collect/make all needed items and use in rehearsal processes. Teachers may use a 4-Column graphic organizer to connect characters, scenes, costumes and props. (Four column graphic organizer)Groups make, model, explain their design creations. The Master of Props – Students can devise and create an Online/Paper Catalog for props used in a show.Student will learn how to categorized the props for a play/story.Character, Scene, Theme, Funtionality, etc…Lay out and label a prop table.Construct and repair basic props using a variety of materials and skills. Create props from papier-maché.Designing the Set - Students will apply their knowledge of set design by creating a simple set design as a group for a Tall Tale of Fairy Tale.Devise a scenic concept for a play read in class, including backdrops, props, furniture and other scenic elementsCreate a rendering for a stage backdrop and then execute the rendering to scale on a brown paper mural or painted backdrop.Build a mini-model of a proscenium theater with moveable scenic elements for the story/playDisplay Set Functions of Mood, Theme, Color, Practicality Section Six: Memorize the Lines– SUGGESTED ACTIVITIESTranslating a story to the stage relies upon students rehearsing and eventually memorizing the given script in order to expresses the story’s essential qualities.Memorization Tips and Hints – POWERPOINT/SMARTBoardMemory ImagesWritten WordsSing Out Your LinesSound RecordingsPartner Study.Get Your Lines! - Students will rehearse short scenes from the folktale without referring to the text.Utilize breath control and vocal tones to create mood and character within a dramatic improvisation.Students may refer to notecards or other visual aids as needed.Repeat that improvisation to the bet of your ability with your partner.Switch Roles! What did you remember? Did you speak VERBATIM?Students may perform multiple roles for the performance.Section Seven: Story to Stage Translations– SUGGESTED ACTIVITIESTranslating a story to the stage relies upon stage composition (i.e. scenery, blocking, and technical elements) to expresses the story’s essential qualities.Scripted Performance - Students will perform the scripted play from memory that incorporates multiple technical elements. Students may need support in finalizing their roles and responsibilities such as peers helping to run lines, using note cards as cues, and using checklists for entrances and exits.Journal: Students will reflect through discussion and/or journaling on the most important thing they learned about performing a scripted work.AMISTAD EDUCATIONChoose your African Fable - While writing for plays and/or fables, students can choose between a wide range of culturally specific, African Folktales. The following website in an excellent resource which contains dozens of African folktales to study, critique and eventually perform. EDUCATIONPerformance Poetry: Poems are, of course, commonly used as stimulus materials in Drama and can be profitably applied in the creation of pieces based on the Holocaust, both because of their expressive power and because of their openness to interpretation. Many striking poems were written during the Holocaust by Jews, especially in the Warsaw and Vilna Ghettos, and non-Jews, while the subject has proved to be of enduring interest to some of the greatest poets of the post-war era. Students can research and devise their own poems representations their interpretation of the struggles and trials during this time. LGBTQIA EDUCATIONAdapting the Classics: Students are charged with adapting a modern or classic fairy tale/folk tale/tall tale/allegory into a new version which encapsulates the issues reflective of the LGBTQIA community. Characters, setting, plots and dialogue are encouraged to be altered in order to create something new from something old!IDEA EDUCATIONStory Boarding for Special Needs: Students will learn the elements of writing a short story. Students will plan, revise, and publish an original children's book after reading many other children's books to understand how they work. Students will utilize a variety of ways to express themselves in their story with drawings, the layout of their book and it's presentation. –See Appendix B for specialized programs that reflect the needs of students and community.In pairs, assume characters and write letters to each other.Develop scenes through improvisation, theater games or writing that have distinct character, clear relationships, conflict, setting, actions and beginning middle-end. Use situations from literature, history or current events to create tableaux, and then devise character monologues from that frozen moment.Dramatize an existing story with attention to sequence of events, conflict, character intent and resolution. Improvise a scene based on written material such as a newspaper article or journal. Improvise and then script a two-character dialogue that includes a conflict and resolution with clear character intent. Critique original peer-written works, using a rubric based on the elements of dramatic structure.Explore local and community theaters in your neighborhood, identifying the areas of the theater, the type of theater space and the intended audience. State the principal purpose of this theater and the types of performance(s) for which it was created.ResourcesBooks:12 Fabulously Funny Folktale Plays-Justin Mccory Martin Fables -Arnold LobelReally Good Readers' Theater - Folk Tales Book Set 1, Amiel THEATRE GAMES AND BEYOND: A CREATIVE APPROACH FOR PERFORMANCES, Colorado Springs, Meriwether Publishers, 1998.Gerke, Pamela MULTICULTURAL PLAYS FOR CHILDREN: Volume II: GRADES 4 – 6, Lyme, 1996.Plays, Inc. THE BIG BOOK OF FOLKTALE PLAYS: ONE ACT ADAPTATIONS OF FOLKTALES FROM AROUND THE WORLD FOR STAGE AND PUPPET PERFORMANCE, Boston, Plays, Inc., 1997.Slaight, Craigh; Esty, THE SMITH AND KRAUS PLAY INDEX FOR YOUNG Jennifer & Monteleone, ACTORS GRADES 6-12, Lyme, Smith and Kraus, 1999.Websites:AMISTAD: : (Site with several FolkTale renditions) (Site with lesson plan on modernizing folk tales) (Ideas for assigning various roles to students for performance preparation) (Compilation of tips for classroom drama productions) (Tips on memorizing lines) (Memorization strategies)*See Appendix B for resourcesD- Indicates differentiation at the Lesson LevelPacing GuideUnitConceptsTopicsSkillsDays of Instruction*3Adapting the Dramatic StoryAdapting the plot structuredemonstrate understanding of exposition, conflict, climax and resolution by improvising, in small ensemble groups, alternative endings to a folk tale13Adapting the Dramatic StoryProtagonist and antagonist tableausdemonstrate understanding of the conflict between protagonist and antagonist in a tall tale tableaus.13Adapting the Dramatic StoryStage directions and the storydemonstrate an understanding of stage directions so that they can begin to identify additional performance elements within a script.13Adapting the Dramatic StoryBlocking the storydemonstrate their knowledge of stage directions and other basics by blocking and how it directly effects characterization13Adapting the Dramatic StoryBreathing life with costumes/props/setidentify/compile a list of technical elements needed for each scene and costume / prop pieces for each character23Adapting the Dramatic StoryMemorize linesrehearsing and eventually memorizing the given script in order to expresses the story’s essential qualities13Adapting the Dramatic StoryStory to Stage translationsTranslating a story to the stage relies upon stage composition (i.e. scenery, blocking, and technical elements) to expresses the story’s essential qualities2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.CapstoneContent Area:DramaGrade(s)11-12Unit Plan Title:Musical Theater: A Cultural MirrorCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleDemonstrating the understanding of historical and cultural context of scripts, scenes, and performances is a crucial component in the young actor’s development. This unit endeavors to integrate the histories and conceptual viewpoints from performances in the Musical Theater genre. Cultural perspectives from various periods of history influenced Musical Theater and in return, this stylized genre was able to mirror societal moods and trends. By exploring historically and culturally significant musical theater productions, students will be able to view the past not only through the pages of a script, but through the literal adaptation of a character’s point of view. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsAccomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Advanced1.4.12adv.Cr1a: Synthesize knowledge from a variety of theatrical conventions and technologies to create the visual composition of devised or scripted theatre work.1.4.12adv.Cr1b: Create a complete design for devised or scripted theatre work that incorporates multiple elements of technology.1.4.12adv.Cr1c: Integrate dramaturgical analysis with personal experiences to create a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.1.4.12acc.Cr3c: Re-imagine technical design choices during the course of the rehearsal process to enhance the story and emotional impact of a devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.1.4.12adv.Pr4b: Create and justify the selection of technical elements used to develop and build a design that communicates the concept of a drama/theatre production.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced1.4.12adv.Pr5a: Experiment with theatrical styles to form unique choices for a directorial concept in a devised or scripted theatre work.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.Advanced1.4.12adv.Pr6a: Produce a devised or scripted theatre production for a specific audience that employs research and analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturg.