B’resheet:Acting Out Bible - Brandeis University · B’resheet: Acting Out the Bible is a ... role play and improvisation. ... Acting Out the Bible” is a course designed to unleash

Bresheet: Acting Out the Bible

Developed by Esther Kosofsky Prozdor at Hebrew College

For more information about the IJE Community Hebrew High Schools

project and this curriculum development initiative, please visit our website:

www.brandeis.edu/ije

Institute for Informal Jewish Education Brandeis University Community Hebrew High Schools Curriculum Development Initiative

Dr. Ofra Backenroth, Consultant Kathie Yuz, Judaica High School, Miami FL, Piloting Teacher

The IJE Community Hebrew High SchoolsProject ismade possible bythe generoussupport of

Legacy Heritage Fund, Ltd.


Bresheet: Acting Out the Bible Syllabus

Bresheet: Acting Out the Bible

COURSE INTRODUCTION:

Bresheet:ActingOutthe Bible is acourseofBiblicaltextstudywhichintegratescreativedramatics,role playandimprovisation. Drama,acreativeexperientialmodalitythat appealstostudents, brings tolifethe biblicalcharactersandevents thatmay bevague,ambiguousorunreal intheirminds.By actingout biblical textand interpretations,studentsgainadeeper understandingofthe text,agreater senseof community,andaretrulyengagedintheirlearning.

Thecourse Bresheet:ActingOuttheBiblevalues the processof interpretationandtheartistic/ subjective/personal nature ofdramatic role playwhile respectingthe questions,opinions,andbeliefs ofeachindividual.Beginningwithprimaryreadings(pshat)ofthe biblical text,studentslearnwhat isactuallywritten.This primaryreadinganddiscussionofthe textarefollowedbydramaticexercises whichexplore thequestions,issuesandconflictsraisedinthe text.Traditionalmidrashimandmoderninterpretationsarereadaloudinclass.Throughdiscussionandadditionalimprovisational role play,studentssearchformeaning,interpretandfillinthegapsofknowledgeinthe text(drash),creating theirownnew midrashim.

ThestudentsattendingcommunityHebrewhighschoolusuallycomefromvarietyof backgrounds,informal Jewishexperiencesandformal Jewisheducation.Studentswhochose thisclasswillvaryintheir textstudyskills,knowledgeof the biblicalstories,andexperienceindramaticactivity.This coursecanbe adaptedtofitthestudentsneeds,skills,knowledgeandcomfort level.

Eachlessonbeginswithaquestionformeaningorunderstandingandobjective/intendedoutcomes.

Thequestions formeaningfocustheteacheronthegoalsofthe lessons,theystrivetoreachthecore concept,the essenceof the teaching.The lessonplanisanexampleof teachingaspecificquestionof meaning.Eachquestionof meaningisexploredthroughtextstudyandavarietyofdramatic activities.Withoutgraspingthe questionofmeaningandusingittoinstruct,theclasswillsimplydocreative dramaticswithoutunderstandingitsconnectiontothe Jewishtext.Forexample,thestudentscanrole playthe snakes conversationwithEveoractouttheargument betweenCainandAbel.These canbe imaginativeimprovisationswhichhighlightspecificaspectsof thetext.However,it is the questionformeaningwhichfocusesthegoalsgeneratingunderstanding,insight,andother views;andinspiring connectionswithwhat the students alreadyknowandhaveexperiencedintheirownlives.Throughout the courseassessmentis constant.Whois participating?Whoisreadywithanopinionor answer?Whowaits tobecalledupon? Wholovesthe dramatic reading?Whoprefersnottohavetoreadout loud?Howfocusedandproductiveare the studentsas theyworkinsmallgroups?Whatis thequalityof their responsestothe textquestionsof theroleplays?serious,silly,imaginative,humorous,shallow,thoughtful,inventive,introspective?Howwelldothe studentsarticulate their impressions,insights,andinterpretations?

Bresheet:ActingOuttheBibleisa coursedesignedtounleashthedramainsideeverystudent.Itis writtenforteacherswhoenjoytextstudyandwouldliketointegratedramaintheirclasses.Itis importanttoreadthroughtheinstructioncompletely,makingsurethat thateachlessonisunderstood.Someactivities requiremorereading,preparation,materialsandresources thanothers. The teachers guide(writtenalongsideeachlesson)includestips,ideas,andhelpfulsuggestions.Resource books ondramaticimprovisationare listedinthe bibliography. Skilleddramateachers will findthe biblical resourcesvaluable forthetextstudysegmentineachlesson.

IJE, Brandeis University 2 www.brandeis.edu/ije



Becauseof the creativenatureofthis curriculumandthe breadthof resources available,this isa flexible course.Ateachermaychosetorearrangethelessonsinthiscurriculum,especiallywiththe interconnectnessof the someofthe storiesandthenatureofdoinginterpretive textwork(Midrash).The orderof the lessons canbeshuffled,dependinguponteachers style/directionandstudents questions,queries andinsights.Teachersmayalsochoose tomodifyoradaptwithineachlesson;thisflexibilityallowsfor usingarangeof teachingmethods,appropriate tostudentsdifferent learningstyles.

Thiscurriculumcanbe a blueprint forintegratingothercreativeartmodalities(drawing,painting,printmaking,collage,mixedmedia,sculpture,textiles,creativewriting,playwriting,photography,video/ film making,dance,music).Hebrew languagecouldalsobe incorporated.

There is somuchdramaintheBible.This courseuses thatdrama,thetoolsof creatingdrama,andthe creativespiritof everystudent tointegrate,inanaturalandspontaneousway,the subjectmatterofthis curriculumandthewonder andaweof Jewishlife.

TOPIC/SUBJECT AREA: Bible Studies NUMBER OF SESSIONS: 14 LENGTH OF EACH SESSION: 50 min. PURPOSES AND GOALS OF THIS COURSE

Todevelopstudents intellectualcuriosityinbiblical texts,toinspireanappreciationofBiblical literature andMidrash, andtoencouragestudentstoaddtheirowninsights andinterpretations throughdramatic readings,improvisationandrole playingofthetext.

INTENDED BEHAVIORAL OUTCOMES 1. Thestudentswillidentifythecharactersandstoriesof creation,Adam&Eve,Cain&Abel,and

Noah,throughdramatic,outloudreadingsdirectlyfromtheTorah(the Etz Hayim1text,recommendedforclassuse)andscriptedtextversions ofthese stories (from Makea MidrashOut of Me by J.L.Grishaver2).

2. Thestudentswillrecall theirmemoriesofthestoriesofAdam&Eve,Cain&Abel,andNoah. 3. Thestudentswilldiscussinterpretationsofthese biblicalstoriesincludingchildren's versions of the

storiesandscriptedscenes (from SedraScenes byStanBeiner3). 4. Thestudentswillcompare andcontrastwhat is foundinthe actualtextandwhatis midrash. 5. Thestudentswill beabletodefine the Torahstudyterms: midrash, pshat, remez,drash,and sod. 6. Thestudentswillexpresstheirapproaches/interpretationsof the textthroughcreativedrama

accordingtotheirindividualcapabilities. 7. Thestudentswillcreatedramatic midrashofthe biblicaltextthroughimprovisationandroleplay

(of the biblical text).

1 Lieber, D. & Harlow, J.,editors. (2001). Etz Hayim: Torah and Commentary. New York, NY: The Rabbinical Assembly. 2 Grishaver, J. (2004) Make a Midrash Out of MeVolume 1 :From Chaos to Egypt Los Angeles, CA: Torah Aura Productions. 3 Beiner, S. (1982) Sedra Scenes. Denver, CO: Alternatives in Religious Education, Inc.




UNDERSTANDINGS

1. Thestudentswilldevelopadeliberateandreflectiveapproachtoreading biblicaltext thatdeepens their learningexperience.

2. Thestudentswill betterunderstandthat biblical textandmidrashicliteraturearenotthesametexts butrelate toeachother.

3. Thestudentswillgainanunderstandingof themanydimensions andchallenges inherent increating midrash.

4. Thestudentswilldevelop personal connectionswiththe biblicaltexts: thestories,thecharacters,andvalues.

5. Thestudentswillfeel empoweredtoexplore theirownmeaningsforthe text,recognizingthe personalmeaningandsignificance of theirowninterpretations,while integratingtheinsights of previousgenerations.



SESSIONS TEXTS,

MATERIALS TO BE USED

QUESTION OF MEANING OR

UNDERSTANDING

ASSIGNMENT DUE FOR NEXT SESSION

Session#1 ActingOut the Bible

EtzHayimbiblicaltext

inHebrewand

translation What is Midrashfrom myjewishlearning.com TorahStudyDefinitions

Whattopicswillbeexploredinthiscourse? Howdowereadand

interpretBiblestories? Whatis thedifference betweenDrashand

pshat?

Thinkaboutassignment: AretheBible storiesthatyourecall Torahtext or Midrash?

Session#2 Midrash

EtzHayimWhat is Midrashfrom myjewishlearning.com orTorahStudy Definitions SedraScenes pages15

Howareourdramaticreadingsand

improvisations midrashimofthe biblical text?

Session#3 Creationof Adam&Eve

Genesis1.12.4,2.4

3.23 MakeaMidrashpages 58and1215 Selectedtraditional Midrashimof the creationstory

Whatdowe learnabout the twoversionsofthe creationofAdamand

Evefromthetextanda simplereading(Pshat)?

Howdoesreading traditional midrashim enrichour understandingof the text?

Thinkaboutassignment: role plays:snake,Adam,Eve.

Session#4 Interpretations oftheAdam& Evestory

RolePlay/ Improvisation

Guidelines

Howdoweunderstand

andinterpret the stories ofAdam&Eveandthe relationships betweenGod,Adam,Eve,and

thesnake byactingout the midrash?

Bringtoclasschildrens booksabout creationandAdam&Evestories.

Session#5 Adam&Eve Story:Interpre

tationand

Characters Relationships

Selectedchildrens illustratedbooks

Selectedcontemporary midrashim

Howhaveothers (writersandillustrators) understoodand

interpretedthecreation

storiesandthe charactersofAdam,

Eve,God,andthe snake?


Syllabus



Session#6

Cain&Abel: SiblingsRela

tionships

Genesis4.116

SedraScenes pages56

Thinkaboutyour NoahMidrashMonologue

Howdoesreading midrashandother interpretationsof the textengageus,the readers of theBible,in anactiveway? WhydidGodchoose Noah?Andhowdid

beingchosenimpact Noahandhis family?

BillCosbysNoah tape andtranscriptionscripts Traditional Noahmidrashim

Session#11 Noah&God

Thinkaboutassignment: role plays: NoahandGod

Howdoweunderstand

thestoryof Noahsark froma primary(pshat) readingofthe Noah text?

Genesis6.99.19 Sedra scenes pages711

Session#10 Noah: Thetext story

Howdoweunderstand

Cains punishment by Godandtheabsenceof AdamandEve?

