Benefits of Teaching Drama

•Holistic Approach To Language Learning

•Collaborative Experience

•Develops Confidence

Questions To Ask In Selecting Scripts

•What grade level am I targeting?

•What do I want to teach my students?

•How Much time am I willing to spend?

•How will the class be divided?

•Is there a target audience?

Accommodating the needs of your students

•Multiple Scripts

•Assigned Groups/Roles

•Student Choice

•Activities/Assignments

What is Readers TheatreThere are many styles of readers theatre. Most traditional styles are based on script reading and the suggestive power of language.

Readers are arranged in a row or semicircle, sitting on high stools or standing.

Scripts are often set on music stands.

Readers look straight out toward the audience or at an angle, rather than looking at each other.

Miming, movement, props etc. can be added if desired

Why Readers TheatreSpeaking Listening Reading Viewing Writing

Students have a chance to express themselves using their own voice, and be dramatic in front of the class

Students will learn how actors listen for vocal and written cues in order to say their lines genuinely

Reading scripts is different than reading novels, short stories, comic books, and magazine articles

Rather than copying notes all class, students will rehearse and watch performances.

Students can write their own scripts or adapt stories

Students can try out different accents and ways of saying phrases. Do not have to memorize any lines

Students can keep journals throughout the drama unit

Readers Theatre Introduction

Prepare – read through and think about character (highlight, underline, etc.)

Rehearse – hold script at steady height, speak clearly, use emotion, and think about where the audience will be

Perform – ignore or improvise when there are interruptions and mistakes

Voice

Volume, pitch, diction, enunciation, projection, and inflection

Vocal warm-up activities: tongue twisters, occasions, projections, inflections etc.

Don't Hit Your Students... Hit The Outcomes:

Provides the opportunity for students to acquire and synthesize learning in all curriculum areas.

3. Interact with sensitivity and respect, considering the situation, audience and purpose.

4. Select, read, and view with understanding a range of literature, information, media and visual texts.

5. Interpret, select and combine information using a variety of strategies, resources andtechnologies

7. Respond critically to a range of texts, applying their understanding of language, formand genre.

8. Use writing and other ways of representing to explore, clarify and reflect on their thoughts, feeling, experiences, and learnings; and to use their imaginations.

The skills and conventions taught through analyzing character and script can also support creative writing given available time.

Most suitable for grades 11 and 12 under the Atlantic Curriculum, aspects can be tailored to suit most grade levels.Giving the students the skills necessary to identify the components of a character can influence their interactions by making them more aware of the distinct personalities and needs of those they will meet in their lives.

Concepts and Conventions:

In regards to the source material selected, students should Become familiar with:

The context of the script (author background, period, setting etc...)

The conventions at use within the script

The structural elements and forms used within the script being studied

Based on script selection, the elements used may vary. Some examples of conventions found within drama:

The Tragic Hero & Divine Order

Monologue vs Soliloquy vs Aside

External/Internal characteristics

Dynamic vs. Static Characters

Stock Characters (Commedia dell'arte and beyond)

Developing a Character Biography and Engaging Students in Their Role

Have students develop a character biography

Suggestions for areas of questioning:

Personal details (name, age, etc.)Social and Cultural backgroundAppearanceSense of selfPersonalityAbilitiesRelationships

This biography can also be extended in journal entries by having students respond to situations or questions in the role of the character. This type of written exercise can help the students develop a stronger grasp of their character and promote a deeper connection to the role.

Steps to developing your character:

Read the entire script. No excuses.

Put the play into context: Consider when and where the play is taking place, and the background of the author.

Identifying the story being told: Consider the whole story and how it progresses. This is important as you will have a better understanding of how your character fits into it. Drawing upon evidence in the script: Pay attention to relationships and interactions. What motivates your character, and what are they feeling? What does your character say and what is said about them?

Fill in the blanks: Create a logical history for your character filling in as much background information as possible.

Identify what came before: Consider what your character was feeling and doing in the time prior to the scene, this can give you a better grasp of what attitude and emotions to start with.

Don't be afraid to experiment: There isn't always one answer, don't be afraid to experiment with different choices in how you portray your character, just remember the goal is consistency.

Read the script again. Don't be lazy. Its not going to hurt you.

Potential Concerns:

Is this fair to students with larger/smaller roles?

Larger Roles – More Information / less room for interpretation

Smaller Roles – Less Information / more room for interpretation

In both instances, students should be able to explain and support their choices/findings.

How can I ensure students are understanding the material/concepts?

Model / Guided Practice / Independent Practice

Monitor Student Progress through observations, assessments and class activities*

Be an active part of the classroom

Where Do I Go Onstage?

Up Right Upstage Centre Up Left

DR Downstage Centre DLCR Centre Stage

CL

---------------------- --------------- Backstage Wings----------------------------------------------

Audience

How to Talk Like a Director!

CAST THE PARTICPANTS IN THE PLAY THAT TAKE ON THE ROLE OF THE CHARACTERS.

ACTING AREAS THE PLACES ONSTAGE WHERE THE ACTORS ARE SEEN BY THE AUDIENCE.

BACKSTAGE OFFSTAGE AREAS WHERE THE AUDIENCE CANNOT SEE YOU.

How to Talk Like a Director!

CURTAIN THE BEGINNING OF THE PLAY.

CURTAIN CALLTHE END OF THE PLAY WHEN THE AUDIENCE CAN APPLAUD.