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Advanced1.4.12adv.Re7a: Demonstrate an understanding of multiple interpretations of artistic criteria and how each might be used to influence future artistic choices of devised or scripted theatre work.1.4.12adv.Re7b: Use historical and cultural context to structure and justify personal responses to devised or scripted theatre work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.4.12acc.Re9b: Apply concepts from devised or scripted theatre work for personal realization about cultural perspectives and understanding.1.4.12acc.Re9c: Debate and distinguish multiple aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Advanced1.4.12adv.Re9a: Use detailed supporting evidence and appropriate criteria to revise personal work and interpret the work of others when participating in or observing devised or scripted theatre work.1.4.12adv.Re9c: Support and explain aesthetics, preferences, and beliefs to create a context for critical research that informs artistic decisions in devised or scripted theatre work.CONNECTINGAnchor Standard 11: Relating artistic ideas and works within societal, cultural, and historical contexts to deepen understanding.Performance Expectations:Proficient1.4.11a: Integrate knowledge of cultural, global and historic belief systems into creative choices in a devised or scripted theatre work.1.4.11b: Use basic research methods to better understand the social and cultural background of devised or scripted theatre work.Accomplished1.4.11a: Integrate conventions and knowledge from different art forms and other disciplines to examine cross-cultural devised or scripted theatre works.1.4.11b: Explore how personal beliefs and biases can affect the interpretation of research data applied in devised or scripted theatre work.Advanced1.4.11a: Develops devised or scripted theatre work that identifies and questions cultural, global, and historic belief systems.1.4.11c: Justify the creative choices made in a devised or scripted theatre work based on a critical interpretation of specific data from theatre research.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Pr4a: Integrate various arts, media arts forms and content into unified media arts productions, considering the reaction and interaction of the audience, such as experiential design.?1.2.12adv.Pr4a: Synthesize various arts, media arts forms and academic content into unified media arts.1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R3. Analyze how and why individuals, events, or ideas develop and interact over the course of a text.NJSLSA.R6. Assess how point of view or purpose shapes the content and style of a text.NJSLSA.R7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in words.NJSLSA.R9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.NJSLSA.W2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the subject under investigation.NJSLSA. W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.NJSLSA.SL1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others' ideas and expressing their own clearly and persuasively.NJSLSA.SL2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.Essential Question(s)How do theatre artists transform and edit their initial ideas?How do theatre artists use tools and techniques to communicate ideas and feelings?What happens when theatre artists and audiences share creative experiences?What can the acting performances in other cultures teach us about ourselves and about life?Enduring UnderstandingsThe different interpretations of history based upon individual or societal perspectives that are exhibited through Musical Theater performance.American musical theatre is one of the truly unique contributions to world theatre. Musical theatre developed from specifically American entertainment styles.The musical theater genre has the ability to show how diversity has impacted historical events and that it exists as an artistic mirror to societal trends and moods.Students will understand the different types of careers in theatre.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingHealth LiteracyTCommunicationECivic LiteracyACollaborationTFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesPortray diverse cultural historical perspectives in a theatrical performance.Create characters that convey historical conflict from multiple perspectives.Identify and analyze different interpretations of History based upon individual or societal perspectives that are exhibited through theatrical performance.AssessmentsPre and Formative - · Monitoring students’ activities · Observing students’ activities · Review of guidelines for the assignments, Evaluate students’ experiences with musicals. (Heard of, seen live, performed in, seen videos)Written response: The use of written responses can be informal or formal and may take many forms. Examples of written responses that may be used for assessment include student drawings, compositions, etc; open-ended questions; journals and learning logs; short answer items; discussion questions; essays; research papers; and reports or reviews.Benchmark/Authentic Assessment - Guided questions · Review beginning, middle, end, conflict, and resolution · Writing dialogue leading into or resolving the action during a song · Teacher will evaluate students’ progress at memorizingConversations may provide the teacher with insight into student learning and understanding. Examples of conversations that may be used for assessment include interviews; informal discussions; oral questions posed to the whole class or to individuals; Socratic seminars; and student conferences.Summative - Writing prompts on characteristics of a musical · Comprehension questions on the history of musicals · Mini-musical creation rubricPortfolios Portfolios may contain many different types of documentation for what students know and are able to do. Items in a portfolio may be teacher-selected, student-selected, or a combination of these.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD – Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningFlexible/strategic groupingModelingNote booking/journalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentActivitiesD – SE- Provide extended time for written responses and reports.ELL- Label theatre and classroom materials.At-Risk- Review behavior expectations and make adjustments for personal space or other behaviors as needed.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsSection One: Musical Theater –SUGGESTED ACTIVITIESStudents will demonstrate an understanding that musicals reflect the times in which they were created Musical Theater History – PowerPoint/SMARTBoard1950s – Showboat – 2000s WickedVaudeville, West Side Story, Pirates of Penzance, etc…Influence of TV/FILM/CINEMARepresentation of SocietyAssess - Complete a short worksheet and by using that worksheet as a guide in a game show-style quiz.Musical Theater Project (3 Choices)Students will present a particular decade in a group from 1920-2000 to the class (this will include a performance from their era).Select a musical from this era and perform a 2 minute scene from it with some dialogue.ORMake a Musical Theater TimelineORDesign a Costume Collage from at least 5 different Musicals Section Two: The Music of a Musical –SUGGESTED ACTIVITIESStudents will learn how music and singing come together in a performance. The Sound of Music in Theater – PowerPoint/SMARTBoardSilent Film Show the students a short movie clip on silent three times, each time with a different, varied musical selection behind it. After each clip the students will discuss what they thought was happening.What did music add to the clip and what does it add to theatre/film in general?Divide the students into small groups and ask them to create a short silent movie using one of the three musical selections as their background.Watch each other’s movies and discuss how each group used the music and what they thought was effective etc.Section Three: Dance for a Musical –SUGGESTED ACTIVITIESStudents will learn how dancing functions to come together in a performance. Dancing in Musical Theater - PowerPoint/SMARTBoardMovement has a purpose in musical theatre. 1) Furthers plot 2) Introduces/gives deeper analysis of characters 3) Expresses emotion.Improv Fairy Tale Dance: Students will demonstrate their understanding of how to communicate through movement by improvising a group dance.Divide the class into small groups and let them pick a slip with a fairytale on it. Give them time to briefly tell a fairytale using only movement. They can choose whether to use music or not. Cinderella, Rapunzel, The Three Little Pigs, Snow White and the Seven Dwarves, Little Red Riding HoodHave the class perform the dance all together and video tape it.?Section Four: Acting for a Musical –SUGGESTED ACTIVITIESStudents will learn how acting functions to come together in a performance. Musical Theater Acting - PowerPoint/SMARTBoardMusical Theater Acting is much different than play acting.Quick relationship development is needed.Natural Time is abridged and serves the arc of the musical.Immediacy of Emotions and Motivations Short Scene Snip-its: Student will perform a short scene from a musical in preparation for working on a longer scene from their group musical project.Little Shop of Horrors – Act I Scene 3, p. 38-40The Secret Garden – Scene 3 “The Greenhouse,” p. 32-34The Music Man – Scene 4 “The Library”, pg. 38-42Journal: How were they different from the dramatic and comedic scenes?Ask what observations they made about musical theatre acting.Characters must be developed offstage and through character analysis.Section Five: Making the Mini Musical –SUGGESTED ACTIVITIESStudents will combine dramatic lines, vocals, and choreography to create a short Revue of learned musicals.Broadway Revue - Students are presented a program with a loose order so that the students have a choice as to what they perform. Students are grouped in three categories;Actors, Singers and dancersAll are responsible for creating, rehearsing and performing specific their musical theatre piece.Dress Rehearsals - Students will go through, one more time the logistics for their performance.?How do we collaborate to put the play section together?How do we combine rhythm, movement and words to create the play scene?How do we complete the play?Final Performance: Students perform their pieces and present musical theater genres. Journal: Discuss with the students what they’ve learned through studying Musical Theatre. How is it different from straight theatre? How is it similar? What do they like/dislike about it? Has their appreciation for musical theatre grown over the unit??AMISTAD EDUCATIONThe Best of Black Musical Theater Performances! – Students can watch, critique, and reflect upon incredible musical theater performance from a vast selection of black artists. EDUCATIONFiddler on the Roof Study: Fiddler on the Roof is not actually a Holocaust movie but the theme is still the persecution of the Jews but this time in the early 1900's in Russia. Student can watch choice clips, reenact scenes, perform musical numbers and dances. Pst reflection is paramount to connecting the persecution stories told in the musical with that of the real event of a Holocaust era struggle. EDUCATION15 LGBT-Themed Plays and Musicals That Changed Society: The following link introduces young audiences to plays and musicals that support the ideals and issues of the LGBTQIA community. Have students research one musical and analyze it’s message. Students can also be asked to perform scenes and songs in a performance matter as means of an project assessment. EDUCATIONIncorporating rules with pictures, and using schedules, can help students independently follow the flow of the lesson. By having pictures connected to each rule—students are able to see what