Genesis4.126 Cain&Abel Midrashim

Session#9 Cain&Abel: Family/Parent Relationships

Howdoweunderstand

the relationships between God&Abel, Cain&Abel,andGod

&Cain?

Genesis4.116Cain&Abel Midrashim

Session#8 Cain&Abel andGod

Thinkaboutassignment: improvisations&role plays

WhatmadeCainkill Abelandwhy?

Makea Midrash pages 1921 CainandAbel Midrashim Sasso,Sandy,

Eisenberg.Cainand

Abel: Finding the Fruitsof Peace.

Session#7 Cain&Abel andGod

ThinkaboutCain&Abels relationshipwitheachother andwithGod.

Whatdowe learnandunderstandaboutCain

&Abelandtheir relationship froma dramatic readingof the biblical text?




Session#12 Noah Voice

Makea Midrashpages 2631 Genesis6.99.19

Howdoes NoahrespondandreacttoGodandthe Flood?

Bringchildrens booksabout Noahstory Thinkaboutassignment: Familyrole playswhatisit likeontheark?

Session#13 Interpretations & Midrashim ofthe NoahStory

Traditional Noahmidrashim Selectedchildrens illustratedbooks

Howdoeschildrens literatureofthe Noah storycompare totraditional Midrashim andenhanceour insight ofthestory?

Assignment: Workonassignedrole plays,giving voicetothe pointof view/perspectiveof Noahs wife,sons,the sonswives, animals

Session#14 Noahs family andthe animals

Genesis6.59.19 MakeaMidrashpages 2631

Asmembersof Noahsfamily,howwouldyou

respondtothefloods destructionandGods covenantnot torepeat the flood?

Conclusion

Possible presentationfor schoolof favorite scenes andimprovisations





Bibliography

Books

Lieber,D.&Harlow,J.,editors.(2001).Etz Hayim: TorahandCommentary. NewYork:TheRabbinicalAssembly.

Grishaver,J.(2004) Make aMidrashOutof MeVolume1: FromChaos toEgypt LosAngeles: TorahAuraProductions.

Beiner,S.(1982).SedraScenesDenver,CO:AlternativeinReligiousEducation,Inc.

Online Resources

Midrash: MidrashPrimer,retrieved7/2006fromwww.myjewishlearning.com/texts/Midrash/PrimerMidrash.htm

Midrash: MidrashAggadahMidashToday,retrieved7/2006fromwww.myjewishlearning.com/texts/Midrash/MidrashAggadah.htm

Midrash:FillingintheGaps,retrieved7/2006from www.myjewishlearning.com/texts/Midrash/MidrashAggadah/FillingGaps.htm

Katz,M.&Schwartz,G.(2002).IsThereStillMidrashToday?:Findingmidrashinyourlocal synagogueandyourlocal movietheater.Retrieved7/2006,from

www.myjewishlearning.com/texts/Midrash/MidrashAggadah/Midrash_Today.htm

HazanArnoff,S.(200?).Methodsof Midrash:Howthisgenregleans deepmeaningfromthe Torah's text.Retrieved7/2006from

www.myjewishlearning.com/texts/Midrash/MidrashAggadah/MidrashMethods.htm

Waldman,RabbiI.(200?).FillingintheGaps:Midrashallowedthe rabbis toexplainandexpandonthe Torahandindoingso,theyrevealedmuchaboutthemselves.Retrieved7/2006from

www.myjewishlearning.com/texts/Midrash/MidrashAggadah/FillingGaps.htm

Goldstein,RabbiElyse.(200?)HowMidrashWorksandthe4LevelsofPaRDeS.Retrieved9/2006,

fromwww.kolel.org/torahstory/module4/page1.html

Spero,Shubert,(1999) The BiblicalStoriesofCreation,GardenofEdenandtheFlood:Historyor Metaphor?,Retrieved9/2006fromhttp://www.lookstein.org/articles/history_or_metaphor.htm

Sinclair,Alex.(2002)AnExerciseinthe TheoryofPractice: TheHermeneutics ofBibliodramainthe SinclairClassroom.Retrieved7/2006from www.bibliodrama.com/BibliodramaandHermeneutics1.pdf

LilithEvolved: WritingMidrash,retrieved10/2007

A"Go&Learn:PrimaryDocumentsandLessonPlan 2007JewishWomensArchive http://jwa.org/teach/golearn/sep07/


www.brandeis.edu/ijehttp://jwa.org/teach/golearn/sep07www.bibliodrama.com/BibliodramaandHermeneutics1.pdfhttp://www.lookstein.org/articles/history_or_metaphor.htmwww.kolel.org/torahstory/module4/page1.htmlwww.myjewishlearning.com/texts/Midrash/MidrashAggadah/FillingGaps.htmwww.myjewishlearning.com/texts/Midrash/MidrashAggadah/MidrashMethods.htmwww.myjewishlearning.com/texts/Midrash/MidrashAggadah/Midrash_Today.htmwww.myjewishlearning.com/texts/Midrash/MidrashAggadah/FillingGaps.htmwww.myjewishlearning.com/texts/Midrash/MidrashAggadah.htmwww.myjewishlearning.com/texts/Midrash/PrimerMidrash.htm


Noah: Righteousor Regular?Ascript ByRabbiAaronAlexander,retrievedOctober,2007

FromJudaismatAmericanJewishUniversity http://judaism.ajula.edu/Content/ContentUnit.asp?CID=896&u=6948&t=0

Additional resourcesBooks

Allen,RichardJ.(2000).Parashah Plays forChildrenof All Ages.AREPublishing.

AllardP.,AllardE.,CheskisCotel,A.,KaplanMayer,G.,&Samuels,G.(2006). OpenItUp! Integratingthe Arts intoJewishEducation.Springfield,NJ:A.R.E.Publishing,Inc.

Cohen,DeborahBodin(2006). Liliths Ark: Teenage Tales of BiblicalWomen.NewYork,NY.JewishPublicationSociety.

Fields,HarveyJ.(1990). ATorahCommentary forOurTimes,VolumeOne:Genesis.UAHCPress.

Gellman,M.(1989).Does GodHaveaBigToe? New York,NY:HarperCollins.

Ginzberg,Louis (1992).Legendsof the Bible.NewYork,NY.JewishPublicationSociety.

Gold,PennySchine (2003). Making the Bible Modern: Children's BiblesandJewishEducationinTwentiethCentury America. CornellUniversityPress.

Graets,Naomi(2004).UnlockingtheGarden:AFeminist JewishLookattheBible,MidrashandGod. GorgiasPress.

Holtz,Barry,editor.(1984) Back totheSources: ReadingtheClassic JewishTexts.Simon&Shuster.


www.brandeis.edu/ijehttp://judaism.ajula.edu/Content/ContentUnit.asp?CID=896&u=6948&t=0


Loeb,SorelGoldbergandKadden,BarbaraBinder.(1977) TeachingTorah: ATreasuryof InsightsandActivities.AREPublishing.

Pitzele,P.(1998).ScriptureWindows:TowardaPracticeof Bibliodrama.LosAngeles,CA: AlefDesignGroup.

Plaunt,Gunther,editor(2004) Torah: A ModernCommentary.NewYork,NY: UnionforReform Judaism.

Audio

Cosby,Bill. Bestof BillCosby. [ORIGINALRECORDINGREMASTERED].ASIN:B0007N19EQ Label:Rhino/ Wea,AudioCD(March1,2005)OriginalReleaseDate:September1,1969.CanbeorderedfromAmazon.com.

Specific Childrens books for use in class

Brett,Jan.OnNoahs Ark. PutnamJuvenile,2003. The biblicalstoryfromthe perspectiveof Noah'sgranddaughter.(Pre K2)

Kimmel,EricA.Whythe SnakeCrawlson Its Belly.Illus.byAllenDavis.PitspopanyPress,2001.Astoryloosely basedonrabbiniccommentarythat attributesseveralaspectsofsnakeanatomy tothereptile's punishmentfortemptingAdamandEve.

Kuskin,Karla.The Animalsandthe Ark.Illus.byMichaelGrejniec.Atheneum,2002.Noah'sArkstory,fromthe animals' pointofview.

Pinkley,Jerry.Noahs Ark.SeastarPublishing,2002.

Sasso,Sandy,Eisenberg.CainandAbel: Findingthe Fruits of Peace.Illus.Joani KellerRothenberg.JewishLightsPublishing,2001.

Retells thestoryof twobrothers,whoafteryearsofsharingeverything,becomeangryenoughtolose controland bringviolenceintotheworld.(Gr.26).

Sasso,SandyEisenberg.A Prayer forthe Earth:TheStory of Naamah, NoahsWife. Illus.byBethanneAndersen.JewishLights,1996.

Sasso,SandyEisenberg.Adam & Eves FirstSunset. Illus.byJoaniRothenberg.JewishLights,2003.This is thestoryofAdamandEvesfirst testoftrustandfaithandhowtheylearnedtofindhope andlighteveninthedark.

Sasso,SandyEisenberg.ButGodRemembered:StoriesofWomenfromCreationtothe PromisedLand.Illus.byBethanneAndersen.JewishLights,1994.

Singer,IsaacBashevis.Why NoahChosethe Dove.Illus.byEricCarle.Farrar,Straus&Griouz,1991.This is thestoryofthemodestdovewhichNoahchoosesoverall the boastfulanimalsonthe ark tobring backthemessage that the floodisover.(K3).


www.brandeis.edu/ijehttp:Amazon.com


Online resources

www.myjewishlearning.com

www.pardes.org.il

http://learn.jtsa.edu

This is the JewishTheologicalSeminarys Jewisheducationthroughdistance learning website.

www.lookstein.org

http://www.geocities.com/CollegePark/6174/jewishchildren.htm Anexcellentwebsite for booksandvideos/DVDs for Jewishchildrenandteens.


www.brandeis.edu/ijehttp://www.geocities.com/CollegePark/6174/jewishchildren.htmhttp:www.lookstein.orghttp:http://learn.jtsa.eduwww.pardes.org.ilhttp:www.myjewishlearning.com

Bresheet:ActingOuttheBible Session1

Session1,Bresheet:ActingOuttheBible

I.TeachersPreparation

UNITQUESTIONSOFMEANING: Whattopicswillbeexploredinthiscourse?

HowdowereadandinterpretBiblestories?

Whatisthedifferencebetweend'rashandp'shat?

SELECTIONOFTEXTS: Bresheet1:262:25.IfusingtheEtzHayim,pages

923.

RoleplayActivityVerseAssignmentindexcards

(appendix1C)

OBJECTIVES/INTENDEDOUTCOMES:

1.Whatwillthestudentsdo?

Thestudentswillreadthestoriesofthecreationof

Adam&Eveoutloudanddramatically,directlyfrom

theTorah.

Thestudentswillidentifythetwoversionsofthe

creationofAdam&Eveinthetext.

Thestudentswilllearn/reviewtheconceptofmidrash

(pshatanddrash).