NARRATOR THE ROLE OF THE MAIN READER WHO LINKS THE

PLOT AND INNER THOUGHTS OF THE CHARACTERS TOGETHER.

How to Talk Like a Director!

SCRIPTED STAGE DIRECTIONS: INDICATES EMOTION, TONE, OR STAGE MOVEMENT IN ITALICS

FOR THE ACTORS AND DIRECTOR TO FOLLOW. FOR EXAMPLE:

(SHE RAISED HER ARM SUDDENLY)

THEATRE ETIQUETTE: HOW THE AUDIENCE AND ACTORS ARE EXPECTED TO BEHAVE WHILE REHEARSING AND PERFORMING IN THE THEATRE

How Should I Behave?Respect your director and fellow cast by listening to their

ideas, sharing your own, following directions given, memorizing your lines, being on time and reliable, and respecting personal space (hands off, feet off!).

Take care of your scripts-they are all you have to work with.

Be an encouraging audience member-applaud, laugh when things are supposed to be funny, give positive feedback to the actors at the end.

Don’t “steal the show,” let your cast shine too!

Say “Break a Leg,” instead of “Good Luck,” to the actors before they perform! Theatre is a superstitious place!

Do You Have Any Acting Tips?

Speak LOUDLY and CLEARLY (projection and pronunciation!)

Always have your face to the audience when speaking!

“Cheat” your body to the audience! Angle it outwards.

“Colour” your words: use expression!

Stay in character at all times, regardless of what unexpected things happen during the show! Try to understand what your character feels and means when they say something!

Practice! Practice! Practice!

Highlight your lines only so you can find them when you need to!

Performing in the Classroom

Reasons to use Dramatic Performance in the

Classroom-Drama forces students to use language actively.

-Drama engages students in the analysis of a text.

-It is proven that students understand more when they see and hear a text.

-Drama is a fun and engaging way to approach to oral communication.

-Drama forces students to work together in a way that most projects do not.

-”If students simply read Macbeth they have no personal stake in the story but if they become Macbeth they’ll never forget the experience.” – Philip Sexsmith

Links to the Curriculum

-G.C.O. #2: Students will be expected to communicate information and ideas effectively and clearly and to respond personally and critically.

  -G.C.O. # 8: Students will be expected to use writing and other ways of representing to explore, clarify, and reflect on their thoughts, feelings, experiences, and learning; and to use their imagination.

- “Drama is an important component of ELA High School. Learning experiences will focus on the examination, development, and articulation of students’ thinking on a range of issues and will include role-playing and skill building. Language and literature can be approached through drama”( P. 163 of the ELA curriculum guide).

  - “Personal responses, including spoken, written, and dramatic interpretations, are an important component of literature study” (P. 169 of the ELA curriculum guide).

 - “Drama is a social process in which all students can work together to share ideas, solve problems, and create meaning” (P.170 of the ELA curriculum guide).

  - All grades have an overview of dramatic experiences in the classroom.

-The overview for grade nine and ten states, “Students will engage in drama activities that work toward the speaking and listening outcomes as well as some outcomes from the other English language arts processes… Many strategies will be based on role-playing and skill-building learning experiences” (P. 172 of the ELA curriculum guide).

-Recommended activities include: improvisation, theatre games, masks, tableau, mime, and storytelling.

ActivitiesStory Improv

-Have one student read a story out loud while other students perform the actions of the story. The number of performers should be proportional to the number of characters in the story.

-This activity is beneficial because it takes students a step beyond reader’s theatre. It can also help with reading comprehension as students tend to understand and retain better when they have visuals.

 

Dressing the Part

-In this activity students select a job from a hat. They keep their selection a secret and mime putting on the clothes for that profession. The other students in the class attempt to guess the job. If necessary the miming student can act out aspects of the job if the guessing does not go well.

-This activity is beneficial because it asks students to be aware of their bodies and the actions they make. Students must look at body language as a form of non verbal communication.

Activities Continued...Staged Performance

-Students will spend class time preparing a staged performance. This should include costumes, blocking, line memorization, good sight lines, and an awareness of lighting. For the sake of time teachers can have students use reader’s theatre texts or another text the students are familiar with. Warm up activities should focus on a single aspect of performance: Voice, body language/movement, character awareness/development, team work, etc.

-Space can be a serious issue when it comes to performance. It is recommended that teachers find an area that permits multiple groups to work at the same time. Recommended areas would be an auditorium or gymnasium.

 Journals

-Writing journals in the first person as the character a student is portraying on stage is an excellent way to perform a character analysis. These journals ask students to dive into the minds of their characters and feel what they feel.

-This activity is beneficial, not only because it has a writing component attached to it but also because it is a interesting spin on the traditional idea of character analysis. This can also be beneficial to students who have a hard time understanding the abstract thoughts of a fictional character. By becoming that character students can understand what he or she is going through.

In Class Activity

Tableau

- You will be given a famous text or film. Your objective is to create a symbolic picture, without the use of voice or movement, that the class will be able to guess. You have five minutes to prepare so use your time wisely. You do not need to use every member of your group in the tableau but input should come from everyone.

-This technique could be applied to many areas of learning such as novel study or historic events in a social studies classroom. So many teachers have students draw to represent. Why not have them Tableau it!

AssessmentPerformance Rubric

Elements M A R K S

Blocking 1 2 3 4 5

Voice 1 2 3 4 5

Sight Lines 1 2 3 4 5

Line Memorization

1 2 3 4 5

Synergy 1 2 3 4 5

OverallEffort

1 2 3 4 5

BREAKA

LEG!