the expectation looks like. By having a schedule, students will be able to see what will happen first, next, and so on. This can be extremely useful for students who are on the autism spectrum, or have anxiety. Teachers can reuse this schedule for each lesson, to help build a strong routine so students will know the order of every lesson. For example, in each lesson: first is set-up, then is warm-up, then is method book work, etc.Teachers can incorporate several strategies to help connect to OT/PT skills:ExperiencesD – See Appendix B for specialized programs that reflect the needs of students and community.View and respond to a variety of live performances representing a range of styles (classical, contemporary, non-Western, musical theater, puppetry, etc.) and venues (Broadway, off-Broadway, college, high school, etc.)Create original music or use found music in a student performance for entrance music, underscoring or interludes.Create original choreography for a scene in a musical or drama. Participate in and create stage combat and fight choreography for a scene.Attend at least one performance a year outside the school setting: at a local high school, college or university, a local community-based organization or a professional theater company. Participate in pre- and post-performance talk-backs with cast and crew. Encourage students and their families to explore family matinee opportunities, theater workshops, after-school programs and classes designed for children at community centers and local and professional theaters.ResourcesSelected scenes from: Annie, Hairspray, Oklahoma, The Secret Garden, The Music Man Willy Wonka, etc.Textbook: Exploring Theatre- pages on history of musicals · DVDs of various musicals · CDs of various songsWebsites:AMISTAD: : : : Musical Theater for Kids - ' Musical Theatre Collection - Volume 1 (Vocal Collection) Book with online audioKids' Musical Theatre Collection - Volume 2: With a CD of Piano AccompanimentsKids' Musical Theatre Anthology Book/CD (Broadway Presents!)Broadway Presents: Teens' Musical Theatre Anthology Female Edition CD Included PVGMusical Theatre: A HistoryBroadway Musicals, Show-by-Show: Eighth EditionSilver, Fred AUDITIONING FOR THE MUSICAL THEATRE, New York, New Market Press, 1985. A New York vocal coach provides tactics for auditions in musical theatre.*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideUnitConceptsTopicsSkillsDays of Instruction*4Musical TheatreMusical theatre historydemonstrate an understanding that musicals reflect the times in which they were created24Musical TheatreMusic of a musicallearn how music and singing come together in a performance24Musical TheatreDance for a musicalhow dancing functions to come together in a performance24Musical TheatreActing for a musicallearn how acting functions to come together in a performance24Musical TheatreMaking the mini musicalcombine dramatic lines, vocals, and choreography to create a short Revue of learned musicals2* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.CapstoneContent Area:DramaGrade(s)11-12Unit Plan Title:AuditionCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.Overview/RationaleThis unit will explore the process of casting a show and will culminate with students holding mock auditions. Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.1.4.12prof.Cr3b: Practice devised or scripted theatre work using theatrical staging conventions.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.1.4.12acc.Cr3b: Use the rehearsal process to analyze and revise a devised or scripted theatre work using theatrical staging conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.1.4.12prof.Pr4b: Use technical elements to increase the impact of design for a theatre production.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.1.4.12acc.Pr4b: Apply theatrical elements and research to create a design that communicates the concept of a theatre production.Anchor Standard 6: Conveying meaning through art.Performance Expectations:Proficient1.4.12prof.Pr6a: Perform devised or scripted theatre work for a specific audience.Accomplished1.4.12acc.Pr6a: Produce devised or scripted theatre work using a creative process that shapes the production for a specific audience.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 8: Interpreting intent and meaning.Performance Expectations:Proficient1.4.12prof.Re8a: Examine a devised or scripted theatre work and identify the supporting evidence/criteria for its effectiveness to communicate the central message considering the play’s history, culture, and political context.1.4.12prof.Re8b: Evaluate the aesthetics of the production elements in a devised or scripted theatre work and their ability to support or extend the storyline.CONNECTINGAnchor Standard 10: Synthesizing and relating knowledge and personal experiences to create products. Performance Expectations:Proficient1.4.10a: Investigate how cultural perspectives, community ideas, and personal beliefs impact a devised or scripted theatre work.Accomplished1.4.10a: Choose, interpret and perform devised or scripted theatre work to reflect or question personal beliefs.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.Essential Question(s)How do theatre artists comprehend the essence of drama processes and theatre experiences?How can the same work of art communicate different messages to different people?How are the theatre artist’s processes and the audience’s perspectives impacted by analysis and synthesis?How does creating and performing in the arts differ from viewing the arts?Enduring UnderstandingsTheatre artists develop personal processes and skills for a performance or design.Theatre artists make choices to convey meaning.The audition process is extremely similar to that of a job interview.Professionalism demands a friendly and polite presentation from beginning to end.Auditioning is the most important part of having a career as an actor.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsTGlobal AwarenessACreativity and InnovationTEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesBecome familiar with the casting processUnderstand audition etiquetteConduct mock auditions to cast a playChoose appropriate monologues for various character typesOrganize information into a viable rehearsal scheduleAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in writing a resume.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Written quizzes, tests, and critiques may be completed orally.ELL- Teacher modeling and written instructions for every assignment.??At-Risk- Students will be given more time to complete projects that were not turned in without penalty.G&T- Interview with a professional agency.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: The Audition ProcessDiscuss auditionsMap out audition processDiscuss the duties of the casting directorLesson 2: Audition EtiquetteDressing for an auditionChoosing a monologueIntroductionCold readingStudents conduct a mock audition with classmates, alternating the roles of director and auditionees.Develop an audition sheet containing the information that will be needed for production.Lesson 3: Rehearsal processCasting a showCreate a rehearsal scheduleAMISTAD EDUCATIONType-Casting in Hollywood: Students should examine the following article and discuss it’s implications and cases in a group setting. Students can research People of Color Audition agencies which promote fairness across the entertainment hiring industry. EDUCATIONStudents can view these to videos and use the gained knowledge to evaluate the monologue its form and capacity. What Makes a good monologue?: Monologue: EDUCATIONWrite you own Audition Monologue - Discrimination: Discuss the effects of discrimination on LGBT people. Using the examples obtained regarding discriminatory acts on LGBT people, discuss the effects that these will have on LGBT people. Focus discussion on young people. If people are discriminated against in school or in their homes for being LGBT, what forms would this take and how would it affect the young person? Have your students brainstorm and free write a short monologue to perform for the class. IDEA EDUCATIONPractice “In Front” Performing: Invite the students to move around the room, avoiding contact with each other. On a signal, for example ‘Turn to the person/people nearest to you and say hello!’ the students stop and look for the person/people nearest to them and shake hands. They can say hello and exchange names. Then the teacher calls ‘walk’, and everyone begins to move around the room once again until the signal is given to say hello again.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.ResourcesAMISTAD: : What Makes a good monologue?: Monologue: Drama Projects 8th Edition sheets/iambic-pentameter -10-theater-superstitions/ *See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*AuditionAudition ProcessCreate theatre resume2AuditionAudition EtiquettePractice various types of auditions10AuditionRehearsal ProcessAct as casting director3* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderCapstoneContent Area:DramaGrade(s)11-12Unit Plan Title:MonologuesCareer Ready Practice(s)CRP4. Communicate clearly and effectively and with reason. Career-ready individuals communicate thoughts, ideas, and action plans with clarity, whether using written, verbal, and/or visual methods. They communicate in the workplace with clarity and purpose to make maximum use of their own and others’ time. They are excellent writers; they master conventions, word choice, and organization, and use effective tone and presentation skills to articulate ideas. They are skilled at interacting with others; they are active listeners and speak clearly and with purpose. Career-ready individuals think about the audience for their communication and prepare accordingly to ensure the desired outcome.CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit focuses on the rehearsal process of a monologue, including table work, blocking, analysis, and performance.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12acc.Pr6b: Evaluate the benefits and impacts at the personal, local and social level from presenting media artworks, such as benefits to people or to a situation.1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.NJSLSA.SL6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.Essential Question(s)How, when, and why do theatre artists’ choices change?How do theatre artists fully prepare a performance or design?How do theatre artists transform and edit their initial ideas?To what extent does constructive criticism shape the ensemble process and product?Enduring UnderstandingsTheatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Theatre artists apply criteria to investigate, explore and assess drama and theatre work.Theatre artists allow awareness of interrelationships between self and others to inform their work.A theatrical student actor can evaluate and determine the proper acting technique to apply to a performance.Selecting an acting technique for a performance can influence the impact of the performance.