TeachersGuide

I.TeachersPreparation

SELECTIONOFTEXTS:Aspartofthiscourse,students

becomefamiliarwithusinganactual

biblicalTorahtextwithcommentary,

explanations,andmidrashim.Iusethe

EtzHayim,ascopiesareavailablein

schoolforclassroomuse.Pleaseuse

theTorahtextinyourschooland/or

onewithwhichyouarecomfortable.

Bresheet1:262:25includesthetwo

differentversionsofthecreationof

manandwoman.Itgivesusthe

opportunity,rightatthebeginningof

ourreadingofBresheet,tosynthesize

thetwostoriesofthecreationofman

andwomanwithaccompanying

midrashim. Manystudentswillnow

becomeawareofthetwoversionsand

howtheyimpactourunderstandingof

thestoryofcreation.

IJE,BrandeisUniversity 12 www.brandeis.edu/ije



Thestudentswilldemonstratethebasicskillsof

improvisation.

2.Thestudentswill beableto:

Compareandcontrastthe2versionsofthecreationof

Adam&Eve.

Presentimprovisationsofverses1:262:4andverses

2:42:9&2:152:25.

Articulatethedistinctionbetweentextandmidrash.

3.Thestudentswillunderstand:

TherearetwodistinctversionsofthecreationofAdam

&Eveinthebiblicaltext.

Thedramaticmidrashimcreatedthroughimprovisation

contributetoadeeperappreciationthetext.

ASSESSMENTOFINTENDEDOUTCOMES:

Monitortheiranswerstoquestionsregardingthetwo

versionsofthestoryofAdam&Eve.

Assesstheirunderstandingofthedifferencebetween

thebiblicalstory(pshat)andmidrash.

Evaluatethequalityoftheimprovisationstheydevelop

andperforminsmallgroups.

AssesshowtheTorahtextwhichwasreadatthe

beginningofclassisreflectedintheimprovisations/ dramaticmidrashimthestudentscreatedandpresented.

Becauseofthestudentsvarious

Jewisheducationalbackgroundsina

communityHebrewHighschool,itis

vitaltoreviewtheirknowledgeofthe

conceptofmidrashandTorahstudy

terms.

Appendix1A:WhatisMidrash?;

Appendix1B:TorahStudyTerms

andDefinitions;andselectedchapters

inBacktotheSources:Readingthe

ClassicJewishTexts,editedbyBarry

W.Holtzareusefulteacherreference/ resourcesthatcanbeincorporatedin

thefirstlessonsandthroughoutthe

course.

ASSESSMENTOFINTENDEDOUTCOMES:

Followingthisfirstsessionandthe

initialdramaactivity,thinkabout

futureimprovisationalroleplays;

specifically,givingcleardirections,

format,structure,andparametersfor

thesecreativedramaactivities.




II.TheLessonPlan

A. INTRODUCTION(5min.):

1. WelcometothecoursecalledBresheet:ActingOuttheBible.Inthisclasswewillbereading biblical

text(theactualtextinEnglish)andmidrashim

(scripts,storiesandchildrensbooks)andcreating

ourowndramaticmidrashimthroughroleplaying

andimprovisation.

B.MOTIVATION(10min.):

NameAlliterationIntroduction(Alliterationisthe

repetitionoftheinitialconsonant.Thereshouldbe

atleasttworepetitionsinarow. Forexample:Peter

Piperpickedapeckofpickledpeppers.Thefirst

letter,p,isaconsonant.Itisrepeatedmanytimes.

Ifyouuseasyllableratherthanaconsonant,itis

assonance.)

1.Inacircle,aplayerstartsthegamebyintroducing

himself/herselfbymakingagestureandalliterating

tohis/hername,e.g.ImWonderfulWendyor

ImSmartSteve.

2. Thenextplayerpointstothefirst,repeatsthe previousplayersname,attributeandgesture,and

doeshis/herownalliterationintroduction.Andso

on.

3.Theactivityendswiththefirstplayerhavingtodo

eachotherplayersgesture,repeatingtheirnames

andattributes.

C.TEXTSTUDY(30min):

1.HandoutEtzHayim(orother)Torahtexts.

Explain:thiswillbetheprimarytextweuse.It

containstheBiblicaltext,commentariesand

midrashim.Wewilluseittocreatedramatic

midrashim!

II.TheLessonPlan

MOTIVATION:

Thiswarmupactivityisan

icebreaker.Studentsmeet,learneach

othersnames,andwebegintocreate

ourcommunityoflearners.

TEXTSTUDY:

UsetheTorahtextyouprefertouseor

thetextsyouhaveaccesstoinyour

classroom.




2.AskthestudentsquestionsabouttheTorah:

Areyoufamiliarwiththisbook?

Whenhaveyouusedit?

HaveyouusedotherTorahtexts(otherver

sionsandTorah/Tanachbooks)?

3.AskthestudentstofindthestoryofAdam&Eve.

4.Oncethestudentsfindthestory,askthem:

Onwhatpage,whatchapterandwhatlinedo

wefirstreadaboutcreationofMAN?(Page9,

chapter1,verse26)

OnwhatDAYofCreationwasmancreated?

(The6thday)

5.AssignreadersforthepartsofNarratorandGod,

thenhavestudentsreadthrough2:4.Beginreading

fromthetext1:26outloudanddramatically.

6.Discuss:whatisgoingonhere?

7.AssignnewreadersforthepartsofNarrator,God

andMan.Nowread2:42:9&2:152:25.

8.Discuss:whatisgoingoninthissection?

Option:Astheysearch,askquestions

thatconnectthecurrentactivityto

previousknowledge,suchas:inwhat

gradedoyouthinkyoulearnthis

story?Howdidyoulearnit?Whatdo

yourememberaboutthestory?

Beforethestudentsread,explainthat

readingdramaticallymeanswith

DRAMA,usingtheirvoicestoexpress

emotions,feelings,andaction.If

necessary,demonstrateandaskthem

todothesame.Iusuallybegin,as

narrator,readingarticulatelywith

muchexpression,andthenassign

studentsforthespecificpartsofGod

andnarrator,instructingthemtoread

withexpression.Intextstudy,when

readingthetextoutloudand

expressively,thestudentsaremore

engaged.

6.&7. Thestartandstopnatureof

thistypeofreadthroughmaybe

frustratingforthestudents(especially

themoredramaticreadersinthe

class);however,thisplotsoutofthe

storyintheactualtext.

Asthereadingcontinues,reassignthe

readingrolessothateveryonehasan

opportunitytoreadoutloudand

dramatically.Ifastudentis

uncomfortablereadingoutloud,allow

themtopass.




9.Compare1:262:4with2:42:9&2:152:25using

thefollowingdiscussionquestions:

Whenyoufirstlearnedthispartofthecreation

story,doyourememberreadingorlearning

aboutthese2differentstories?

Isthisthesamestory?Explain.

Howisthesecondtellingofthecreationof

manandwomansimilar/differentfromthefirst

tellingweread?

Isthesecondstoryadeeperretellingoramore

expandedversionofthe6thday?

10.Discuss/explainthetermsMidrash,Pshat,

Drash,PaRDeS.

Atthispoint,thestudentshavemany

questionsaboutthetextstory.Before

beginningthediscussion,explainthat

inordertoexplore,searchformeaning

andunderstandthetext,wearegoing

toreview thetermswewilluseinour

textstudyandprocessof

interpretation:theconceptsof

midrash,pshat,drash,andPardes.

IfyouareusingtheEtzHayimText,

(oranotherTorahandCommentary

text,i.e.,TheTorah:AModern

CommentarybyW.GuntherPlaut,

URJPress),atthispointyoumay

wanttoexplaintheformatofapageof

text.Bydoingthis,inthisfirstlesson,

thestudentswillbecomefamiliarwith

howtouseaTorahwithcommentary

textandgraspwhatanamazing,

remarkableresourceitis.

IntheEtzHayim,thePshat(thefirst

commentaryonthepageunderthe

Bibletext)isthecontextual

(background)meaningofthetext.It

isexplainedbythefinest

contemporaryscientificscholarshipon

theTorah.




Anoptionalexercisebeforemovingontothe

improvisationsistoprovideadditionalinstruction/ directionbyreviewingthesetupoftheEtzHayim.

Youwillfindsomemidrashim(theDrash)inthe

EtzHayim(the2ndcommentaryoneachpage)

belowthetextformoreinformationand

understanding.

11.ImprovisationActivity:

a. Dividetheclassintogroupsof4students.

b.Givedirectionstothegroups: Eachgroupwillprepareanimprovisationona

sectionofthetext.Yourimprovisationswill

onlybeafewminuteslong.

Onceyouareinyoursmallgroup,assignroles.

UsethelinesfromtheTorahtextifyouwantor

createyourownlines.

Youwillhave5minutestocreateand

improvise,andthenyoullperformforthe

class.

c. Assign2groupstoreviewandcreateanimprovisationwithverses1:262:4. Assign2

groupstoreviewandcreateanimprovisation

withverses2:42:9&2:152:25.Dothisby

handingoutaVerseAssignmentonIndex

Cardtoeachgroup.

d. Give5minutestoprepareimprovisations.

Thesecondcommentaryonthepage

istheDrash,themidrashic

commentary.Itpresentsaneclectic

rangeofinsights,fromtheclassical

midrashimtothemedieval

commentators,fromHasidicmasters

tocontemporaryreligiousleadersand

secularthinkers.Alsoincludedatthe

bottomofmanyofthepagesisa

sectiononConservativehalakhic

practice(halakhahlmaaseh),

indicatinghowcontemporary

Conservativehalakhahislinkedtothe

biblicaltext.Priortoteachingthis,

youmaywanttoreviewtheEtzHayim

Introductiononpagesxviixx

beginningwithKeyFeaturesofThis

Bookforfurtherexplanation.

Thereareadditionalresourceslistedin

Appendix1AandAppendix1B.You

maywanttousethesetocreateyour

ownminilecturetoexplainthe

basicconceptsofmidrash,pshat,and

drash.

Fortheimprovisationactivity,referto

RolePlayandImprovisation

Guide(appendix1D),ifneeded.

Makegroupassignmentsorlet

thestudentsdividethemselvesforthis

firstimprovisationactivity.

Usethisroleplayactivityordevelop

yourownimprovisationactivityin

whichthestudentswillpresentthe

twoversionsofthecreationofman

andwoman.

Asthegroupsareworking,walk

aroundtolistenin,give

encouragement,ordirection,if

needed.

Theenergyandnoiselevelmayriseas

theyworkontheirimprovisations.

Remindthemtoworkconstructively




e. Presenttheimprovisations.Eachimprovisationwilltakeabout2minutes,soallow10minutes

forthepresentation.

f. Brieflydiscussandreflectuponthe

improvisationsresponses/reactions/thoughts/ insights.

C.CLOSURE(5min.):

1. Hereiswhatwedidtoday:

AswebecomefamiliarwithusingtheEtz

Hayim,wereadtheactualtextofthetwo

creationsstoriesofAdamandEve.

Welearnedaboutmidrash,andPaRDeS,

particularly pshatanddrash.

