Introduction - Web view—using the diaphragm muscle to support the breath. ... —locomotive and non-locomotive uses of the body that ... pause, and word- or phrase-emphasis to create

AssessmentOSPI-Developed Performance

Office of Superintendent of Public InstructionSeptember 2015

A Component of the Washington State Assessment System

TheatreThe Arts

On the Spot Grade 10

Office of Superintendent of Public InstructionOld Capitol Building

P.O. Box 47200Olympia, WA 98504-7200

For more information about the contents of this document, please contact:

Anne Banks, The Arts Program SupervisorPhone: (360) 725-4966, TTY (360) 664-3631

OSPI provides equal access to all programs and services without discrimination based on sex, race, creed, religion, color, national origin, age, honorably discharged veteran or military status, sexual orientation including gender expression or identity, the presence of any sensory, mental, or physical disability, or the use of a trained dog guide or service animal by a person with a disability. Questions and complaints of alleged discrimination should be directed to the Equity and Civil Rights Director at (360) 725-6162 or P.O. Box 47200 Olympia, WA 98504-7200.

This work is licensed as a Creative Commons Attribution Non-Commercial Share Alike product by the Washington Office of Superintendent of Public Instruction. For more information on this license, please visit http://creativecommons.org/licenses/by-nc-sa/3.0/.

Table of ContentsIntroduction...................................................................................................................................................ii

Overview.........................................................................................................................................................1

Test Administration: Expectations......................................................................................................1

Description of the Performance Assessment..................................................................................2

Learning Standards....................................................................................................................................2

Assessment Task.........................................................................................................................................3

Teacher’s Instructions to Students.................................................................................................3

Accommodations....................................................................................................................................3

Student’s Task..........................................................................................................................................3

Supporting Materials and Resources for Teachers......................................................................9

Preparation for Administering the Assessment.......................................................................9

Recommendations for Time Management...............................................................................10

Glossary....................................................................................................................................................11

On the Spot: Arts Assessment for Theatre, Grade 10 Page i

OSPI-DOSPI-D EVELOPEDEVELOPED P P ERFORM ANCEERFORM ANCE A A SSESSM ENTSSSESSM ENTS FORFOR THETHE A A RTSRTS

IntroductionTo Washington educators who teach theatre:

Welcome to one of our OSPI-developed performance assessments and this implementation and scoring guide. This document is part of the Washington assessment system at the Office of Superintendent of Public Instruction (OSPI).

The assessments have been developed by Washington State teachers and are designed to measure learning for selected components of the Washington State Learning Standards. They have been developed for students at the elementary and secondary levels. Teachers from across the state in small, medium, and large districts and in urban, suburban, and rural settings piloted these assessments in their classrooms. These assessments provide an opportunity for teachers to measure student skills; they can both help teachers determine if learning goals have been met, and influence how teachers organize their curricula. They also provide an opportunity for students to demonstrate the knowledge and skills they have gained.

These assessments:

Provide immediate information to teachers regarding how well their students have acquired the expected knowledge and skills in their subject areas.

Inform future teaching practices.

Provide resources that enable students to participate in measuring their achievements as part of the learning experience.

Included in this document are:▪ directions for administration

▪ assessment task

▪ scoring rubrics

▪ additional resources

Our hope is that this assessment will be used as an integral part of your instruction to advance our common goal of ensuring quality instruction for all students.

If you have questions about these assessments or suggestions for improvements, please contact:

Anne Banks, Program Supervisor, The Arts (360) 725-4966, [email protected]

On the Spot: Arts Assessment for Theatre, Grade 10 Page ii

ON THE SPOT TheatreGrade 10

An OSPI-Developed Performance Assessment

OverviewThis document contains information essential to the administration of On the Spot, an OSPI-developed arts performance assessment for theatre (Grade 10). Prior to administration of this assessment, all students should have received instruction in the skills and concepts being assessed. Please read this information carefully before administering the performance assessment.

This classroom-based performance assessment may be used in several ways:

As an integral part of instruction.

As a benchmark, interim, or summative assessment.

As a culminating project.

As an integral part of a unit of study.

As a means of accumulating student learning data.

As an individual student portfolio item.

Test Administration: Expectations The skills assessed by this task should be authentically incorporated into

classroom instruction.

This assessment task is to be administered in a safe, appropriately supervised classroom environment following district policy and procedures.

All industry and district safety policies and standards should be followed in the preparation and administration of OSPI-developed performance assessments in dance, music, theatre, and visual arts.

