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Constructing Multimedia Theatre: Ideas for Devising a Creative and Effective Theatre Project Lesson Plans For students in grades: 9-12 Number of Sessions: 10-20 Time length of Sessions: 50-75 minutes

Description

The core of theatre is storytelling. How can you and your students devise a new theatre project or production while honoring creativity and new modalities of learning? The goal of this project is to spark young people to frame what is going on in the world, and build a narrative storyline through multiple forms of storytelling. This project also inspires creativity by giving each student a voice in creating a new work of theatre storytelling.

Rationale

Palm Beach Dramaworks strives to enrich and profoundly impact the community in which we serve, and PBD does so with live and interactive experiences. Currently, we as artists are forced to reexamine how we engage our students and audiences, and this project supports our goal to introduce the transformative power of theatre to a new generation. As the oldest professional theatre company in Palm Beach County, we continually seek thoughtful and powerful ways to expand and deepen the experiences of our audiences with innovative, challenging plays and programming that supports our motto of “Theatre to Think About.”

PBD Contact Information

Name: Gary Cadwallader, Director of Education and Community Engagement - Palm Beach Dramaworks

Address: 201 Clematis Street, West Palm Beach FL, 33401

Phone: (561) 514-4042 ext. 123

E-mail: gcadwallader@palmbeachdramaworks.org

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Expected Results

Benchmarks:

TH.912.C.2.2 Construct imaginative, complex scripts and revise them in collaboration with actors to convey story and meaning to an audience.

TH.912.O.1.4 Write an original script or a dramatic adaptation of a literary work to demonstrate knowledge of theatrical conventions.

TH.912.O.3.4 Create a performance piece to document a significant issue or event.

TH.68.C.1.1 Devise an original work based on a community issue that explores various solutions to a problem.

TH.68.S.2.1 Discuss the value of collaboration in theatre and work together to create a theatrical production

TH.5.F.1.1; TH.4.F.1; TH.3.F.1; TH.2.F.1; TH.1.F.1; TH.K.F.1

Logistical Factors

The school/students will need:

Literary source material or a prompt with which to devise a performance

Virtual classroom storage space to share and store images, text, video, and audio

Portal to create and store video: FlipGrid, Google Drive, Dropbox, WeTransfer, etc.

Editing software – FlipGrid, iMovie, MovieMaker, YouTube, etc.

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SESSION

OVERVIEW

Classroom

Lesson #1

Essential Question: What is devised, multimedia theatre?

Vocabulary (p.15): objectives; conflict; subtext; protagonist; antagonist Materials: paper, writing implements; Freytag’s Pyramid (p. 16). If using a literary source, provide a digital copy

Bell Work + Discussion (20 minutes): Write the words: “multimedia theatre” on ‘the board.’ Invite students to brainstorm a large list of words, phrases, and ideas that come to mind when they hear the term.

After brainstorming, ask: “What do you see on ‘the board?’”

Based on our descriptions of “multimedia theatre” how would you define it?

Watch the following video on creating multimedia theatre: Natasha Tsakos' Multimedia Theatrical Adventure

“We will be devising an original multimedia theatre piece. What theatrical elements of storytelling did you see? “(i.e. pantomime, sound effects, video projection, animation, movement/dance, lighting, etc.)

“What do you imagine will be one of the biggest challenges?” “What do you think are the advantages of creating original stories in this format?”