Letsdo:Aquickreviewwhatismidrash?

Whatispshatanddrash?

Wecreatedourowninterpretationsdramatic

midrashimofthestoryofcreationofAdam

andEvebyroleplaying.

2.YourassignmentfornextweekisaThink

AboutWhatisaThinkAbout?Itisthinking

homeworkthatis,whenyouspendsometime

overthenextweekthinkingaboutthequestionsI

askattheendoftheclass.Thisweek,think

aboutthis:Arethebiblestoriesthatyourecall

fromyouryouthTorahtextstoriesormidrash

stories?Howcanyoufindout?Doyouhavean

EtzHayimorTorahtextwithcommentaryat

home?

3. Nextweek,wellcontinuethecomparingandcontrastingthetwoversionoftheAdamandEve

storyandsomeaccompanyingmidrashim. We

havetheopportunitytodomoreimprovisationsand

roleplays,too.

yetquietly,withoutdisturbingthe

othergroupsandotherclassrooms.

Priortothepresentations,explain:As

anaudience,pleasebeattentiveand

respectful.

Followingthepresentations,share

whatnewideasorinterpretations

wereoffered?Aftertheystatetheir

observations,highlighttheideasand

interpretationsthatmayrelateto

futurediscussionsandwerenot

mentionedbythestudents.Makenote

oftheirideaswhichrelateto

traditionalmidrashimtobereadand

discussedinthenextweeks.

CLOSURE:

Complimenttheirwillingnesstoshare

theirrecollectionsofthestoryofthe

creationofAdamandEve;theirread

ingthetextdramatically;theirknowl

edgeofmidrash,pshat,anddrash;

andcreativeenthusiasmintheirim

provisations.

ThinkAboutassignmentsletthe

studentsknowthatitsimportantto

integratetheirpreviousknowledge

withwhattheylearnedinclasstoday.

Itisaninformalhomework

assignmentdirectingthestudentsto

thinkaboutaspecifictopicwhichwill

beincorporatedinourworkaswe

discuss,readmidrashimanddomore

actingout.



Bresheet: Acting Out the Bible Appendix 1A

What is Midrash?

Resources:

There arenumerousresourcesavailablefordefinitionsoftermstobeusedinthiscourse.I haveusedthe followingfromMyJewishLearning.comforadditionalinformationanddiscus

siononMidrash,midrashtoday,andcreating midrash:

http://www.myjewishlearning.com/texts/Midrash/MidrashAggadah/Midrash_Today.htm

http://www.myjewishlearning.com/texts/Midrash/MidrashAggadah/MidrashMethods.htm

http://www.myjewishlearning.com/texts/Midrash/MidrashAggadah/FillingGaps.htm

http://www.myjewishlearning.com/texts/Midrash.htm

http://www.faqs.org/faqs/judaism/FAQ/03TorahHalacha/section25.html

RabbiElyseGoldsteinofKolel:

http://www.kolel.org/torahstory/module4/page1.html


www.brandeis.edu/ijehttp://www.kolel.org/torahstory/module4/page1.htmlhttp://www.faqs.org/faqs/judaism/FAQ/03TorahHalacha/section25.htmlhttp://www.myjewishlearning.com/texts/Midrash.htmhttp://www.myjewishlearning.com/texts/Midrash/MidrashAggadah/FillingGaps.htmhttp://www.myjewishlearning.com/texts/Midrash/MidrashAggadah/MidrashMethods.htmhttp://www.myjewishlearning.com/texts/Midrash/MidrashAggadah/Midrash_Today.htmhttp:MyJewishLearning.com

Bresheet: Acting Out the Bible Appendix 1B

Torah Study Terms and Definitions

Note: Ihaveusedthisinmyclasses;however,youmay choosetouseasimpleglossaryof termsorreviewtheconceptsquicklywiththeclass.

Excerptedfrom:http://www.kolel.org/tastytreats/mod3.1.html

Midrashmeans"imaginativeinterpretationofScripture."ThewordcomesfromtheHebrew darashwhichmeans "tosearchfor"or "toseekout".Midrashisaboutsearchinginthewordsof theBibletofindmeaningforourselves.

There aretwokindsof midrash,becausethereare twokindsofJewishteachingingeneral: halakhahandaggadah.

Halakhahisconnectedwiththewordhalakhwhichmeans"towalk".Aggadahcomesfromthe wordl'hagidwhichmeans"totell."

Sohalakhahcanbetranslatedas"walkingthewalk"andaggadah canbetranslatedas "talking thetalk".More prosaically, halakhahisthe guidelinesorrulesofJewishliving "Jewishlaw",andaggadahiseverythingelse ethicalteachingsthatgobeyondspecific practical rules;wise sayings;adviceofvariouskinds;andespeciallystories.(InmodernIsraeliHebrewthemeaning hasnarrowed,sothat aggadahisusedtomean"legend",butwewillusethewider,classical meaning.)

Sothereis MidrashHalakhahandMidrashAggadah.

Midrash Halakhah

MidrashHalakhahwasonceextremelyimportantinJudaism.Itisa processofreadingthe Torahveryvery closelytoworkouttherulesofJewishlivingingreatdetail.Thiswasthe specialtyoftheRabbiswhocreatedJudaismasweknowit(beginning,veryapproximately,

2000yearsagointhelandof Israel).

TheTorahisfullofrulesandinstructions,but youcouldn't justreadthemandfollowthem,for tworeasons:

1) TheTorahoftenleavesoutinformation,orappearstocontradictitself.

2) Variouswaysofdoingthingswerewellestablishedastraditions butweren't actually mentionedintheTorah.

TheRabbisstudiedtheTorahto"searchout" (darash)waysinwhichthetraditionsofhowtodothingswerealreadyhintedat,andanswerstoquestionstheystillhadabouttherightwayto

dothings.By readingcloselyandcarefully,theyfoundanswers:forexample,theHebrew lettersofthewordsukkah,Samekh,Khaf,andHei,tellusthata sukkahcan becompletely enclosed,likea Samekh,orhavethreewallsandanopenside,likea Khaf,orhavetwofull wallsanda partialwall,likea Hei.


www.brandeis.edu/ijehttp://www.kolel.org/tastytreats/mod3.1.html

Bresheet: Acting Out the Bible Appendix 1B

The Decline of Midrash Halakhah

Asmoreandmore halakhot(pluralof "halakhah","rules") wereworkedout,MidrashHalakhah becamelessimportant.Itwasn'tnecessarytodoitsearching theTorahforanswers tohalakhicquestions becausetheruleswere alreadyestablished,anditwasn'tnecessarytostudyit becauseitwasmoreimportanttoknowwhattheruleswerethanhowthey couldbe foundintheTorah.For many centuriesnow,rabbishaveessentiallystoppedusing MidrashHalakhahtoworkout halakhah.

Finding halakhic answers today

Today,ifaquestionarises,arabbiwilllookfirstinthe ShulchanArukh,andiftheansweris stillunclear,atotherrulebooksof halakhahandat responsaofearlierrabbis,lookingfor precedents.Thefinalstopwill bethe Talmud,whichistheauthoritativesourcefor halakhah.

Midrash Aggadah

MidrashAggadahiswhathappenswhentheimaginationrunswildwithScripture,playingwith

stories,words,missingwords,contradictions,letters,punctuationwhateveristhereorisn't there.OurSagesof blessedmemorywhocreatedtheclassicworksof MidrashwereimmersedintheBible.Theyknewit byheart,theylivedandbreathedit,andthey wereuniquelyqualifiedtonoticewhatwasunusualormissinginitandtotalkinitsownlanguage.Butwecanmake MidrashAggadahtoo,ifwereadtheTorahwithattentionandimaginationandcreativity.

Resources: http://www.kolel.org/tastytreats/mod3.1.html http://www.kolel.org/tastytreats/mod3.2.html


www.brandeis.edu/ijehttp://www.kolel.org/tastytreats/mod3.2.htmlhttp://www.kolel.org/tastytreats/mod3.1.html

Bresheet: Acting Out the Bible Appendix 1C

Index Card 1 ImprovisationA

Reviewverses1:262:4andcreateanimprovisation.

Youmayusethelinesinthetext OR

Youmay adlibthelines ofthetext.

Assignroles Youcandecideif youwantanarratorornot.

Openingline: Godsaid:

Closing(last)line:Godsaid.

Index Card 2 ImprovisationB

Reviewverses2:42:9&2:152:25andcreateanimprovisation.

Youmayusethelinesinthetext OR Youmay adlibthelines ofthetext.

Assignroles Youcandecideif youwantanarratorornot.

Openingline: Nowheres another creationstory Closing(last)line:Andthatshowmanandwomanwere created.



Bresheet: Acting Out the Bible Appendix 1D

Role Play and Improvisation Guide

UsingDrama,ImprovisationandRolePlay

Usingdramatictechniquesasateachingmethodisnotthesamethingasteachingtheater.

Theaterisanartformwhichfocusesona product,a play productionfor anaudience.Dramaintheclassroom(suchasrole playing anddoimprovisationalgamesisinformalandfocusesonthe processofdramatic enactmentforthesakeofthelearner,notanaudience.Itisthe process oflearningthroughdramatic play.Doingimprovisationsandrole playsincreasescreativity,originality,sensitivity,fluency,flexibility,cooperation,andexaminationofmoralattitudes,

whiledevelopingcommunicationskillsandappreciationofliterature.Byusingsuch

improvisationalexercisessuchascharacter promptsandscenariopromptsstudentscan"experience"thesituationsandstorieswearereading.Beingabletoactoutideasor become characters alsoaddstheadditional benefitofmaking people(andsituations)comealive evenforsuchsubjects as biblicalcharactersandtheirstories.Thereisnorightorwrongitisanexposuretonewideasandperspectives.

For specific guidelinestouseinclass, see Appendix4A

AShortHistoryofImprovisationalTheatre Improvisationaltheatreisasoldastime.It predatestheinventionofwriting,sincelong before westartedwritingscriptsweweretellingstories by actingthemout.

Overthecenturies,there have beenmanydifferentimprovisationalstyles.Themostdirect ancestorofmodernimprovis probablythe CommediaDell'Arte,whichwas popularthroughout europeforalmost200startinginthemid1500's.Troupesof performerswouldtravelfromtowntotown,presentingshowsinthe publicsquaresandonmakeshiftstages.They wouldimprovise theirowndialog,withinaframeworkprovidedbyaset"scenario".

AftertheCommediadiedoff,improvtheatrefadedintoobscurityuntilitwasseparatelyand

spontaneously reinventedbytwopeoplewhohaveshapedthe craftasitexiststodayKeithJohnstoneandViolaSpolin.