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.Students will understand the different types of careers in theatreIn this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAnalyze various characters’ actions and personalitiesCreate powerful stage picturesCompare and contrast the motivations of charactersPresent well-rehearsed monologuesEffectively critique performances of scenesAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in critiquing and analyzing scripts and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD- SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Incorporate multiple types of resources, including text, video, interviews, etc., into a report on an actor or playwright from specific time period or culture.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Table workCharacter analysisScene breakdownLabel beats and tacticsDetermine subtextLesson 2: BlockingDesign the layout of the sceneryDetermine the movement of the sceneCreate stage picturesLesson 3: RehearsalStudents rehearse the monologues for instructor and peer feedbackFinal performanceAMISTAD EDUCATION12 Poems to Read for Black History Month - Students can research and utilize some of the famous black history poems/monologues for the performance work. EDUCATIONFilm/TV/Stage Monologues Slideshow: Students can compile a collection of famous quotes, phrases, monologues or lines from popular entertainment featuring issues of the Holocaust. Monologues can be analyzed from films like, “Schindler’s List,” “Life is Beautiful,” and “Fiddler on the Roof”LGTBQIA EDUCATIONThe Coming Out Monologues: This a collection of theatrical scripts, sides, monologues, comedy sketches, stories with a focus on the LGBTQIA community. Use this as a quick reference or as printable for your classroom.architect. – The Coming Out Monologues DownloadIDEA EDUCATIONThe Glass Menagerie – Student can read and or perform excerpts from the Tennessee Williams classic. Discussion and reflection should focus on the characters and how disabilities can impact an individual’s outlook. ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.ResourcesLGBTQIA: architect. – The Coming Out Monologues DownloadAMISTAD: Drama Projects 8th Edition HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" index2.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" chdramaworkshop. HYPERLINK "" \t "_blank" text/home.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" plays.htm HYPERLINK "" \t "_blank" ~kidsplay/about.htm HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" resources/links/PlaysandPlaywritingLinks.ht*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*MonologuesTable workWrite character analysis5MonologuesTable workBreak up monologue into beats and tactics5MonologuesrehearsalRehearse monologues in pairs5MonologuescritiqueCritique performances and self-assessment5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential order.CapstoneContent Area:DramaGrade(s)11-12Unit Plan Title:Scene StudyCareer Ready Practice(s)CRP6. Demonstrate creativity and innovation. Career-ready individuals regularly think of ideas that solve problems in new and different ways, and they contribute those ideas in a useful and productive manner to improve their organization. They can consider unconventional ideas and suggestions as solutions to issues, tasks or problems, and they discern which ideas and suggestions will add greatest value. They seek new methods, practices, and ideas from a variety of sources and seek to apply those ideas to their own workplace. They take action on their ideas and understand how to bring innovation to an organization.Overview/RationaleThis unit focuses on the rehearsal process of a scene, including table work, blocking, analysis, and performance.Standard(s)CREATINGAnchor Standard 1: Generating and conceptualizing ideas.Performance ExpectationsProficient1.4.12prof.Cr1a: Research to construct ideas about the visual composition of devised or scripted theatre work. 1.4.12prof.Cr1b: Explore the impact of technology on design choices in devised or scripted theatre work.1.4.12prof.Cr1c: Use script analysis to generate ideas about a character that is believable and authentic.Accomplished1.4.12acc.Cr1a: Investigate historical and cultural conventions and their impact on the visual composition of devised or scripted theatre work.1.4.12acc.Cr1b: Understand and apply technology to design choices for devised or scripted theatrework.1.4.12acc.Cr1c: Use personal experiences and knowledge to develop a character that is believable and authentic.Anchor Standard 3: Refining and completing products.Performance Expectations:Proficient1.4.12prof.Cr3a: Use script analysis to inform choices impacting the believability and authenticity of a character.Accomplished1.4.12acc.Cr3a: Explore physical and vocal choices to develop a character that is believable and authentic in devised or scripted theatre work.Advanced1.4.12adv.Cr3a: Explore physical, vocal and psychological characteristics to create a multidimensional character that is believable and authentic in devised or scripted theatre work.1.4.12adv.Cr3b: Transform devised or scripted theatre work using the rehearsal process to re-imagine style, genre, form, and theatrical conventions.PERFORMINGAnchor Standard 4: Selecting, analyzing, and interpreting work.Performance Expectations:Proficient1.4.12prof.Pr4a: Rehearse various acting exercises to expand skills in a rehearsal for devised or scripted theatre performance.Accomplished1.4.12acc.Pr4a: Refine a range of acting skills to build believable and sustainable characters in a devised or scripted theatre performance.Advanced1.4.12adv.Pr4a: Create and justify a collection of acting techniques from reliable resources to prepare believable and sustainable characters in a devised or scripted theatrical theatre performance.Anchor Standard 5: Developing and refining techniques and models or steps needed to create products.Performance Expectations:Proficient1.4.12prof.Pr5a: Identify and explore different pacing options per character to better communicate the story in a theatre work.1.4.12prof.Pr5b: Explore and discover character choices using given circumstances in devised or scripted theatre work.Accomplished1.4.12acc.Pr5a: Discover how unique choices shape believable and sustainable characters in devised or scripted theatre work.1.4.12acc.Pr5b: Identify how essential text information, research from various sources, and the director's concept to influence character choices in a theatre work.Advanced.1.4.12adv.Pr5b: Experiment with various acting techniques as an approach to character development in devised or scripted theatre work.RESPONDINGAnchor Standard 7: Perceiving and analyzing products.Performance Expectations:Proficient1.4.12prof.Re7a: Utilize personal reactions and reflections to artistic choices in a theatrical work for a formal theatre critique.1.4.12prof.Re7b: Collaboratively analyze how artistic choices in a theatrical work affect personal and peer reactions.Accomplished1.4.12acc.Re7a: Respond to what is seen, felt and heard in devised or scripted theatre work to develop criteria for artistic choices.1.4.12acc.Re7b: Apply theatre elements and production values to formal and informal evaluations or artistic choices in a theatrical work.Anchor Standard 9: Applying criteria to evaluate products.Performance Expectations:Proficient1.4.12prof.Re9c: Justify personal aesthetics, preferences and beliefs through participation in and observation of devised or scripted theatre work.Accomplished1.4.12acc.Re9a: Develop detailed supporting evidence and criteria to reinforce artistic choices when participating in or observing devised or scripted theatre work.1.2 Media Arts Standards by the End of Grade 121.2.12prof.Cr1b: Organize and design artistic ideas for media arts productions.?1.2.12prof.Cr1c: Critique plans, prototypes and production processes considering purposeful and expressive intent.?1.2.12prof.Re8a: Analyze the intent, meaning and perception of a variety of media artworks, focusing on personal and cultural contexts and detecting bias, opinion and stereotypes.?Technology Standard(s)9.4.12.IML.2: Evaluate digital sources for timeliness, accuracy, perspective, credibility of the source, and relevance of information, in media, data, or other resources9.4.12.IML.8: Evaluate media sources for point of view, bias, and motivations9.4.12.TL.1: Assess digital tools based on features such as accessibility options, capacities, and utility for accomplishing a specified task9.4.12.TL.4: Collaborate in online learning communities or social networks or virtual worlds to analyze and propose a resolution to a real-world problem.New Jersey Student Learning StandardsNJSLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.NJSLSA.R4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.NJSLSA.R5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently with scaffolding as needed.NJSLSA.W3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.NJSLSA.W4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.NJSLSA.W5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.NJSLSA.W9. Draw evidence from literary or informational texts to support analysis, reflection, and research.NJSLSA.SL3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.NJSLSA.L1. Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. NJSLSA.L2. Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.Essential Question(s)What happens when theatre artists foster understanding between self and others through critical awareness, social responsibility, and the exploration of empathy?What happens when theatre artists allow an understanding of themselves and the world to inform perceptions about theatre and the purpose of their work?What clues are given in the rehearsal process to help establish predictable patterns?Enduring UnderstandingsAs theatre is created and experienced, personal experiences and knowledge are synthesized to interpret meaning and analyze the way in which the world may be understood.Theatre artists reflect to understand the impact of drama processes and theatre experiences.A theatrical student actor can evaluate and determine the proper acting technique to apply to a performanceSelecting an acting technique for a performance can influence the impacts of the performance.Observation and critique of peer performance cultivates fine-tuning of composition within a performance to enhance a finished product.In this unit plan, the following 21st Century themes and skills are addressed.Check all that apply.21st Century ThemesIndicate whether these skills are E-Encouraged, T-Taught, or A-Assessed in this unit by marking E, T, A on the line before the appropriate skill.21st Century SkillsEGlobal AwarenessACreativity and InnovationEEnvironmental LiteracyACritical Thinking and Problem SolvingEHealth LiteracyACommunicationTCivic LiteracyACollaborationEFinancial, Economic, Business, and Entrepreneurial LiteracyStudent Learning Targets/ObjectivesAnalyze various characters’ actions and personalitiesCreate powerful stage picturesCompare and contrast the motivations of charactersPresent well-rehearsed scenesEffectively critique performances of scenesAssessmentsPre and Formative - Pre-assess understanding through brainstorming and discussions, Rehearsal is formatted to meet student’s range of abilities. Formative assessment and adjustment of timing, gestures, etc. are found throughout the rehearsal process. Benchmark/Authentic Assessment – performances and presentations will be graded by rubrics. Students will critique one another’s performances.Summative – Students will demonstrate proficiency in critiquing and analyzing scripts and performances.Alternative assessments – see appendix ATeaching and Learning ActionsInstructional StrategiesD- Academic vocabulary and languageWord WallAdapting to learning styles/multiple intelligencesAnalysis of student workCooperative learningDirect instructionEffective questioningField experience, field trip, or field studyFlexible/strategic groupingModelingJournalingPeer teaching/collaborationRole play/simulations/dramaStudent self-assessmentTargeted feedback research and effective practiceActivitiesD – SE- Work with a partner to develop written reports and journal entries.ELL- Work with a partner to develop written reports and journal entries.At-Risk- Provide an outline for journal entries and study guides.G&T- Student led classroom instruction also project based learning.504 Plan- Adhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.See Appendix A for additional accommodations and modifications for all subgroupsLesson 1: Table workCharacter analysisScene breakdownLabel beats and tacticsDetermine subtextLesson 2: BlockingDesign the layout of the sceneryDetermine the movement of the sceneCreate stage picturesLesson 3: RehearsalStudents rehearse the scenes for instructor and peer feedbackFinal performanceAMISTAD EDUCATIONCivil Rights Plays and Black History Plays for Modern Audiences: Use this link as a resource to develop and perform theater utilizing these Black History plays and skits. EDUCATIONScene Study Resources: Choose any one of these fabulous plays compiled by a variety of playwrights. All plays focus on the Holocaust and can be viewed for free on . Lesson ideas as well as topic questions acompnay each script for additional learning and focus. []=84LGTBQIA EDUCATION5 essential tips for straight actors playing gay characters: We’ve reached an interesting time for LGBT representation in pop culture. As the debate rages on about gayface, and whether it’s okay for straight people to play gay characters at all, there are seemingly more LGBT individuals involved in every aspect of the entertainment industry. This article and clips can assist a young actor learn how to take on the role of gay character as a straight actor. EDUCATIONGame: Opposite Thought The students are grouped in pairs, A and B. A mimes an action, for example eating an apple and B asks him/her, ‘What are you doing?’ A must respond giving a wrong answer, for example ‘I am riding a bicycle’. Roles are then swapped. Extension activity: A short dialogue can ensue with B trying to persuade A that he/she is not doing what he/she says (for example, eating an apple), and A must create arguments to support what he/she says he/she is doing. For example, ‘Even though it looks like I am riding a bicycle, it is a new type of approach to healthy eating!’ Roles are then swapped.ExperiencesD-See Appendix B for specialized programs that reflect the needs of students and community.OHS Drama ShowcaseAttend a play at a local theatreResourcesAMISTAD: : []=84LGBTQIA: Drama Projects 8th Edition HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" index2.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" chdramaworkshop. HYPERLINK "" \t "_blank" text/home.html HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" plays.htm HYPERLINK "" \t "_blank" ~kidsplay/about.htm HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" HYPERLINK "" \t "_blank" resources/links/PlaysandPlaywritingLinks.ht*See Appendix B for resourcesD- Indicates differentiation at the Lesson Level.Pacing GuideConceptsTopicsSkillsDays of Instruction*Scene StudyTable workWrite character analysis5Scene StudyTable workBreak up scenes into beats and tactics5Scene StudyrehearsalRehearse scenes in pairs5Scene StudycritiqueCritique performances and self-assessment5* Specific dates of instruction will be different based on full year and half year courses. Units are designed in sequential orderAppendix AAccommodations and Modifications for DramaMultiple Means of EngagementK - 12Student SubgroupAccommodationsModificationsAlternative AssessmentsSpecial EducationAdhere to all modifications and health concerns stated in each IEP.Supply?oversized scissors, crayons, and brushes, and tools specially designed for students with special needs. Supply tracing stencils.Give students a MENU option allowing students to pick assignments from different levels based on difficulty.??Students have the option of learning the curriculum at their comfort level while challenging themselves to grow.Use the NEWELA?software, which can revise the reading Lexile level to meet students at current reading level.Other including: read to the student aloud, the use of graphic organizers, study guides, one-on-one instruction, refer students to class website (Google Classroom), provide handouts, provide a definition list, and provide large print and outlines.Utilize Snap and Read and Co-Writer.Provide guidelines to initiate the drawing process.Written quizzes, tests, and critiques may be completed orally.Projects may be scaled down to meet the students’ needs while meeting the objective of the Standard.Modify the lesson to incorporate pre-cut shapes instead of complex drawing requirements.Provide more time for the completion of the project, or if the student deems the project complete before the deadline, provide a secondary project that meets the main objective.Develop rubrics that assess the NJ Learning Standard addressed in the objective, eliminating secondary objectives.Assessments may include oral responses instead of written.Assessments may include authentic hands-on projects.Provide more time on projects, tests, quizzes and written work.If student determines work is complete before the deadline, provide a secondary project that meets the main objective of the unit.English Language LearnersSnap and read Google Extension addition. Will read to the student in selected language.Vocabulary Spelling City word banks.Use visuals as much as possible to support classroom instruction and classroom activities.Teacher modeling and written instructions for every assignment.??Use and post a word wall of cognate words whenever possible.??When available sit the child next to another child whose has the same native language and is bi-lingual.?Meet with the ESL bi-lingual teacher to develop a plan of action.Provide directions in native language.Read the directions aloud in English or native language.Provide sentence starters.?Scale down the assignment to meet the main objective of the unit.Allowed to write in their native language and ultimately translate into English.?Allow more time to translate into English.At Risk of FailureStudents will be given more time to complete projects that were not turned in without penalty.Give students a MENU options allowing students to pick activities based on interest that address the objectives and standards of the unit.Other instructional strategies including: read to the student aloud, the use of graphic organizers, study guides, one-on-one instruction, refer students to class website (Google Classroom), and provide peer support, handouts, definition lists, and outlines.Constant parental contact along with mandatory tutoring appointments.?Academic Contracts.Provide more time for the completion of the project, or if the student deems the project complete before the deadline, provide a secondary project that meets the main objective.If student determines work is complete before the deadline, provide a secondary project that meets the main objective of the unit.??Develop rubrics that assess the NJ Learning Standard addressed in the objective, eliminating secondary objectives.Assessments may include authentic hands-on projects incorporating student interest.Provide opportunity to make-up projects, tests, quizzes and written work.Gifted and TalentedModified instructional strategies including: Socratic seminar, group discussions, think-pair-share, individual assignments, more rigorous rubrics, multimedia projects, primary source document, and completing case studies.?Student led classroom instruction also project based learning.Provide portfolios to allow G&T students to take their artwork home to perfect during weekends and after school hours.?Provide G&T students with the opportunity to use a sketchpad on a weekly basis.Provide teacher created videos or YouTube videos depicting more advanced techniques that the G&T students can watch while the general student body works on the main objective.???Allow G&T students to expand on ideas and create projects that go outside of the guidelines of the assignment.Provide more advanced techniques and methods that G&T students can choose to do as an alternative to the general class assignment.??Allow more time for G&T students to complete their work, when they choose to become more involved in details and perfecting their work.When G&T students finish their assignment before others, provide a more advanced assignment of the same standard.Allow students the choice to work larger than the general assignment.?If opportunity allows, offer the gifted and talented students the choice to illustrate the performing arts program cover for spring and winter concert performances.Provide the student with the opportunity to self-reflect on how they could have improved their project or what they would like to try in the future.If the student elects to take advantage of the more advanced project that was offered, a rubric will be used reflecting the additional objectives of the assignment.Socratic SeminarsAs a seminar leader, the teacher's role is to guide students to (I) a deeper and clarified consideration?of the ideas of the text, (2) a respect for varying points of view, and (3) adherence to and respect for the seminar process. The leader questions,?helps paraphrase and restate ideas based on students' responses and helps students solve problems when they are at loggerheads. The leader also models behaviors that are expected?from students-listening. thinking, and interaction:...What I heard you say was_."