Activity #1: Cluster writing: Imagining all aspects of an idea (7 minutes) At this point, or prior to the first class or rehearsal, determine a prompt or literary source for your project. Or you may brainstorm topics or photographic images with the class to determine which topic resonates with the majority. Examples of prompts are below.

o Have each student write the chosen prompt in the center of a piece of paper and circle it o Cluster write for a timed 5 minutes o Optional: Use non-verbal music to underscore while writing o Alternate idea: provide a picture or image as the springboard for writing

Explain cluster writing guidelines:

o Free associate words, phrases, sentences, images, and doodles that relate to that word o Write or draw without limitation or censorship o Don’t stop to edit or revise anything o Don’t stop to understand what you are creating; don’t analyze it

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o Don’t pay attention to grammar, spelling, or punctuation o Don’t cross out anything you write

Examples of prompts used to devise a new play include:

I come from a place…

Power is…

Freedom is…

The world is…

Hope is…

Silver linings

Human nature

Together we are…

Just around the corner…

Activity #2: Think/pair/share; share together as a group (10 minutes) If able to divide into pairs, have students pair together for five minutes and share several of the words, phrases, or images

they created. Have each student share the other student’s words with the class

If meeting as a group, have multiple students share the words, phrases or images they created with the class

Discuss and write down which words, phrases or images everyone likes or resonates with best

Activity #3: Discussion: The Parts of a Story (10 Minutes) Define the parts of a story with the Freytag Pyramid (p.16)

Introduction; Exposition; Inciting Incident; Rising Action (building conflict); Climax; Falling Action; Resolution Define “objective.” Each character has a driven intention that they MUST achieve Define “conflict.” Does each character want something desperately? Do they want different objectives, putting characters

in conflict with one another? Define “obstacles.” The protagonist and all characters have objectives that clash, creating obstacles for one another.

o Obstacles may also include personal or “internal” obstacles such as self-loathing, anger, fear, etc.

Note: If using a public domain literary source for this project, provide a digital copy and assign students to read the story

multiple times.

Homework: Digital storyboard Brainstorm and gather visual or aural imagery that supports the prompt or visual image selected.

Have each student research and gather 3-5 images or audio clips that supports the prompt Imagery might come from:

o Online photos o Family photos

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o Digitized images from magazines, newspapers, books, etc. o Original sketches, drawings, or artwork o Historical images o Color swatches o Fine art images o Short music clips o Short video clips

The goal is to create an overall visual montage supporting the word or phrase as well as the thoughts generated by cluster writing. Consider images that are either literal or non-literal, and that support an emotional connection. Include words or phrases from the cluster writing exercise that supports the theme.

Exit slip: Reflect As a class, allow each student to share one word or phrase that comes to mind when you think of the challenges of creating a devised, multimedia theatre performance. It’s okay to repeat responses!

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SESSION

OVERVIEW

Classroom

Lesson #2

Note: Depending on the size of your class, the amount of time per class, or the logistics in creating this piece, the following lesson may be expanded to two to four days. Creating new work relies on allowing creativity to flow organically.

Essential Question: What is devised, multimedia theatre? Vocabulary: Styles; drama; comedy; farce; fantasy; musical theatre; setting Materials: paper, writing implements

Bell Work (5 minutes): Write “Devised Play” on “the board.” Invite students to brainstorm a large list of words, phrases, and ideas that come to mind when they hear the term.

Activity #1: Assembling the digital storyboard (10 minutes) Invite students to share their visual or aural imagery with the class. If possible, assemble all the imagery in an online platform, such as Google Drive or other shareable online class formats. Ask students to respectfully review and discuss the imagery.

Activity #2: I See/I Feel… (10 minutes) Responding to the imagery

Have students write a paragraph or a page about what they see and/or hear in the digital storyboard. Write the following prompts on ‘the board:’ o I see…. o It makes me feel…

After the allotted ten minutes, encourage students to share their written response with the class.

Discussion: Theatre Styles (10 minutes) Understanding core theatre styles gives students ideas for choosing options for telling a story NOTE: all well-made plays and devised theatre contain strong conflict, both external and internal. Tragedy/Drama essentials:

o The condition of the protagonist’s life progresses from good to bad o A ‘tragic flaw,’ according to Aristotle, brings about a protagonist’s downfall o The fate of many people is tied to the protagonist. Therefore, his or her downfall is a catastrophic event o The purpose of tragedy or drama is ‘catharsis,’ which “cleanses the soul of fear and pity”

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o In a tragedy, there is typically a death at the climax. Otherwise, the protagonist has a major change

Comedy essentials: o The condition of the protagonist’s life progresses from bad to good o Comedy is usually about ‘common’ people who are living a dramatic situation, but the story is treated humorously o Types of comedy include romantic comedy, satirical comedy, and black comedy, in which humor is found in the gloomy

or macabre. The protagonist has a major change at the climax.