KeithJohnstonestartedformulatinghistheories aboutcreativity andspontaneity while growing upinEngland,andlater broughtthemintohisteaching attheUniversityofCalgary.Hefeltthat theatrehadbecome pretentious,whichiswhythe averagemaninthestreetdidn'tevenconsider attendingit.Johnstonewantedtobringtheatretothe peoplewhowenttosportingandboxing matches,thesame audiencethatShakespearehadwrittenforinhisday.Johnstonedecidedthat oneapproachwouldbetocombineelementsof boththeatreandsports,toformahybridcalledTheatresports.Thetrappingsofteamsportswereadaptedtotheimprovisationaltheatre context; teamswouldcompetefor pointsawardedby judges,andaudienceswouldbeencouragedtocheer for goodscenes andjeerthe judges("killtheumpire!").ThroughTheatresports,Johnstone'sideashave goneontoinfluence (directlyorindirectly)almosteverymajorimprovgroup.



Bresheet: Acting Out the Bible Appendix 1D

Backinthe1920's and1930's,a womannamedViolaSpolinbegantodevelopanewapproachtotheteachingofacting.Itwas basedonthesimpleandpowerfulideathatchildrenwouldenjoylearningthecraftofactingifitwere presentedasaseriesof games.Spolin'sson,Paul Sills,builtonhismother'sworkandwasoneofthedriving forcesofimprovisationaltheatre centeredaroundtheUniversityofChicagointhe mid1950's.AlongwithpeoplelikeDelClose andDavidShepherd,Sillscreatedanensembleof actorswhodevelopedakindof"modernCommedia"whichwouldappealtotheaverage maninthestreet.AswithTheatresportsandthe originalCommedia,the goalwastocreatetheatrethatwasaccessibletoeveryone.The group thatsprangfromtheworkofSills,ShepherdandClose,calledTheCompass,wasextremely successful.It brought peopletothetheatrewhoinmany caseshadnever gone before,andeventuallyledtothedevelopmentofacompany calledSecondCity.ThroughTheCompass andSecondCity,Spolin'sTheatreGameshave goneontoinfluenceanentire generationof improvisational performers.

Resources:Online Note:Ontheweb,youcanfindnumberwebsiteswhichexplainandlistoutimprovisational exercisesandgames.Hereisalistofafewofthosesites:

http://www.learnimprov.com

http://www.childdrama.com/lessons.html

www.improvencyclopedia.org

http://www.pantheater.com/BetterImproviser.htm

http://www.unexpectedproductions.org/living_playbook.htm

Resources:Books: Note:Ifyouprefertouseorhaveabookasaimprovisationresources,thefollowingbooksare

highlyrecommended.Youmaywanttocheckout yourlocal bookstoretofinda bookwithwhichare comfortableusing.

ImprovisationfortheTheater: AHandbookof TeachingandDirectingTechniques (Paperback) byViolaSpolin

Theater Gamesforthe Classroom:ATeacher'sHandbook(Paperback) byViolaSpolin

Theatre GamesforYoungPerformers:Improvisationsand ExercisesforDevelopingActingSkills(ContemporaryDrama)(Paperback) byMariaC.Novelly

ImprovIdeas: Abookofgamesandlists (Paperback) byJustinJonesandMaryAnnKelley


www.brandeis.edu/ijehttp://www.unexpectedproductions.org/living_playbook.htmhttp://www.pantheater.com/BetterImproviser.htmhttp:www.improvencyclopedia.orghttp://www.childdrama.com/lessons.htmlhttp:http://www.learnimprov.com

Structure BookmarksFigureBresheet: Acting Out the Bible Developed by. Esther Kosofsky. Prozdor at Hebrew College. Bresheet: Acting Out the Bible Developed by. Esther Kosofsky. Prozdor at Hebrew College. For more information about the IJE Community Hebrew High Schools project and this curriculum development initiative, please visit our website: For more information about the IJE Community Hebrew High Schools project and this curriculum development initiative, please visit our website: www.brandeis.edu/ije www.brandeis.edu/ije www.brandeis.edu/ije Link

Institute for Informal Jewish Education Brandeis University Community Hebrew High Schools Curriculum Development Initiative Dr. Ofra Backenroth, Consultant Kathie Yuz, Judaica High School, Miami FL, Piloting Teacher Institute for Informal Jewish Education Brandeis University Community Hebrew High Schools Curriculum Development Initiative Dr. Ofra Backenroth, Consultant Kathie Yuz, Judaica High School, Miami FL, Piloting Teacher

The IJE Community Hebrew High Schools Project. is made possible by the generous support of. Legacy Heritage Fund, Ltd.. Bresheet: Acting Out the Bible Bresheet: Acting Out the Bible Bresheet: Acting Out the Bible

COURSE INTRODUCTION: COURSE INTRODUCTION:

Bresheet: Acting Out the Bible is a course of Biblical text study which integrates creative dramatics, role play and improvisation. Drama, a creative experiential modality that appeals to students, brings to life the biblical characters and events that may be vague, ambiguous or unreal in their minds. By acting out biblical text and interpretations, students gain a deeper understanding of the text, a greater sense of community, and are truly engaged in their learning. The course Bresheet: Acting Out thIJE, Brandeis University 2 www.brandeis.edu/ije

Becauseof the creativenatureofthis curriculumandthe breadthof resources available,this isa flexible course.Ateachermaychosetorearrangethelessonsinthiscurriculum,especiallywiththe interconnectnessof the someofthe storiesandthenatureofdoinginterpretive textwork(Midrash).The orderof the lessons canbeshuffled,dependinguponteachers style/directionandstudents questions,queries andinsights.Teachersmayalsochoose tomodifyoradaptwithineachlesson;thisflexiThis curriculum can be a blueprint for integrating other creative art modalities (drawing, painting, printmaking, collage, mixed media, sculpture, textiles, creative writing, playwriting, photography, video/ film making, dance, music). Hebrew language could also be incorporated. There is so much drama in the Bible. This course uses that drama, the tools of creating drama, and the creative spirit of every student to integrate, in a natural and spontaneous way, the subject matter of this curriculum and the wonder and awe of Jewish life. TOPIC/SUBJECT AREA: Bible Studies NUMBER OF SESSIONS: 14 LENGTH OF EACH SESSION: 50 min. PURPOSES AND GOALS OF THIS COURSE To develop students intellectual curiosity in biblical texts, to inspire an appreciation of Biblical literature and Midrash, and to encourage students to add their own insights and interpretations through dramatic readings, improvisation and role playing of the text. INTENDED BEHAVIORAL OUTCOMES INTENDED BEHAVIORAL OUTCOMES

1..Thestudentswillidentifythecharactersandstoriesof creation,Adam&Eve,Cain&Abel,andNoah,throughdramatic,outloudreadingsdirectlyfromtheTorah(the Etz Hayim1..Thestudentswillidentifythecharactersandstoriesof creation,Adam&Eve,Cain&Abel,andNoah,throughdramatic,outloudreadingsdirectlyfromtheTorah(the Etz Hayim1..Thestudentswillidentifythecharactersandstoriesof creation,Adam&Eve,Cain&Abel,andNoah,throughdramatic,outloudreadingsdirectlyfromtheTorah(the Etz Hayimtext, recommended for class use) and scripted text versions of these stories (fromby J.L. Grishaver1 1 Make a Midrash Out of Me 2

2. .The students will recall ). their memories of the stories of Adam & Eve, Cain & Abel, and Noah. 3. .The students will discuss interpretations of these bi2. .The students will recall ). their memories of the stories of Adam & Eve, Cain & Abel, and Noah. 3. .The students will discuss interpretations of these biby Stan Beinerblical stories including children's versions of the stories and scripted scenes (from Sedra Scenes 3). 4. .The students will compare and contrast what is found in the actual text and what is midrash. 5. .The students will be able to define the Torah study terms: midrash, pshat, remez, drash, and sod. 6. .The students will express their approaches/ interpretations of the text through creative drama according to their individual capabilities. 7. .The students will create dramatic midrash of the biblical tex

1 Lieber, D. & Harlow, J.,editors. (2001). Etz Hayim: Torah and Commentary. New York, NY: The Rabbinical Assembly. 2 Grishaver, J. (2004) Make a Midrash Out of MeVolume 1 :From Chaos to Egypt Los Angeles, CA: Torah Aura Productions. 3 Beiner, S. (1982) Sedra Scenes. Denver, CO: Alternatives in Religious Education, Inc. IJE, Brandeis University 3. www.brandeis.edu/ije 1 Lieber, D. & Harlow, J.,editors. (2001). Etz Hayim: Torah and Commentary. New York, NY: The Rabbinical Assembly. 2 Grishaver, J. (2004) Make a Midrash Out of MeVolume 1 :From Chaos to Egypt Los Angeles, CA: Torah Aura Productions. 3 Beiner, S. (1982) Sedra Scenes. Denver, CO: Alternatives in Religious Education, Inc. IJE, Brandeis University 3. www.brandeis.edu/ije 1 Lieber, D. & Harlow, J.,editors. (2001). Etz Hayim: Torah and Commentary. New York, NY: The Rabbinical Assembly. 2 Grishaver, J. (2004) Make a Midrash Out of MeVolume 1 :From Chaos to Egypt Los Angeles, CA: Torah Aura Productions. 3 Beiner, S. (1982) Sedra Scenes. Denver, CO: Alternatives in Religious Education, Inc. IJE, Brandeis University 3. www.brandeis.edu/ije 1 Lieber, D. & Harlow, J.,editors. (2001). Etz Hayim: Torah and Commentary. New York, NY: The Rabbinical Assembly. 2 Grishaver, J. (2004) Make a Midrash Out of MeVolume 1 :From Chaos to Egypt Los Angeles, CA: Torah Aura Productions. 3 Beiner, S. (1982) Sedra Scenes. Denver, CO: Alternatives in Religious Education, Inc. IJE, Brandeis University 3. www.brandeis.edu/ije 1 Lieber, D. & Harlow, J.,editors. (2001). Etz Hayim: Torah and Commentary. New York, NY: The Rabbinical Assembly. 2 Grishaver, J. (2004) Make a Midrash Out of MeVolume 1 :From Chaos to Egypt Los Angeles, CA: Torah Aura Productions. 3 Beiner, S. (1982) Sedra Scenes. Denver, CO: Alternatives in Religious Education, Inc. IJE, Brandeis University 3. www.brandeis.edu/ije

PLink

UNDERSTANDINGS UNDERSTANDINGS

1. .The students will develop a deliberate and reflective approach to reading biblical text that deepens their learning experience. 2. .The students will better understand that biblical text and midrashic literature are not the same texts but relate to each other. 3. .The students will gain an understanding of the many dimensions and challenges inherent in creating 1. .The students will develop a deliberate and reflective approach to reading biblical text that deepens their learning experience. 2. .The students will better understand that biblical text and midrashic literature are not the same texts but relate to each other. 3. .The students will gain an understanding of the many dimensions and challenges inherent in creating 1. .The students will develop a deliberate and reflective approach to reading biblical text that deepens their learning experience. 2. .The students will better understand that biblical text and midrashic literature are not the same texts but relate to each other. 3. .The students will gain an understanding of the many dimensions and challenges inherent in creating

midrash. midrash.