?...Can you compare Tamika's response to what you heard Jose say?"?"Where in the [artwork, performance] is the evidence for what you said?"?...I want?to hear what Monica thinks."?There is no need to preach protocol-when students see it, they will follow suit. Teachers?may also participate?in Socratic seminars themselves (Tredway, 1995, p. 27)1.1 Tredway, L. (1995). Socratic seminars: engaging students in intellectual discourse. Educational Leadership, 53, 26–29.504 PlansAdhere to all modifications and health concerns stated in 504 plan.? Then assess the academics of the student to implement the necessary modifications as described in this document.Room assignment, location of seat, or other physical changes will be adjusted as well as considerations sensitive to the student’s visual, audio, and tactile requirements.? Any and all medical and psychological needs as per the individual 504 plan will be implemented.??Delivery of objective and instructions as well as lessons, assignments, projects, group work, and performances will be modified to meet the needs of the individual’s 504 plan.Assess the academics of the student by evaluating the student work using the required modifications as described in the document.Intervention and Referral ServiceI & R S policies and procedures will be coordinated by the teacher and the multidisciplinary team to address the learning, behavioral, and health needs of all students.?Action plans will be developed by the multidisciplinary team and the teacher.? The teacher will monitor student data and desired outcomes.?Appendix BCore Instructional and Supplemental MaterialsName of Instructional MaterialGrade LevelBasic Drama Projects 8th Edition10-12Theatre Arts in Action8-12Props and costumes for performancesK-12Specialized Programs that Reflect the Needs of Students and CommunityName of ProgramDescription of ProgramGrade LevelSTANJ CompetitionProvides opportunities for actors to perform scenes, monologues, and improvisations while competing against students from across the state9 - 12OHS/OPA Drama ShowcaseProvides Orange High School and Orange Preparatory students with the opportunity to display their performances on a professional theatre stage that is open to the public.8 - 12Luna StageProvides opportunities for students to experience live performances and talk to local actors, directors, and playwrights.All levelsPlays and MusicalsProvides students who are interested in any aspect of theatre, whether acting, lighting, sound, costumes or makeup, an opportunity to work together to produce, rehearse, and perform large scale shows for the community5 - 12Drama ClubOffers an after school program providing students with the opportunity to create and rehearse scenes and monologues.5 - 12Glossary of Instructional StrategiesAcademic vocabulary and language. Academic vocabulary and language is used in academic dialogue and text and may not necessarily be encountered in conversation, though it relates to more familiar words that students use, such as observe rather than watch. Understanding academic vocabulary and language helps students to understand oral directions and classroom instructional dialogue and to comprehend texts across different content areas, including math, science, and social studies/history. Important for all learners, academic vocabulary and language must be taught explicitly, particularly to second language learners. Generally, vocabulary is categorized into three tiers: (1) Basic vocabulary or words most children will know, including high-frequency words that usually are not multiple meaning words. (2) Less familiar, yet useful vocabulary found in written text and shared between the teacher and student in conversation and referred to in the Common Core as “general academic words.” Also called “rich vocabulary,” these words are more precise or subtle forms of familiar words and include descriptive and multiple meaning words. Instead of walk, for example, saunter might be more descriptive. (3) The third tier of words is called “domain specific” in the Common Core and refers to words that carry specific concepts of the subject matter or processes taught in schools. Generally, they have low frequency use and are limited to specific knowledge domains (e.g., isotope, peninsula, or mitosis), which are best learned with content lessons and are common in informational texts. a. Close reading b. SIOP strategies c. Word wall Accountable talk. Talking with others about ideas is fundamental to classroom learning. Classroom talk that promotes and sustains learning should be accountable to other learners, use accurate and appropriate knowledge, and adhere to rigor in thinking. Accountable talk responds to and further develops what others have said through relevant observations, ideas, opinions, or more information. Accountable talk draws on evidence appropriate to the content area (e.g., a proof in math, data from investigations in science, textual details in literature, primary sources in social studies) and follows the rules of reasoning. a. Cooperative learning b. Discovery/Inquiry - based learning c. Socratic seminar Adapting to learning styles/multiple intelligences. The cognitive theory of multiple intelligences posits that students learn, remember, perform, and understand in different ways, including various intelligences, such as musical–rhythmic, visual– spatial, verbal–linguistic, logical–mathematical, bodily–kinesthetic, interpersonal, intrapersonal, and naturalistic. As a cognitive theory, learning styles/multiple intelligences is controversial but has proved useful to classroom teachers in fostering different interests, providing variety and differentiation in instruction, and developing the whole child. a. Field experience, field trip, or field study b. Hands-on learning c. Learning centers d.Music and songs e. Role play/ simulations/ drama Analysis of student work. Analysis of student work may be (1) a feature of a lesson conducted by a teacher or (2) individual feedback provided to students from a teacher; (3) a discussion among a small group of students who are providing feedback to one another; (4) a discussion among teachers of the aspects of student work; and/or (5) a mode of formally assessing a skill, such as writing. For any of the foregoing purposes, some protocol describing the attributes and levels of quality for the particular learning task is required as the basis of an analysis. When used in formal assessment situations, anonymous student exemplars that illustrate various responses and levels of quality plus an analysis of inter-rater reliability promote consistency and validity. a. Conferencing b. Student self-assessment Conferencing. A one-to-one teacher conference with a student about his or her work in progress is prevalent in teaching writing and speaking, but it is also useful in other areas. The purpose of the conference-- engaging in meaningful conversation about the student’s work in progress--will not be realized automatically. Preparation (on the part of both the teacher and the student) before the conference, careful listening during the conference, recordkeeping, and follow-up are essential components for a successful outcome. In student-to-student conferencing, participants require guidance, a focused protocol, and accountability. a. Analysis of student work b. Student goal setting c. Student self-assessment Cooperative learning. Students in small heterogeneous groups take roles and learn to share knowledge and tasks with one another through a variety of structures with this strategy. While different experts categorize these differently, common features of effective cooperative learning include team building, positive interdependence, group interaction, structured activity, and individual accountability. a. Jigsaw b. Structured academic controversy Cues, questions, activating prior knowledge. With respect to Ausabel’s cognitive theory that learning new knowledge and skills relies on what is already known, teachers use many strategies to help students activate their prior knowledge and eliminate irrelevant and possibly erroneous knowledge. Cues and questions are among the most frequent ways that teachers prompt students to recall and use what they have already learned. Effective questions and cues focus on what is important and benefit from a judicious use of “wait time” and higher-level questions. a. Effective questioning Direct instruction. General usage of the term “direct instruction” refers to instructional approaches that are structured, sequenced, and led by teachers and/or present academic content through teacher lecture or demonstration. Many components of direct instruction are basic to effective teaching, including identifying learning goals, organizing and sequencing lessons to strengthen understanding, modeling a process, providing descriptions and illustrations, checking for understanding, and providing feedback. a. Lecture b. Modeling Document-based questions. A document-based question (DBQ) is an essay question or series of short-answer questions on an examination where students are asked to construct a response using one's own knowledge together with an analysis of provided documents. The documents provided can be from text but can also include primary and secondary sources, pictures, political cartoons, maps, graphs, or charts. Often, the sources are selected to provide different perspectives or views. Document based questions were developed for the Advanced Placement History test several decades past but since have migrated to other content areas and are explicitly taught in AP classes. DBQ as a general teaching and assessment strategy has been highlighted by Common Core recommendations that students read like detectives and use text in developing their responses. a. Close read Effective questioning. Teacher questioning and student response are common classroom learning activities. Research finds that teacher questions (and cues) are effective when they focus on what is important, require students to respond at higher levels, provide adequate wait time after a question is asked and establish an engaging introduction for the lesson. Effective questioning can also play a role in focusing students on unit learning goals or overarching themes throughout a longer period of study. a. Cues, questions, activating prior knowledge Field experience, field trip, or field study. Often thought of as enrichment or reward activity, experiences outside the classroom enable students to extend classroom learning into real world locales, such as when visiting a natural or historical site, exploring current trades