Farce essentials: o The protagonist’s life progresses from bad to good o The protagonist is in a serious situation that is highly improbable and extremely dire. The situation usually includes

pratfalls and slapstick o The protagonist has a major change as well as a rewarding conclusion at the climax

Surreal/Fantasy essentials: o The story can be either a drama or a comedy o The story is typically otherworldly and includes human, non-human or unusual characters o The setting does not necessary take place on Earth or in a typical location

Musical Theatre essentials: o The story can be a drama, comedy, farce, or surreal/fantasy o The story includes songs. Songs are sung when the emotion becomes so great, speaking words is no longer sufficient

to tell the story o Musicals can have text and songs, or be completely sung-through. Sung-through musicals contain no or very little

spoken text

Discussion: Define a play’s setting (10 minutes) When devising a play, brainstorm a setting in which to ground the story location. Note: the setting can and might change throughout the process. The setting for the play is very important. The setting should support the dramatic action. Invite the students to help brainstorm where the devised play is set. Examples: is it set in a specific location?

o A classroom o Crowded city streets o A park o A farm o Onboard a ship

Is it set in an abstract location? o In the mind of a teenager o In the mind of patients in a psychiatric hospital o In the afterlife o In each character’s future or past

Is it a combination of any of the above?

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Discussion: The through-line (10 minutes) What story do you want to tell? Invite the ensemble to create the major arc of the story. This discussion creates the devised play’s “treatment,” outlining the major details of the story. Note: When brainstorming ideas, assign a student or students to take notes or record the conversation, either written or

digitally. As ideas generate, some good suggestions may be lost if not noted. (Encourage note-takers to also participate in the discussion). Add notes later to the storyboard/digital archive created for this project.

As an ensemble, brainstorm the overarching ideas of the overall story you want to tell. Together, discuss and write down: o The inspiration for the story o The overall main conflict, even if dividing the play into smaller vignettes o If creating one piece, an outline of the introduction, inciting incident, rising action, climax, falling action and resolution o Characters, and their connections to one another (conflicts)

Note: for either one story or for individual vignettes, discuss: Plot is the ‘what and why’ of both external and internal conflict Story supports ‘how,’ the plot is told

Who is the protagonist and what is their main objective? If creating individual vignettes, discuss their details in the next lesson.

Who is their antagonist and what is their main objective? If creating individual vignettes, discuss their details in the next lesson

o Discussion: The Setting The setting for the play is very important. The setting should support the dramatic action, defining the characters’

or protagonist’s objectives Settings are not necessarily realistic. The story may take place in the mind, different dimensions, etc.

Exit slip: “…It made me think.” As a class, allow each student to share what really ‘sank in’ during this lesson about plot, character, setting, the theatre styles, or the through-line of storytelling.

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SESSION

OVERVIEW

Classroom

Lesson #3

Note: Depending on the size of your class, the amount of time per class, or the logistics in creating this piece, the following lesson may be expanded to two to four days. Creating new work relies on allowing creativity to flow organically.

Essential Question: What is devised, multimedia theatre? Vocabulary: External conflict; internal conflict Materials: paper, writing implement; music source for writing exercise (optional)

Bell Work (10 minutes): Invite students to re-read and review the words, phrases and images that developed from brainstorming the topic. Invite them to discuss, edit, and revise after thinking about the topic for several days.