4. .The students will develop personal connections with the biblical texts: the stories, the characters, and values. 5. .The students will feel empowered to explore their own meanings for the text, recognizing the personal meaning and significance of their own interpretations, while integrating the insights of previous generations. 4. .The students will develop personal connections with the biblical texts: the stories, the characters, and values. 5. .The students will feel empowered to explore their own meanings for the text, recognizing the personal meaning and significance of their own interpretations, while integrating the insights of previous generations. 4. .The students will develop personal connections with the biblical texts: the stories, the characters, and values. 5. .The students will feel empowered to explore their own meanings for the text, recognizing the personal meaning and significance of their own interpretations, while integrating the insights of previous generations.

IJE, Brandeis University 4. www.brandeis.edu/ije

Syllabus. Syllabus.

SESSIONS SESSIONS SESSIONS TEXTS, MATERIALS TO BE USED QUESTION OF MEANING OR UNDERSTANDING ASSIGNMENT DUE FOR NEXT SESSION

Session #1 Acting Out the Bible Session #1 Acting Out the Bible Etz Hayim biblical text in Hebrew and translation What is Midrash from myjewishlearning.com Torah Study Definitions What topics will be explored in this course? How do we read and interpret Bible stories? What is the difference between Drash and pshat? Think about assignment: Are the Bible stories that you recall Torah text or Midrash?

Session #2 Midrash Session #2 Midrash Etz Hayim What is Midrashfrom myjewishlearning.com orTorahStudy Definitions SedraScenes pages15 How are our dramatic readings and improvisations midrashim of the biblical text?

Session #3 Creation of Adam & Eve Session #3 Creation of Adam & Eve Genesis1.12.4,2.43.23 MakeaMidrashpages 58and1215 Selectedtraditional Midrashimof the creationstory What do we learn about the two versions of the creation of Adam and Eve from the text and a simple reading (Pshat)? How does reading traditional midrashim enrich our understanding of the text? Thinkaboutassignment: role plays:snake,Adam,Eve.

Session #4 Interpretations of the Adam & Eve story Session #4 Interpretations of the Adam & Eve story RolePlay/ ImprovisationGuidelines How do we understand and interpret the stories of Adam & Eve and the relationships between God, Adam, Eve, and the snake by acting out the midrash? Bring to class childrens books about creation and Adam & Eve stories.

Session#5 Adam&Eve Story:InterpretationandCharacters Relationships Session#5 Adam&Eve Story:InterpretationandCharacters Relationships Selected childrens illustrated books Selected contemporary midrashim How have others (writers and illustrators) understood and interpreted the creation stories and the characters of Adam, Eve, God, and the snake?

IJE, Brandeis University 5 IJE, Brandeis University 5 IJE, Brandeis University 5 www.brandeis.edu/ije



Session #6 Session #6 Session #6 Genesis4.116 What do we learn and understand about Cain Think about Cain & Abels relationship with each other

Cain&Abel: SiblingsRelationships Cain&Abel: SiblingsRelationships SedraScenes pages56 & Abel and their relationship from a dramatic reading of the biblical text? and with God.

Session #7 Cain & Abel and God Session #7 Cain & Abel and God Makea Midrash pages 1921 CainandAbel Midrashim Sasso,Sandy,Eisenberg.CainandAbel: Finding the Fruitsof Peace. What made Cain kill Abel and why? Thinkaboutassignment: improvisations&role plays

Session #8 Cain & Abel and God Session #8 Cain & Abel and God Genesis4.116 Cain&Abel Midrashim How do we understand the relationships between God & Abel, Cain & Abel, and God & Cain?

Session #9 Session #9 Genesis4.126 How do we understand Cains punishment by

Cain & Abel: Cain & Abel: Cain & Abel Midrashim God and the absence of

Family/Parent Family/Parent Adam and Eve?

Relationships Relationships

Session #10 Session #10 Genesis6.99.19 How do we understand the story of Noahs ark Thinkaboutassignment: role plays: NoahandGod

Noah: The text story Noah: The text story Sedra scenes pages711 from a primary (pshat) reading of the Noah text?

Session #11 Noah & God Session #11 Noah & God Bill Cosbys Noah tape and transcription scripts Traditional Noah midrashim How does reading midrash and other interpretations of the text engage us, the readers of the Bible, in an active way? Why did God choose Noah? And how did being chosen impact Noah and his family? Think about your Noah Midrash Monologue

Session#12 Noah Voice Makea Midrashpages 2631 Genesis6.99.19 Howdoes NoahrespondandreacttoGodandthe Flood? Bringchildrens booksabout Noahstory Thinkaboutassignment: Familyrole playswhatisit likeontheark? Session#13 Traditional Noahmidrashim Howdoeschildrens literatureofthe Noah Assignment: Workonassignedrole plays,Interpretations & Midrashim ofthe Session#12 Noah Voice Makea Midrashpages 2631 Genesis6.99.19 Howdoes NoahrespondandreacttoGodandthe Flood? Bringchildrens booksabout Noahstory Thinkaboutassignment: Familyrole playswhatisit likeontheark? Session#13 Traditional Noahmidrashim Howdoeschildrens literatureofthe Noah Assignment: Workonassignedrole plays,Interpretations & Midrashim ofthe PParagraphSpanLink

Bibliography. Bibliography. Books Lieber,D.&Harlow,J.,editors.(2001).Etz Hayim: TorahandCommentary.NewYork:TheRabbinicalAssembly.Grishaver,J.(2004) Make aMidrashOutof MeVolume1: FromChaos toEgypt LosAngeles: TorahAuraProductions.Beiner,S.(1982).SedraScenesDenver,CO:AlternativeinReligiousEducation,Inc.Books Lieber,D.&Harlow,J.,editors.(2001).Etz Hayim: TorahandCommentary.NewYork:TheRabbinicalAssembly.Grishaver,J.(2004) Make aMidrashOutof MeVolume1: FromChaos toEgypt LosAngeles: TorahAuraProductions.Beiner,S.(1982).SedraScenesDenver,CO:AlternativeinReligiousEducation,Inc.

Online Resources Online Resources

Midrash: Midrash Primer, retrieved 7/2006 from www.myjewishlearning.com/texts/Midrash/PrimerMidrash.htm

Midrash: MidrashAggadahMidashToday,retrieved7/2006from www.myjewishlearning.com/texts/Midrash/MidrashAggadah.htm

Midrash: Filling in the Gaps, retrieved 7/2006 from www.myjewishlearning.com/texts/Midrash/MidrashAggadah/FillingGaps.htm

Katz, M. & Schwartz, G. (2002). Is There Still Midrash Today?: Finding midrash in your local synagogue and your local movie theater. Retrieved 7/2006, from www.myjewishlearning.com/texts/Midrash/MidrashAggadah/Midrash_Today.htm

Hazan Arnoff, S. (200?). Methods of Midrash: How this genre gleans deep meaning from the Torah's text. Retrieved 7/2006 from www.myjewishlearning.com/texts/Midrash/MidrashAggadah/MidrashMethods.htm

Waldman,RabbiI.(200?).FillingintheGaps:Midrashallowedthe rabbis toexplainandexpandonthe Torahandindoingso,theyrevealedmuchaboutthemselves.Retrieved7/2006from www.myjewishlearning.com/texts/Midrash/MidrashAggadah/FillingGaps.htm

Goldstein, Rabbi Elyse. (200?) How Midrash Works and the 4 Levels of PaRDeS. Retrieved 9/2006, from www.kolel.org/torahstory/module4/page1.html

Spero, Shubert, (1999) The Biblical Stories of Creation, Garden of Eden and the Flood: History or Metaphor?, Retrieved 9/2006 from http://www.lookstein.org/articles/history_or_metaphor.htm

Sinclair, Alex. (2002) An Exercise in the Theory of Practice: The Hermeneutics of Bibliodrama in the Sinclair Classroom. Retrieved 7/2006 from www.bibliodrama.com/BibliodramaandHermeneutics1.pdf

Lilith Evolved: Writing Midrash, retrieved 10/2007 A "Go & Learn: Primary Documents and Lesson Plan 2007 Jewish Womens Archive / http://jwa.org/teach/golearn/sep07


Noah: Righteous or Regular? Noah: Righteous or Regular?

A script By Rabbi Aaron Alexander, retrieved October, 2007 .From Judaism at American Jewish University. http://judaism.ajula.edu/Content/ContentUnit.asp?CID=896&u=6948&t=0.

Additional resourcesBooks Additional resourcesBooks

Allen, Richard J. (2000). Parashah Plays for Children of All Ages. ARE Publishing. AllardP.,AllardE.,CheskisCotel,A.,KaplanMayer,G.,&Samuels,G.(2006). OpenItUp! Integratingthe Arts intoJewishEducation.Springfield,NJ:A.R.E.Publishing,Inc.Cohen, Deborah Bodin (2006). Liliths Ark: Teenage Tales of Biblical Women. New York, NY. Jewish Publication Society. Fields, Harvey J. (1990). A Torah Commentary for Our Times, Volume One: Genesis. UAHC Press. Gellman, M. (1989). Does God Have a Big Toe? New York, NY: Harper Collins. Ginzberg, Louis (1992). Legends of the Bible. New York, NY. Jewish Publication Society. Gold, Penny Schine (2003). Gold, Penny Schine (2003).

Making the Bible Modern: Children's BiblesandJewishEducationinTwentiethCentury America.CornellUniversityPress.Graets, Naomi (2004). Unlocking the Garden: A Feminist Jewish Look at the Bible, Midrash and God. Gorgias Press. Holtz, Barry, editor. (1984) Back to the Sources: Reading the Classic Jewish Texts. Simon & Shuster. IJE, Brandeis University 9 www.brandeis.edu/ije

Loeb, Sorel Goldberg and Kadden, Barbara Binder. (1977) Teaching Torah: A Treasury of Insights and Activities. ARE Publishing. Pitzele, P. (1998). Scripture Windows: Toward a Practice of Bibliodrama. Los Angeles, CA: Alef Design Group. Plaunt, Gunther , editor (2004) Torah: A Modern Commentary. New York, NY: Union for Reform Judaism. Audio Audio Audio

Cosby, Bill. Best of Bill Cosby. [ORIGINAL RECORDING REMASTERED]. ASIN: B0007N19EQ Label: Rhino / Wea, Audio CD (March 1, 2005) Original Release Date: September 1, 1969. Can be ordered from Amazon.com.

Specific Childrens books for use in class Specific Childrens books for use in class Specific Childrens books for use in class

Brett,Jan.OnNoahs Ark.PutnamJuvenile,2003. The biblicalstoryfromthe perspectiveof Noah'sgranddaughter.(Pre K2) Kimmel, Eric A. Why the Snake Crawls on Its Belly. Illus. by Allen Davis. Pitspopany Press, 2001. A story loosely based on rabbinic commentary that attributes several aspects of snake anatomy to the reptile's punishment for tempting Adam and Eve. Kuskin, Karla. The Animals and the Ark. Illus. by Michael Grejniec. Atheneum, 2002. Noah's Ark story, from the animals' point of view. Pinkley, Jerry. Noahs Ark. Seastar Publishing, 2002. Pinkley, Jerry. Noahs Ark. Seastar Publishing, 2002.