and industries on-site, or working alongside an expert in a field of study. The experience is maximized for students when the purpose is clear, including how they will report on their observations, questions, and conclusions. When feasible, research shows this type of learning to be quite powerful compared to simulations or contrived experiences mirroring the real-world in the classroom. a. Discovery/Inquiry -based learning b. Guest speakers c. Hands-on learning d. Non-linguistic representations Flexible/strategic grouping. Informal grouping and regrouping students for a variety of purposes throughout the school day or during an instructional unit supports the learning of all students. Flexible grouping strategies are used to meet curricular goals, engage students, and respond to individual needs. Flexible grouping helps teachers overcome the disadvantages of ability grouping while still attending to individual performance issues. Both teacher-led and student-led groups will contribute to learning, but grouping decisions should respond to the dynamics inherent in each type of group. Teacher-led groups are the most common configuration—whole-class, small group, and individual instruction—and provide an efficient way of introducing material, summing-up conclusions from individual groups, meeting the common learning needs of a large or small group, and providing individual attention or instruction. Student-led groups take many forms, but share a common feature—that students control the group dynamics and have a voice in setting the agenda. Student-led groups provide opportunities for divergent thinking and encourage students to take responsibility for their own learning. a. Formative assessment process Formative assessment process. “Formative assessment is a deliberate process used by teachers and students during instruction that provides actionable feedback that is used to adjust ongoing teaching and learning strategies to improve students' self- assessment, reflection, and attainment of curricular learning targets/goals" (Smarter Balanced Assessment Consortium, 2013). Formative assessment process builds students' metacognition, increases students' motivation, resulting in self-regulated, lifelong learners. Some common classroom formative assessments include: summaries, quick-writes, reflections, checklists, charts, graphic organizers, visual representations, and short quizzes. In recent years, many districts and schools have implemented common formative assessments based on content standards.Guest speakers. Like field trips, guest speakers extend learning beyond the classroom. The sources for guest speakers range and can include such resources as local civic and business leaders, civil servants, hobbyists, industry professionals, parents, or even former students. As with any activity, students benefit most when the purpose is clear and they know how the speaker’s topic relates to what they are studying. Preparing critical questions ahead of time will ease a Q and A session for everyone. a. Field experience, field trip, or field study Hands-on learning. Hands-on learning is an educational strategy that directly involves learners by encouraging them to do something in order to learn about it. It is learning by doing. Some subject matter like music and art are inherently hands-on; others like higher levels of mathematics are more abstract. Nonetheless, all learning can benefit from activity that stimulates different regions of the brain. For younger learners, those learning English or another language, or those with learning disabilities, thoughtful hands-on teaching strategies are their keys to learning. a. Field experience, field trip, or field study b. Learning centers c. Music and songs d. Role play/ simulations/ drama Identifying similarities and differences. Comparing or contrasting two or more items (e.g., poems, characters, processes, animals, artists, historical figures or events) requires students to think at the analysis level of Bloom’s Taxonomy. Applicable to all content areas, teachers facilitate critical thinking by providing strategic comparisons, requiring students to justify their comparisons, and allowing for a full range of comparisons—including beyond what the teacher may have expected from students. Research points to this as a high-leverage strategy. a. Discovery/Inquiry -based learning b. Graphic organizers c. Note booking/ journalingIntegration of content areas. There is a strong case to be made for integrating curriculum. It strengthens skills that students encounter in one content area, but also practice in another, such as reading and writing, and it can lead to the mastery of those skills. It provides meaningful instruction for students in multiple areas of standards in a single class or learning experience. It is also a more authentic way of learning because it reflects what we experience, both professionally and personally, in the world. It can be a way to engage students when introducing them to a challenging subject. STEM education is a current example of effective content integration. Research supports the integration of content areas. a. Project-based learning b. Reading and writing across the curriculum Jigsaw. is a cooperative learning strategy that enables each student of a group to specialize in one aspect of a topic or one part of a reading or other task. Students meet with members from other groups who are assigned the same aspect, and after mastering the material, return to the "home" group and teach the material to their group members. With this strategy, each student in the "home" group holds a piece of the topic's puzzle and work together to create the whole jigsaw. The strategy is often used in other instructional situations for the purpose of team building or quickly managing a large task in a short time. a. Cooperative learning b. Peer teaching/ collaboration Lecture. A lecture may be the oldest method of teaching. Research on the impact of lectures on achievement is discouraging when compared to other methods of instruction, but they can have positive applications: presenting new content not available in textbooks, summarizing disparate points of view; focusing students on critical information. Lectures should bridge from what is known to the new content, so the organization of a lecture is important: present a reasonable amount of information, use examples and visuals strategically, summarize and connect points, check for understanding, and take advantage of technologies that allow students to learn from lecture material outside the classroom. a. Direct instruction b. Graphic organizers c. Summarizing and note taking Mastery learning. As developed by Benjamin Bloom, mastery learning applies the principles of individualized instruction and tutoring to whole class learning. In this model, rather than waiting to the end of a unit to check on progress, teachers design ongoing checks to use during the process to provide individual feedback, diagnose learning needs/difficulties, prescribe specific remediation or enrichment strategies, and re-assess with a parallel assessment. Mastery learning is basic to many textbook programs and has engendered formative assessments as a routine of classrooms. Mastery learning honors the idea that students learn at different levels or paces. A significant body of research shows that compared to traditional classrooms, students in well-implemented mastery classrooms reach higher levels of achievement. a. Direct instruction b. Formative assessment process Modeling. Modeling is an instructional strategy wherein the teacher or another student demonstrates a new concept or skill and students learn by observing and emulating. Modeling is an effective instructional strategy when it allows students to observe thought processes and imitate particular behaviors or steps in a process. Types and purposes of modeling can include approaches such as task and performance modeling (demonstrating a task), metacognitive modeling (thinking aloud), a. Direct instruction b. Graphic organizers and disposition modeling (conveying one’s own enthusiasm, interest, or commitment). Modeling can be used across disciplines and in all grades and ability levels. Music and songs. Music is a powerful teaching tool that can be integrated into most learning situations. It has a direct physical, emotional, and psychological effect on students. Music and songs can create a heightened awareness, motivate students to engage more rapidly, and provide a sense of safety. Each of these factors adds considerably to the development of a powerful learning environment. In addition, music can serve as a vehicle to teach curriculum content, such as songs and music from historical eras or a song about a current event promoting a point of view. In this context, music provides a multi-sensory approach to enhance the learning and retention of academic skills. Research supports the use of music as a mnemonic device for learning and recalling information. a. Adapting to learning styles/ multiple intelligences b. Hands-on learning Nonlinguistic representations. Information is stored in the memory in many forms, including imagery (nonlinguistic representations). Since language-based learning dominates so much classroom instruction, instructional strategies that help students create images are intended to stimulate the brain in new ways, increase understanding, and develop memory. Engaging in drawing, kinesthetic activity, physical modeling, and graphically organizing are among activities used by teachers to help students form their own mental pictures. Asking students to explain and share their images encourages meta-cognitive thinking. a. Graphic organizers b. Hands-on learning c. Role-play/ simulations/dram a d. SIOP strategies Note booking/journaling. Notebooks and journals are a staple of writers, artists, and scientists for whom regular observations, data collection, and documentation are essential. Since learning any subject is enhanced through the discipline of writing, teachers use notebook and journal assignments in many content areas. Students who keep journals are actively engaged in their own learning and have the opportunity to clarify and reflect upon their thinking. a. Discovery/Inquiry -based learning b. Project-based learning c. Summarizing/ note taking Peer teaching/collaboration. Collaborative learning is based on the theory that knowledge is a social construct. Collaborative activities are most often based on four principles: (1) the learner or student is the primary focus of instruction; (2) interaction and "doing" are of primary importance; (3) working in groups is an important mode of learning; (4) structured approaches to developing solutions to real-world problems should be incorporated into learning. Collaborative learning can occur peer-to-peer or in