Activity #1: Freestyle/Freethought Writing + Music (optional) (10 Minutes) The goal is quantity not quality. Using the source prompt or image, students will write continuously for ten minutes. Instrumental music of any kind may inspire students to write creatively. Music can be played from your own source, or from YouTube. Suggestions included classical, New Age, meditation, instrumental pop or jazz, etc. Explain the guidelines:

o Write as quickly as you can o Write without limitations o Don’t stop to edit or revise anything o Don’t stop to understand what you are writing; don’t analyze it o Don’t attempt to think logically about your writing o Don’t pay attention to grammar, spelling, or punctuation o Don’t pay attention to margins or lines on the page; write everywhere o If you cannot think of something to write, write about that o Don’t cross out anything you write o If something you are writing about is embarrassing, painful, or frightening, write about it

Discussion: Reflect on Freestyle writing (7 minutes) o Discuss any new ideas or breakthroughs stemming from freestyle writing o Brainstorm any new ideas and how they may impact the overall project or individual aspects of the project

Note: if students are stuck at any point in the devising process, assign a 5-10 minute freestyle writing exercise. You may choose to use the prompt or image, or just have them freestyle write. Writing continuously without an end goal frees up tension and usually leads to a breakthrough.

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Discussion: Review play structure (7 minutes) Simply review the elements of a well-made play. Story Arc

A play, or vignettes within a collage, begin with an introduction, followed by the inciting incident, rising action with conflict, the climax, falling action, and a resolution

Conflict The main conflict is between the protagonist and the antagonist A protagonist should have something serious at stake, and a consequence if they don’t get it Time is important for the protagonist. There should be pressure to reach their objective The protagonist and antagonist have a driving objective that they must achieve Obstacles. The protagonist and antagonist have objectives that clash, creating obstacles for one another There are two major types of conflict:

o External conflict: a protagonist or antagonist struggles with an outside person or force. Characters may oppose one another physically or philosophically, or natural forces such as earthquakes or poverty may be the main struggle

o Internal conflict: a protagonist or an antagonist struggles with inner anxieties or with making a decision that may impact themselves or others. A character may struggle with anger, embarrassment, saving themselves or saving their child, or with whom they would like to ask out for a date

A protagonist doesn’t always win their objective at the climax, but they always have a major change Setting

A location informs the action The time of day informs the action A setting isn’t necessarily realistic. It may be esoteric

Theatre Styles Choose a theatre style that best suits the story you need to tell In tragedy or drama, the condition of the protagonist’s life progresses from good to bad In comedy the condition of the protagonist’s life progresses from bad to good Types of comedy include romantic comedy, satirical comedy, and black comedy, in which humor is found in the gloomy or

macabre In farce, the protagonist’s life progresses from bad to good The protagonist is in a serious situation that is highly improbable and extremely dire. The situation usually includes pratfalls

and slapstick In surreal/fantasy plays, the story can be either a drama or a comedy The story is typically otherworldly and includes human, non-human or unusual characters In musical theatre, the story can be a drama, comedy, farce, or surreal/fantasy The story includes songs. Songs are sung when the emotion becomes so great, speaking words is no longer sufficient to tell

the story

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Activity #1: Chunking the story (15 minutes) Whether devising a linear story or creating a collage of vignettes that supports an overall theme, dividing the cast to create sections of the story helps give creative ownership to student artists. Be sure to assign recorders to capture the discussion. Note: when devising in person, the following exercise is accomplished through improvisation exercises and discussion. When

devising from different locations, ensure that ideas and any discussion are written or recorded so that they are not forgotten. Note: Allow the ensemble to brainstorm if any of the action is verbal or non-verbal, or a combination of both. Examples of non-

verbal storytelling include pantomime, dance/movement, physical theatre

If creating a linear story, review and make any changes to the main conflict of the story: o Discuss and review the main plot points of the story: introduction, inciting incident, rising action (multiple plot points), the

climax, and resolution o Divide and assign the class or cast to one section of the story. o Each group assigned to a section to the story works together to develop their section of the play. o Assign each member of the individual groups to write down three plot/story options for their section of the play; i.e., if the

group is assigned the inciting incident, have each member write three versions of how or where the characters intersect, meet, or find one another

o If possible, the small groups can convene to share their ideas with one another, or assemble the full ensemble and have each member of each group share one or all three ideas with the everyone