On the Spot: Arts Assessment for Theatre, Grade 10 Page 1

Synopsis ofOn the Spot

Each student works with a partner to perform a 1-minute improvisation. The students must portray the setting clearly and establish a clear conflict and resolution. Each student must sustain a believable character that is exciting to watch, makes imaginative choices, and exhibits varied layers of emotions. The student must use clear and expressive movement and vocal techniques that move her/his character toward an objective.

Accommodations based upon a student’s individualized education program (IEP) or 504 Plan may require additional modifications to this assessment.

Additional modifications to the administration of this assessment may be required to accommodate cultural differences, diversity, and religious mores/rules.

Description of the Performance Assessment Performance prompts ask each student to work with a partner to create and

present a performance based on the criteria outlined in the task. The students’ final performance should be recorded to facilitate scoring and to document each student’s performance.

Although partners perform together, each student’s performance is assessed separately.

Learning StandardsThis assessment addresses Washington State Learning Standards for Theatre, including the GLEs from the Options for Implementing the Arts Standards through Theatre by Grade Level document.

GLE 1.1.110th Grade

Analyzes the elements of theatre (character, plot, setting, conflict, dialogue, and theme) in scripts and/or performances.

GLE 1.2.110th Grade

Analyzes given circumstances in a script to create a character’s facial expressions, gestures, body movements/stances, stage positions, blocking, and business in a performance.

Depending on how individual teachers build their lesson units, additional Washington State Learning Standards can be addressed.


Assessment TaskTeacher’s Instructions to Students1. Say: “Today you will take the Grade-10 Washington OSPI-developed arts

performance assessment for theatre. This assessment is called On the Spot.”

2. Provide the class with copies of the student’s section of the assessment (which may include the student’s task, response sheets, rubrics, templates, and glossary), along with any other required materials.

3. Tell the students that they may highlight and write on these materials during the assessment.

4. Have the students read the directions to themselves as you read them aloud. We also encourage you to review the glossary and scoring rubrics with the students.

5. Answer any clarifying questions the students may have before you instruct them to begin.

6. If this assessment is used for reporting purposes, circle the scoring points on each student’s notes page (see the student’s task below).

AccommodationsRefer to the student’s individualized education program (IEP) or 504 Plan.

Student’s TaskThe following section contains these materials for students:

The student’s task: On the Spot (Grade 10)

Assessment rubric

Student’s notes page


Student’s Task

On the SpotOn the SpotYou are auditioning for the local improvisational club Spot On! The manager has asked you to bring a partner and work cooperatively to perform a 1-minute improvisation. The manager needs you to be clear about the setting and to establish a situation with a clear conflict and resolution. She also wants you to sustain a believable character that is exciting to watch, makes imaginative choices, and exhibits varied layers of emotions. She has told you that the best way to do this is to use clear and expressive movement and vocal techniques that move your character toward an objective.

The manager will be recording your performance. If you are successful in your audition, you will be a regular at Spot On! Your dream will come true!

Your Task

First, create your improvisation—

The manager expects you to meet the following requirements when you create your improvisation:

Create and perform a clear dramatic structure in your improvisation, using conflict and resolution (for example, cleaning a room, driving a car, going shopping, fixing a leak, or opening a package). This should include:

o Effective use of dialogue to create and clarify dramatic structure.

o Effective use of actions to create and clarify dramatic structure.

o Appropriate use of ensemble work to create and clarify dramatic structure.

o Effective use of movement and vocal qualities to create and clarify dramatic structure.

Create and perform a clear setting for your improvisation by:

o Referring to your setting by its common name.

o Using movement to create a clear understanding of where the improvisation is taking place (for example, a home, a car, a store [food or retail], a cave, or a post office).

o Creating dialogue that enhances the audience’s understanding of the setting.


o Working cooperatively with your partner to create a mutual under-standing of the setting and of the conflict and resolution in your scene.

Create and perform a fully developed character by:

o Using a series of movements that clearly show the character’s objectives.

o Choosing a series of vocal qualities that clearly achieve the character’s objectives.

o Using layered emotions (more than one emotion exhibited at the same time) that achieve the character’s objectives.

o Sustaining your character throughout the entire performance.

You will have time to create your improvisation with your partner, review your performance with another pair of partners, revise your performance based on their feedback, and perform a one-minute improvisation for the teacher. Your performance will be recorded.


Assessment Rubric

On the Spot4 points 3 points 2 points 1 point No Score

Crea

ting

& P

erfo

rmin

g (im

prov

.)