larger groups. Peer teaching/learning is a type of collaborative learning that involves students working in pairs or small groups to discuss concepts, or find solutions to problems. It enables learners to take responsibility for reviewing, organizing, and consolidating existing knowledge and material; understanding its basic structure; filling in the gaps; finding additional meanings; and reformulating knowledge into new conceptual frameworks. Learning from peers increases learning both for the students being helped as well as for those giving the help. a. Cooperative learning b. Flexible/strategic grouping c. Project-based learningProject-based learning. In K-12 education, project-based learning has evolved as a method of instruction that addresses core content through rigorous, relevant, hands-on learning. Projects tend to be more open-ended than problem-based learning, giving students more choice when it comes to demonstrating what they know. Different from projects that are the culmination of a learning unit, PBL projects are the learning unit, meaning that fundamental concepts and skills are learned throughout the project. Projects are typically framed with open-ended questions (How do we reduce our school's carbon footprint?) that drive students to investigate, do research, and/or construct their own solutions. Students use technology tools much as professionals do—to communicate, collaborate, research, analyze, create, and publish their own work for authentic audiences. Instead of writing book reports, for instance, students in a literature project might produce audio reviews of books, post them on a blog, and invite responses from a partner class in another city or country. a. Discovery/Inquiry -based learning b. Hands-on learning c. Integration of content areas d. Structured academic controversy Read-aloud. Read-aloud is an instructional format, included formally in elementary reading programs and as an instructional activity in all areas and levels of the curriculum. A primary purpose of a read-aloud is to create a community of readers in the classroom and establish a known text as a basis for related literacy activities. Reading aloud allows teachers to model important components of literacy, such as fluency, expression, and interacting with texts while exposing students to vocabulary that is just beyond their instructional level and demonstrating how reading is a source of information and enjoyment. a. Close read b. Modeling c. Realia d. Word wall Reading and writing across the curriculum. RAWAC is not uncommon in self-contained classrooms where literacy is often well integrated into all subject matter and activity. In secondary schools, it may rely on interdepartmental agreements and a professional development program. Nonetheless, research firmly links reading and writing to learning in all content areas, and students who can read in science and history and write about it will have better understanding of content and college-ready skills. Realia. Realia refers to real life objects used in classroom instruction in order to improve students' understanding of other cultures and real life situations. Teachers of English language learners and foreign languages employ realia to strengthen associations between words and the objects themselves. Realia are also used to connect learners with the point of a lesson by providing tactile and multidimensional connections between learned material and the object of the lesson. Primary objectives of this strategy include increasing comprehensible input, using language in context, and promoting verbal interaction and active involvement a. Hands-on learning b. Learning centers c. Nonlinguistic representations d. SIOP strategies Reciprocal teaching. This is an instructional approach in which students become the teachers in small group reading (or other content) sessions. Teachers model, then help students learn to guide group discussions using strategies such as summarizing, question generating, clarifying, and predicting. Once students have learned the strategies, they take turns assuming the role of teacher in a dialogue about what has been read. In another version, students take the roles of predictor, summarizer, questioner, and clarifier. a. Cooperative learning b. Jigsaw Reinforcing effort and providing recognition. Students may attribute success at a task to ability, effort, other people, or luck, but three of these four attributions may be self-defeating. Teachers can influence student beliefs about the relationship between their efforts and accomplishment by helping them track and evaluate their efforts and accomplishments. Providing recognition in the form of praise and reward is fundamental to behavioral learning theory and may be undervalued in relation to intrinsic rewards, but research indicates praise is effective when it is expressly connected to a performance standard and that it is more motivating than tangible rewards. a. Direct instruction b. Student self-assessmentRole play/simulations/drama. Research about the impact on learning provided by simulations and games is encouraging: (1) Games, simulations, and role-playing help students invent, experiment, and practice interpersonal skills in a relatively low-risk environment. (2) The more students use different ways of representing knowledge, the better they think about and recall learning. (3) Simulations provide opportunities to visualize, model, and role-play within a dynamic situation, thereby promoting curiosity, exploration, problem solving, and understanding. Simulations in science and math provide learners the opportunity to engage in experimental situations that would otherwise be too hazardous or cost prohibitive to conduct in the classroom (i.e., simulation of an atom smasher uses gum balls to help students envision what happens in a linear accelerator; a rollercoaster design simulator allows students to experiment with slope, angle, and speed). Students already know that technology can help them conduct operations and manipulate variables to explore reactions. In the technology field, “serious games” is a term for games that are applied to the goals of education, bringing gaming technology to fields such as education, policy development, and leadership. a. Adapting to learning styles/multiple intelligences b. Discovery/Inquiry -based learning c. Music and songs d. Non-linguistic representations e. Realia Student goal setting. Teachers who set, define, and communicate learning objectives effectively with students employ research-based findings that say goal setting with students should: (1) be flexible and general because when a goal is too narrowly focused, it may limit learning (e.g., If the goal is to learn how a piston works, students may not learn its relationship to other parts of an engine), although too general goals may be unattainable; (2) encourage student ownership (e.g., creating own goals, a. Conferencing b. Reinforcing effort and providing recognition personalizing teacher goals, committing to contracts, and providing feedback on their progress in journals, videos, etc.); (3) focus on understanding over accomplishing tasks; and (4) allow students enough time to adapt goals to their own interests, learning styles, and prior knowledge. Setting goals benefits from explicit instruction. Student self-assessment. Student self-assessment may refer to inventories/surveys that students respond to, such as interests, learning preferences, or college and career diagnostics. It may also refer to academic assessment tools, often a rubric, that describes a learning task or skill by its attributes and level of quality, which students use to assess their own progress and performance. These tools may also be used individually or in teacher or peer conferences and tutorials. a. Conferencing b. Reinforcing effort and providing recognition Summarizing and note taking. Effective summarizing leads to an increase in student learning. Students who can effectively summarize learn to synthesize information, a higher-order thinking skill, which includes analyzing information, identifying key concepts, and defining extraneous information. Helping students recognize how information is structured will help them summarize what they read or hear (e.g., summarizing a reading assignment is more effective when done within summary frames that include questions to direct student attention to specific content). Note taking is a +related strategy that supports student learning. Without explicit instruction in note taking, students may write down words or phrases word for word, without analysis. Successful note-takers summarize to arrive at a nugget of meaning, which they are much more likely to retain and benefit from using notes as a document of their learning. Teachers can prompt students to review and refine their notes, particularly when it is time to prepare for an exam, write a research paper, or other summative assessment of learning. These are college-ready skills that increase opportunity for all students to succeed in higher education. a. Close read b. Direct instruction Targeted feedback research and effective practice. points to the following keys to using targeted feedback to improve student achievement and avoid negative effects: (1) link feedback to objectives; (2) use a formative evaluation approach over a summative approach; (3) make guidance specific (e.g., proofing remarks or codes may not communicate well); (4) provide feedback in a timely manner (not long after assignment is forgotten); and (5) identify how students should use feedback to make improvements. a. Reinforcing effort and providing recognition Word wall. A word wall is an organized collection of words prominently displayed in a classroom and frequently used as an interactive literacy tool for teaching vocabulary and spelling to children. There are many different types of word walls, such as high frequency words, word families, and story- or unit-related names. Due to the flexible nature of word walls and their potential to "grow" alongside the students, they are used in classrooms ranging from pre-school through high school. Word walls are considered to be interactive and collaborative tools, since they are student-created and student-centered artifacts. Many variations of the word wall are currently in use, including those featuring illustrations of the words and color-coded lists. They teach children to recognize and spell high frequency words, see patterns and relationships, apply phonics rules, and provide reference support during reading and writing activities. Students gain independence by using a word wall in daily activities. a. Academic vocabulary and language b. Hands-on learning c. Identifying similarities and differences d. Read-aloud. ................
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