If creating individual vignettes to support the overall theme: o Divide and assign small groups to brainstorm individual vignettes. You may choose to assign a subtopic of the overall theme, or

have individual groups determine their vignette’s overall theme o Assign each member of the individual groups to write down three ideas about the plot, characters, and setting o If possible, the small groups can convene to share their ideas with one another or assemble the full ensemble and have each

member of each group share one or all three ideas with the everyone

Exit slip: Reflect As a class, allow each student to share what really ‘sank in’ during this lesson about non-traditional dialogue options.

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SESSION

OVERVIEW

Classroom

Lesson #4

Note: Depending on the size of your class, the amount of time per class, or the logistics in creating this piece, the following lesson may be expanded to two to four days. Creating new work relies on allowing creativity to flow organically.

Essential Question: What is devised, multimedia theatre? Materials: paper, writing implement Discussion: Ideas for dialogue outside of traditional narrative (15 minutes) Outside of narrative dialogue, storytelling may be accomplished in many ways.

Choral speak: Choral Speak Example

Spoken word: Spoken Word Example or Break Beat Spoken Word Example

Gibberish: Gibberish Example

Non-word sounds, individually or chorally

Multiple languages

Improvisation

Activity #1: Building the framework (20 minutes) Note: Embrace everyone’s voice. Creativity should be celebrated, even when ideas are not used. Ensure that everyone’s voice

is heard, and ensure that everyone positively recognizes those whose ideas are both used and not used. Ownership should belong to the full ensemble.

Once the story outline has a structure, individual groups can begin filling in the story details. Divide the class into their smaller groups. Have groups brainstorm ideas about their section of the story:

Quickly review the framework for each section of the story or each vignette

Determine how to tell the story using the strengths and creativity of the members of the group (dance, instruments, etc.)

Discuss how the story might be told using narrative text: traditional playwriting, choral speak, poetry, musical theatre, etc.

Discuss how the story might be told with non-verbal formats: dance, pantomime, musical instruments, etc.

Discuss how the story might be told with technology: video, audio, special effects, etc.

Discuss how the story might be told with a combination of any of the above

Determine how each group will tell their section of the story or their vignette using their preferred use of storytelling

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Gather the class, and allow each group to briefly outline the structure of their play and how they will tell their portion of the story

Note: A story may be told using formats that change throughout. For example, Shakespeare used prose, poetry, soliloquy,

music, and special effects to tell his stories Discussion: building script details (10 minutes)

Explain that now it is time for students to work together to insert details into the story

They will now be writing any dialogue, poetry, or text, or creating the alternate modes of storytelling such as pantomime, choreography, etc. necessary to complete writing the story.

Exit slip: Reflect As a class, allow each student to share one thing that they’re excited about and one thing that might be scary.

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SESSION

OVERVIEW

Classroom Lesson

#5

Note: Depending on the size of your class, the amount of time per class, or the logistics in creating this piece, the following lesson may be expanded to two to four days. Creating new work relies on allowing creativity to flow organically.

Essential Question: What is devised, multimedia theatre? Materials: paper, writing implement

Discussion: Review (10 minutes) Review the structure of the play or vignettes. Clarify any issues or generate new ideas.