Sasso, Sandy, Eisenberg. Cain and Abel: Finding the Fruits of Peace. Illus. Joani Keller Rothenberg. JewishLightsPublishing,2001.Retells thestoryof twobrothers,whoafteryearsofsharingeverything,becomeangryenoughtolose controland bringviolenceintotheworld.(Gr.26).Sasso, Sandy Eisenberg. A Prayer for the Earth: The Story of Naamah, Noahs Wife. Illus. by Bethanne Andersen. Jewish Lights, 1996. Sasso, Sandy Eisenberg. Adam & Eves First Sunset. Illus. by Joani Rothenberg. Jewish Lights, 2003. This is the story of Adam and Eves first test of trust and faith and how they learned to find hope and lighteven in the dark. Sasso, Sandy Eisenberg. But God Remembered: Stories of Women from Creation to the Promised Land. Illus. by Bethanne Andersen. Jewish Lights, 1994. Singer,IsaacBashevis.Why NoahChosethe Dove.Illus.byEricCarle.Farrar,Straus&Griouz,1991.This is thestoryofthemodestdovewhichNoahchoosesoverall the boastfulanimalsonthe ark tobring backthemessage that the floodisover.(K3).IJE, Brandeis University 10 www.brandeis.edu/ije

Online resources Online resources www.myjewishlearning.com. www.myjewishlearning.com. www.pardes.org.il. http://learn.jtsa.edu .

This is the Jewish Theological Seminarys Jewish education through distance learning website. www.lookstein.org www.lookstein.org www.lookstein.org

An excellent website for books and videos/DVDs for Jewish children and teens. http://www.geocities.com/CollegePark/6174/jewishchildren.htm


Session 1, Bresheet: Acting Out the Bible I. Teachers Preparation Session 1, Bresheet: Acting Out the Bible I. Teachers Preparation UNIT QUESTIONS OF MEANING: What topics will be explored in this course?

How do we read and interpret Bible stories?

What is the difference between d'rash and p'shat?

SELECTION OF TEXTS:

Bresheet1:262:25.IfusingtheEtzHayim,pages

923.

Role play Activity Verse Assignment index cards

(appendix 1C) OBJECTIVES/INTENDED OUTCOMES: 1. What will the students do? .

The students will read the stories of the creation of Adam & Eve out loud and dramatically, directly from the Torah.

The students will identify the two versions of the

creation of Adam & Eve in the text.

The students will learn/review the concept of midrash (pshat and drash).

Session 1 Teachers Guide I. Teachers Preparation Teachers Guide I. Teachers Preparation SELECTION OF TEXTS: As part of this course, students become familiar with using an actual biblical Torah text with commentary, explanations, and midrashim. I use the Etz Hayim, as copies are available in school for classroom use. Please use the Torah text in your school and/or one with which you are comfortable. Bresheet1:262:25includesthetwodifferentversionsofthecreationofmanandwoman.Itgivesustheopportunity,rightatthebeginningofourreadingofBresheet,tosynthesizethetwostoriesofthecreationofmanandwomanwithaccompanyingmidrashim.Manystudentswillnowbecomeawareofthetwoversionsandhowtheyimpactourunderstandingofthestoryofcreation.


The students will demonstrate the basic skills of

improvisation. 2. The students willbe able to:

Compare and contrast the 2 versions of the creation of

Adam & Eve.

Presentimprovisationsofverses1:262:4andverses

2:42:9&2:152:25.

Articulate the distinction between text and midrash.

3. The students will understand:

There are two distinct versions of the creation of Adam

& Eve in the biblical text.

The dramatic midrashim created through improvisation contribute to a deeper appreciation the text.

ASSESSMENT OF INTENDED OUTCOMES:

Monitor their answers to questions regarding the two

versions of the story of Adam & Eve.

Assess their understanding of the difference between

the biblical story (pshat) and midrash.

Evaluate the quality of the improvisations they develop

and perform in small groups.

Assess how the Torah text which was read at the beginning of class is reflected in the improvisations/ dramatic midrashim the students created and presented.

Session 1

Because of the students various Jewish educational backgrounds in a community Hebrew High school, it is vital to review their knowledge of the concept of midrash and Torah study terms. Appendix 1A: What is Midrash?; Appendix 1B: Torah Study Terms and Definitions; and selected chapters in Back to the Sources: Reading the Classic Jewish Texts, edited by Barry Because of the students various Jewish educational backgrounds in a community Hebrew High school, it is vital to review their knowledge of the concept of midrash and Torah study terms. Appendix 1A: What is Midrash?; Appendix 1B: Torah Study Terms and Definitions; and selected chapters in Back to the Sources: Reading the Classic Jewish Texts, edited by Barry W. Holtz are useful teacher reference/ resources that can be incorporated in the first lessons and throughout the course. ASSESSMENT OF INTENDED OUTCOMES: Followingthisfirstsessionandtheinitialdramaactivity,thinkaboutfutureimprovisationalroleplays;specifically,givingcleardirections,format,structure,andparametersforthesecreativedramaactivities.


II. The Lesson Plan II. The Lesson Plan A. INTRODUCTION (5 min.): 1. .Welcome to the course called Bresheet: Acting Out the Bible. In this class we will be reading biblical text (the actual text in English) and midrashim (scripts, stories and childrens books) and creating our own dramatic midrashim through role playing and improvisation. B. MOTIVATION (10 min.): Name Alliteration Introduction (Alliteration is the repetition of the initial consonant. There should be at least two repetitions in a row.For example: Peter Piper picked a peck of pickled peppers. The first letter, p, is a consonant. It is repeated many times. If you use a syllable rather than a consonant, it is assonance.) 1.1.1.1. In a circle, a player starts the game by introducing himself/herself by making a gesture and alliterating to his/her name, e.g. Im Wonderful Wendy or Im Smart Steve.

2. .2. .The next player points to the first, repeats the

previous players name, attribute and gesture, and does his/her own alliteration introduction. And so on.

3. The activity ends with the first player having to do each other players gesture, repeating their names and attributes. C. TEXT STUDY (30 min): 1. Hand out Etz Hayim (or other) Torah texts. Explain: this will be the primary text we use. It contains the Biblical text, commentaries and midrashim. We will use it to create dramatic midrashim! Session 1

II. The Lesson Plan II. The Lesson Plan MOTIVATION: Thiswarmupactivityisanicebreaker.Studentsmeet,learneachothersnames,andwebegintocreateourcommunityoflearners. TEXT STUDY: Use the Torah text you prefer to use or the texts you have access to in your classroom.


2. Ask the students questions about the Torah: 2. Ask the students questions about the Torah:

Are you familiar with this book?

When have you used it?

HaveyouusedotherTorahtexts(otherver

sions and Torah/Tanach books)? 3. Ask the students to find the story of Adam & Eve. 4. Once the students find the story, ask them:

On what page, what chapter and what line do we first read about creation of MAN? (Page 9, chapter 1, verse 26)

On what DAY of Creation was man created?

(The 6 day)th

5.5.5.5. Assign readers for the parts of Narrator and God, then have students read through 2:4. Begin reading from the text 1:26 out loud and dramatically.

6.6.6. Discuss: what is going on here?

7.7.7. Assign new readers for the parts of Narrator, God

andMan.Nowread2:42:9&2:152:25..

8.8. Discuss: what is going on in this section?

Option: As they search, ask questions that connect the current activity to previous knowledge, such as: in what grade do you think you learn this story? How did you learn it? What do you remember about the story? Before the students read, explain that reading dramatically meanswith DRAMA, using their voices to express emotions, feelings, and action. If necessary, demonstrate and ask them to do the same. I usually begin, as narrator, reading articulately with much expression, and t6.&7.Thestartandstopnatureofthistypeofreadthroughmaybefrustratingforthestudents(especiallythemoredramaticreadersintheclass);however,thisplotsoutofthestoryintheactualtext.Asthereadingcontinues,reassignthereadingrolessothateveryonehasanopportunitytoreadoutloudanddramatically.Ifastudentisuncomfortablereadingoutloud,allowthemtopass.


9.Compare1:262:4with2:42:9&2:152:25usingthefollowingdiscussionquestions:9.Compare1:262:4with2:42:9&2:152:25usingthefollowingdiscussionquestions:

When you first learned this part of the creation story, do you remember reading or learning about these 2 different stories?

Is this the same story? Explain.

How is the second telling of the creation of man and woman similar/different from the first telling we read?

Is the second story a deeper retelling or a more

expanded version of the 6 day?th

10. Discuss/explain the terms Midrash, Pshat, Drash, PaRDeS. At this point, the students have many questions about the text story. Before beginning the discussion, explain that in order to explore, search for meaning and understand the text, we are going to reviewthe terms we will use in our text study and process of interpretation: the concepts of midrash, pshat, drash, and Pardes. If you are using the Etz Hayim Text, (or another Torah and Commentary text, i.e., The Torah: A Modern Commentary by W. Gunther Plaut, URJ Press), at this point you may want In the Etz Hayim, the Pshat (the first commentary on the page under the Bible text) is the contextual (background) meaning of the text. It is explained by the finest contemporary scientific scholarship on the Torah.


An optional exercise before moving on to the An optional exercise before moving on to the

improvisations is to provide additional instruction/ direction by reviewing the set up of the Etz Hayim. You will find some midrashim (the Drash) in the Etz Hayim (the 2 commentary on each page) nd

below the text for more information and

understanding.

11. Improvisation Activity: a. a. a. Divide the class into groups of 4 students. .

b. .b. .Give directions to the groups:

Each group will prepare an improvisation on a section of the text. Your improvisations will only be a few minutes long.

Once you are in your small group, assign roles. Use the lines from the Torah text if you want or create your own lines.

You will have 5 minutes to create and improvise, and then youll perform for the class.

c..Assign2groupstoreviewandcreateanimprovisationwithverses1:262:4.Assign2groupstoreviewandcreateanimprovisationwithverses2:42:9&2:152:25.DothisbyhandingoutaVerseAssignmentonIndexCardtoeachgroup. d. .Give 5 minutes to prepare improvisations. ThesecondcommentaryonthepageistheDrash,themidrashiccommentary.Itpresentsaneclecticrangeofinsights,fromtheclassicalmidrashimtothemedievalcommentators,fromHasidicmasterstocontemporaryreligiousleadersandsecularthinkers.AlsoincludedatthebottomofmanyofthepagesisasectiononConservativehalakhicpractice(halakhahlmaaseh),indicatinghowcontemporaryConservativehalakhahislinkedtothebiblicaltext.Priortoteachingthis,youmaywanttoreviewthe


e. .Present the improvisations. Each improvisation will take about 2 minutes, so allow 10 minutes for the presentation. e. .Present the improvisations. Each improvisation will take about 2 minutes, so allow 10 minutes for the presentation. f.Brieflydiscussandreflectupontheimprovisationsresponses/reactions/thoughts/ insights.