Discussion: Building the technical/virtual elements (20 minutes) Determine which elements are created live in the classroom, if employing a blended learning environment

Determine which elements are created virtually from remote locations (students’ homes)

Once determined, discuss a strategy for recording and editing videos

If possible, assign student-led audio and video technicians to assist in editing the digital content

If possible, assign designers to assist actors in creating design elements (lighting, clothing, location, props) within their videos

Determine if special effects for video (determined by movie editing software/program) are to be added during the editing process

Activity #1: Putting it all together (20 minutes+ multiple days)

Divide the class into their smaller groups, and begin building the script

Remind actors to remain flexible and open to change

Assemble the various elements by focusing on the main conflict or theme

Work together to complete the script, making any changes as needed

Rehearse each individual scene or vignette

Work together as an ensemble to determine what is or isn’t working? Make textual or creative changes, as needed

Determine if additional sound, music, or special effects are needed

Rehearse, revise; rehearse, revise … until the performance is strong

Celebrate success throughout the process

Perform/Stream

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Vocabulary Antagonist: The antagonist is a character or a group of characters whose objectives directly oppose the objectives of the protagonist. The

antagonist has a major change at the climax of the story. Antagonists may sometimes be a group of characters

Archetype: An archetype is a universally understood representation or idealization of a profession or group, and a perfect, synthesized example of that

profession or group.

Character: Characters are fully-formed personalities actively participating in telling a story. Characters should have a strong point of view

Conflict: Conflict is tension and competing objectives between the protagonist and other forces in a story. Conflict can come from other

characters, from external sources such as nature or machinery, or internal struggles. Conflict is necessary to drive the story forward.

Dramatic Action: The dramatic action is a series of events and motivations propelled by characters in conflict. While most plays utilize this

structure, some plays, such as absurdist plays, are written to oppose this structure:

o Introduction: The beginning of the play starts with Exposition, in which background information about the story or characters is

discussed, presented or disseminated.

o Inciting Incident: The inciting incident occurs when the protagonist and an opposing force come into conflict, setting the main encounter of the story into action.

o Rising Action: In the rising action, complications, crises, or discoveries create tension and suspense, and increase Conflict,

propelling the protagonist and the antagonist toward a transformation.

o Climax: The climax of a story is the moment in the story that contains the greatest tension, and a major change in the fate of both the

protagonist and antagonist. At this turning point, there is no going back.

o Falling Action: The falling action holds moments in the story that may contain conflict and tension yet to be resolved.

o Resolution: The resolution of the story occurs when the main conflicts of the dramatic action are resolved, and the questions in the play are answered.

Narrator: A narrator delivers expositional commentary outside of the dramatic action, usually directly to the audience.

Objectives: An objective is a goal or intention that characters are strategically trying to achieve. Characters usually have multiple objectives to pursue.

Obstacle: An obstacle is a barrier that hinders characters from easily achieving their objectives.

Protagonist: The protagonist is the main character in a story, and drives the dramatic action with their objectives. They have a major change at

the climax. The protagonist, whether a hero or a villain, should always be empathetic to the audience.

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Constructing Multimedia Theatre: Ideas for Devising a Creative and Effective Theatre Project By Gary Cadwallader, Director of Education and Community Engagement Palm Beach Dramaworks

Virtual Theatre Game Ideas

Adapted by professional teaching artists

‘Eyes Only’ Telephone

Materials: Paper

Instructions One person must facilitate the action

All participants will use a piece of paper to cover and obstruct their lower face

The first participant secretly writes down three emotions

All other participants look away/put head down/cover eyes

The facilitator calls out the second participant (the order will be alphabetical)

The first person leans in and looks into the camera; face covered and using the eyes only

The first person conveys the three emotions silently

The second person watches and tries to capture the three emotions conveyed by the first person

The second person “repeats” the three emotions back to the first person

If the second person would like to see the three silent emotions again, they say “telephone.”

The facilitator chooses the third person. The second person leans into the camera and with paper over the lower half of the face, conveys the three emotions as conveyed

by the first person.

The action proceeds alphabetically around the virtual space. The facilitator leads the exercise.

At the end, the final person repeats the three eyes only emotions back to the first person.

The final person then breaks the silence and tells everyone the three emotions they received.

The three emotions are compared to the three written by the first person.

Repeat with a new starter

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Virtual Ship to Shore

Also known as ‘Captain’s Orders’ or ‘Ship Ahoy’

Materials: none

Instructions: All participants stand in their personal space

All participants should remain still between all commands

The facilitator ensures that everyone is aware that film and television vocabulary is being added as it is a virtual game.

The following are commands spoken by the facilitator:

o “Ship!” all participants fall off camera/out of view

o “Shore!” all participants return to view

o “Swab the deck!” all participants ‘clean’ the computer/device camera

o “Walk the plank!” all participants take three wobbly steps forward and fall off camera

o “Mermaid!” all participants strike a mermaid pose and hum ‘Ariel’s tune’ from The Little Mermaid

o “Man Overboard!” all participants place their eye close to the computer/device camera

o “Captain’s coming!” all participants salute

o “At ease!” all participants end salute and hands return to their side

The facilitator may call out the above instructions in any order or sequence

If participants hesitate or accomplish the wrong movement or gesture, they are ‘out.’

The facilitator determines who is out

Repeat until there is a winner

Start again with a new facilitator

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Yes, Your Majesty Materials: none

Instructions:

The facilitator asks for a volunteer to be “King” or “Queen”

The facilitator then asks the chosen volunteer to show everyone the physical demeanor and facial demeanor of a monarch

All participants are subjects in the monarch’s land

All participants may take any problem at all to the monarch

Participants raise their hand if they have a problem that must be solved

The facilitator chooses the first participant

The facilitator says: “King/Queen_______ your subject_______ comes to you with a problem.”

The King/Queen says: “What is your problem _______/subject?”

The participant subject tells the monarch of the problem they’ve noticed in the kingdom. (i.e. “All the books in the library are missing.” “Unicorns have landed in the

vegetable garden.” etc.)

The monarch then responds with a problem solving solution for the subject to accomplish

The subject responds: “Yes, your Majesty.”

The monarch’s solution then creates a new problem for another subject.

The other players raise their hand if they see or have a problem based on the monarch’s previous solution.

The facilitator chooses the next subject, and repeats the introduction to the monarch

Repeat until all of the subjects have presented a problem and received a solution

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Grandma’s/Grandpa’s Virtual Surprise Party

Also known as Red light/Green light

Materials: none

Instructions:

All participants stand in their own virtual space and take four steps away from the camera

A facilitator chooses a volunteer to plays Grandma or Grandma.

The facilitator readies everyone from the game, and Grandma or Grandpa turn away from their camera

When they turn back to the camera, anyone playing the game caught moving will be sent back to the maximum four steps away

If a participant makes it all the way to the camera, they put your hand over it, though keeping a small opening to see the remaining action

Once all participants have their hand over the camera, everyone yells, “Surprise.”

Virtual Family Vacation Album Materials: none

Instructions:

The facilitators asks for two volunteer ‘vacationers’

A discussion between the facilitator and the two volunteers determines their familial relationship or friendship

The facilitator asks for two additional volunteers to be the ‘photograph’ subjects in the vacationers’ photographs

The facilitator asks one additional volunteer to name where in the world the pair above vacationed

The facilitator asks the first two family members/friends to close their eyes and look away

The facilitator asks the two ‘photograph’ volunteers to individually and silently strike a "photo pose" of their trip. Encourage them to base the pose on the location.

The facilitator counts down “…3,2,1” for the ‘photograph’ volunteers to freeze in the frame showing everyone something that happened to them on vacation

The facilitator asks the first two volunteers, the family members/friends to look at each photograph and improvise a remembrance of what was happening in the photo.

The two family members/friends talk about all the experiences around the photo:

o “Oh yes, do you remember when…”

o “That was an hilarious moment when…”

The facilitator should be prepared to side-coach if the conversation lags.

The facilitators ask two more volunteers to become ‘photograph’ subjects.

The action/remembrance continues

Change volunteers to create a large photo album of vacation remembrances.