C. CLOSURE (5 min.):

1. .Here is what we did today:

As we become familiar with using the Etz Hayim, we read the actual text of the two creations stories of Adam and Eve.

We learned about midrash, and PaRDeS, particularly pshat and drash.

Lets do: A quick reviewwhat is midrash? What is pshat and drash?

We created our own interpretationsdramatic midrashimof the story of creation of Adam and Eve by role playing.

2.2.2.2. Your assignment for next week is a Think AboutWhat is a Think About? It is thinking homework that is, when you spend some time over the next week thinking about the questions I ask at the end of the class. This week, think about this: Are the bible stories that you recall from your youth Torah text stories or midrash stories? How can you find out? Do you have an Etz Hayim or Torah text with commentary at home?

3. .3. .Nextweek,wellcontinuethecomparingandcontrastingthetwoversionoftheAdamandEvestoryandsomeaccompanyingmidrashim.Wehavetheopportunitytodomoreimprovisationsandroleplays,too.

yet quietly, without disturbing the other groups and other classrooms. Prior to the presentations, explain: As an audience, please be attentive and respectful. Following the presentations, share what new ideas or interpretations were offered? After they state their observations, highlight the ideas and interpretations that may relate to future discussions and were not mentioned by the students. Make note of their ideas which relate to traditional midrashim to be read and discussed in the next w CLOSURE: ComplimenttheirwillingnesstosharetheirrecollectionsofthestoryofthecreationofAdamandEve;theirreadingthetextdramatically;theirknowledgeofmidrash,pshat,anddrash;andcreativeenthusiasmintheirimprovisations.ThinkAboutassignmentsletthestudentsknowthatitsimportanttointegratetheirpreviousknowledgewithwhattheylearnedinclasstoday.Itisaninformalhomeworkassignmentdirectingthestudentstothinkaboutaspecifictopicwhichwillbeincorporate


What is Midrash?. What is Midrash?. Resources:. There are numerous resources available for definitions of terms to be used in this course. I. sion on Midrash, midrash today, and creating midrash:. haveusedthe followingfromMyJewishLearning.comforadditionalinformationanddiscus.http://www.myjewishlearning.com/texts/Midrash/MidrashAggadah/Midrash_Today.htm. http://www.myjewishlearning.com/texts/Midrash/MidrashAggadah/MidrashMethods.htm. http://www.myjewishlearning.com/texts/Midrash/MidrashAggadah/FillingGaps.htm. http://www.myjewishlearning.com/texts/Midrash.htm. http://www.faqs.org/faqs/judaism/FAQ/03TorahHalacha/section25.html.

Rabbi Elyse Goldstein of Kolel:. Rabbi Elyse Goldstein of Kolel:. http://www.kolel.org/torahstory/module4/page1.html.


Torah Study Terms and Definitions. Midrash Halakhah Note: I have used this in my classes; however, you may choose to use a simple glossary of terms or review the concepts quickly with the class. Excerpted from: http://www.kolel.org/tastytreats/mod3.1.html Excerpted from: http://www.kolel.org/tastytreats/mod3.1.html

Midrash means "imaginative interpretation of Scripture." The word comes from the Hebrew darash which means "to search for" or "to seek out". Midrash is about searching in the words of the Bible to find meaning for ourselves. There are two kinds of midrash, because there are two kinds of Jewish teaching in general: halakhah and aggadah. Halakhah is connected with the word halakh which means "to walk". Aggadah comes from the word l'hagid which means "to tell." Sohalakhahcanbetranslatedas"walkingthewalk"andaggadah canbetranslatedas "talking thetalk".More prosaically, halakhahisthe guidelinesorrulesofJewishliving"Jewishlaw",andaggadahiseverythingelse ethicalteachingsthatgobeyondspecific practical rules;wise sayings;adviceofvariouskinds;andespeciallystories.(InmodernIsraeliHebrewthemeaning hasnarrowed,sothat aggadahisusedtomean"legend",butwewillusethewider,classical meaning.) So there is Midrash Halakhah and Midrash Aggadah. So there is Midrash Halakhah and Midrash Aggadah.

Midrash Halakhah was once extremely important in Judaism. It is a process of reading the Torah very very closely to work out the rules of Jewish living in great detail. This was the specialty of the Rabbis who created Judaism as we know it (beginning, very approximately, 2000 years ago in the land of Israel). The Torah is full of rules and instructions, but you couldn't just read them and follow them, for two reasons: 1)The Torah often leaves out information, or appears to contradict itself. 2)Variouswaysofdoingthingswerewellestablishedastraditions butweren't actually mentionedintheTorah.The Rabbis studied the Torah to "search out" (darash) ways in which the traditions of how to do things were already hinted at, and answers to questions they still had about the right way to do things. By reading closely and carefully, they found answers: for example, the Hebrew letters of the word sukkah, Samekh, Khaf, and Hei, tell us that a sukkah can be completely enclosed, like a Samekh, or have three walls and an open side, like a Khaf, or have two full walls and a partial wall, like a Hei. IJE, Brandeis University 20 www.brandeis.edu/ije

The Decline of Midrash Halakhah Finding halakhic answers today Midrash Aggadah Asmoreandmore halakhot(pluralof "halakhah","rules") wereworkedout,MidrashHalakhah becamelessimportant.Itwasn'tnecessarytodoitsearching theTorahforanswers tohalakhicquestionsbecausetheruleswere alreadyestablished,anditwasn'tnecessarytostudyit becauseitwasmoreimportanttoknowwhattheruleswerethanhowthey couldbe foundintheTorah.For many centuriesnow,rabbishaveessentiallystoppedusing MidrashHalakhahtoworkout halakhah.Today,ifaquestionarises,arabbiwilllookfirstinthe ShulchanArukh,andiftheansweris stillunclear,atotherrulebooksof halakhahandat responsaofearlierrabbis,lookingfor precedents.Thefinalstopwill bethe Talmud,whichistheauthoritativesourcefor halakhah. MidrashAggadahiswhathappenswhentheimaginationrunswildwithScripture,playingwithstories,words,missingwords,contradictions,letters,punctuationwhateveristhereorisn't there.OurSagesof blessedmemorywhocreatedtheclassicworksof MidrashwereimmersedintheBible.Theyknewit byheart,theylivedandbreathedit,andthey wereuniquelyqualifiedtonoticewhatwasunusualormissinginitandtotalkinitsownlanguage.Butwecanmake MidrashAggadahtoo,ifwereadtheTorahResources: Resources: http://www.kolel.org/tastytreats/mod3.1.html http://www.kolel.org/tastytreats/mod3.2.html


Index Card 1 Index Card 2 Improvisation A Improvisation A Improvisation A

Reviewverses1:262:4andcreateanimprovisation.Youmayusethelinesinthetext OR Youmay adlibthelines ofthetext.Assignroles. Youcandecideif youwantanarratorornot..Assignroles. Youcandecideif youwantanarratorornot..Opening line: God said:. Closing (last) line: God said.. Improvisation B Improvisation B

Reviewverses2:42:9&2:152:25andcreateanimprovisation.Youmayusethelinesinthetext OR Youmay adlibthelines ofthetext.Assignroles Youcandecideif youwantanarratorornot.Assignroles Youcandecideif youwantanarratorornot.

Opening line: Now heres another creation story. Closing (last) line: And thats how man and woman were created.. IJE, Brandeis University 22 www.brandeis.edu/ije

A Short History of Improvisational Theatre A Short History of Improvisational Theatre Role Play and Improvisation Guide Using Drama, Improvisation and Role Play Using Drama, Improvisation and Role Play

Using dramatic techniques as a teaching method is not the same thing as teaching theater. Theater is an art form which focuses on a product, a play production for an audience. Drama in the classroom (such as role playing and do improvisational games is informal and focuses on the process of dramatic enactment for the sake of the learner, not an audience. It is the process of learning through dramatic play. Doing improvisations and role plays increases creativity, originality, sensitivity, fluency, flexibilFor specific guidelines to use in class, see Appendix 4A For specific guidelines to use in class, see Appendix 4A

Improvisationaltheatreisasoldastime.It predatestheinventionofwriting,sincelong before westartedwritingscriptsweweretellingstories by actingthemout.Overthecenturies,there have beenmanydifferentimprovisationalstyles.Themostdirect ancestorofmodernimprovis probablythe CommediaDell'Arte,whichwas popularthroughout europeforalmost200startinginthemid1500's.Troupesof performerswouldtravelfromtowntotown,presentingshowsinthe publicsquaresandonmakeshiftstages.They wouldimprovise theirowndialog,withinaframeworkprovidedbyaset"scenario".AftertheCommediadiedoff,improvtheatrefadedintoobscurityuntilitwasseparatelyandspontaneously reinventedbytwopeoplewhohaveshapedthe craftasitexiststodayKeithJohnstoneandViolaSpolin.Keith Johnstone started formulating his theories about creativity and spontaneity while growing up in England, and later brought them into his teaching at the University of Calgary. He felt that theatre had become pretentious, which is why the average man in the street didn't even consider attending it. Johnstone wanted to bring theatre to the people who went to sporting and boxing matches, the same audience that Shakespeare had written for in his day. Johnstone decided that one approach would be to combineIJE, Brandeis University 23 www.brandeis.edu/ije

Resources:Online Resources: Books: Improvisation for the Theater: A Handbook of Teaching and Directing Techniques (Paperback) Backinthe1920's and1930's,a womannamedViolaSpolinbegantodevelopanewapproachtotheteachingofacting.Itwas basedonthesimpleandpowerfulideathatchildrenwouldenjoylearningthecraftofactingifitwere presentedasaseriesof games.Spolin'sson,Paul Sills,builtonhismother'sworkandwasoneofthedriving forcesofimprovisationaltheatre centeredaroundtheUniversityofChicagointhe mid1950's.AlongwithpeoplelikeDelClose andDavidShepherd,SillscreatedanensembNote: On the web, you can find number websites which explain and list out improvisational exercises and games. Here is a list of a few of those sites: / / http://www.learnimprov.com

http://www.childdrama.com/lessons.html http://www.childdrama.com/lessons.html

www.improvencyclopedia.org www.improvencyclopedia.org

http://www.pantheater.com/BetterImproviser.htm http://www.pantheater.com/BetterImproviser.htm

http://www.unexpectedproductions.org/living_playbook.htm http://www.unexpectedproductions.org/living_playbook.htm

Note: If you prefer to use or have a book as a improvisation resources, the following books are highly recommended. You may want to check out your local bookstore to find a book with which are comfortable using. by Viola Spolin by Viola Spolin

Theater Games for the Classroom: A Teacher's Handbook (Paperback) by Viola Spolin by Viola Spolin

Theatre Games for Young Performers: Improvisations and Exercises for Developing Acting Skills (Contemporary Drama) (Paperback) by Maria C. Novelly by Maria C. Novelly

Improv Ideas: A book of games and lists (Paperback) by Justin Jones and Mary Ann Kelley by Justin Jones and Mary Ann Kelley