The student meets all four of the following requirements, thereby demonstrating a thorough under-standing of how to establish dramatic structure using conflict and resolution in an improvisation: Creates dialogue effectively. Creates action(s) effectively. Uses ensemble work appropriately. Uses movement and vocal skills

effectively.

The student meets three of the require-ments listed at left, demonstra-ting an ade-quate under-standing of how to establish dra-matic structure using conflict and resolution in an improvisa-tion.

The student meets two of the require-ments listed at left, demon-strating a partial under-standing of how to estab-lish dramatic structure using conflict and resolution in an improvisation.

The student meets one of the require-ments listed at left, demon-strating a mini-mal under-standing of how to estab-lish dramatic structure using conflict and resolution in an improvisation.

The student meets none of the require-ments listed at left, demon-strating no understanding of how to es-tablish drama-tic structure using conflict and resolution in an improvi-sation.

Crea

ting

& P

erfo

rmin

g (s

etting

)

The student meets all four of the following requirements, thereby de-monstrating a thorough under-standing of setting in the improvisa-tion: Refers to the setting specifically by

its common name. Uses movement effectively to

indicate the setting. Uses dialogue clearly to enhance

understanding of the setting. Uses ensemble work appropriately

to create a mutual understanding of the setting.

The student meets three of the require-ments listed at left, demonstra-ting an adequate understanding of setting in the improvisation.

The student meets two of the require-ments listed at left, demon-strating a partial under-standing of setting in the improvisation.

The student meets one of the require-ments listed at left, demon-strating a mini-mal under-standing of setting in the improvisation.

The student meets none of the require-ments listed at left, demon-strating no un-derstanding of setting in the improvisation.

Crea

ting

& P

erfo

rmin

g (c

hara

cter

)

The student meets all four of the following requirements, thereby demonstrating a thorough under-standing of how to establish character in the improvisation: Uses a series of movements that

demonstrate believable objectives for the character.

Chooses a series of vocal qualities that demonstrate believable ob-jectives for the character

Creates a performance with clearly layered emotions (exhibits more than one emotion at a time).

Sustains character throughout the entire performance.

The student meets three of the require-ments listed at left, demonstra-ting an adequate understanding of how to estab-lish character in the improvisa-tion.

The student meets two of the require-ments listed at left, demon-strating a partial under-standing of how to estab-lish character in the improvisation.

The student meets one of the require-ments listed at left, demon-strating a mini-mal under-standing of how to estab-lish character in the improvisation.

The student meets none of the require-ments listed at left, demon-strating no un-derstanding of how to estab-lish character in the improv-isation.


Scoring NotesThe following scoring notes should be used as a guideline when scoring this item.

For the creating and performing (improvisation) rubric:

To earn credit, the dialogue must indicate conflict/resolution, and it must do so fully. The watcher should not be confused about events.

If the performance lacks a clear central conflict and resolution, the student can earn no points for this rubric.

For the creating and performing (setting) rubric:

To earn credit for the first bullet, the actor(s) must literally state where they are, whether that is a cave or a car, or a closet. If there is more than one setting in a scene, only one of them has to be verbally identified to earn the point.

To earn credit for the second bullet, the movement must be specific to a location (for example, if the character is in a cave, the character should be stumbling in the dark, hunching over, squinting to see, and so on).

If the setting is truly not established for the audience (i.e., the audience cannot deduce the characters’ location—at the beach? a backyard? the gym?), the student’s performance earns no score (NS) for this rubric.

For the creating and performing (character) rubric:

The first two bullets must relate directly to a character to earn credit. If there is not a specific character, these two points cannot be earned.

To receive credit for demonstrating layered emotions, the character should be experiencing more than one emotion at the same time, not just experiencing two emotions over the course of the scene.


Student’s Notes

Student’s Name/ID# _____________________________________________ Grade Level _________

(circle number) Creating & Performing (improv.) Score 4 3 2 1 NS

Creating & Performing (setting) Score 4 3 2 1 NS

Creating & Performing (character) Score 4 3 2 1 NS

Your Notes

Use the space below to write down notes as you create your performance and receive feedback for improving it. (Your notes will not be scored.)


Supporting Materials and Resources for Teachers

Preparation for Administering the Assessment

Tools & Materials

Teachers will need the following materials and resources to administer this performance assessment:

copies of the task, including the glossary of terms (one set for each student)

copies of the student’s notes page (one for each student)

a marked performance space

one pencil per student

an audio/video recording device

Guidelines

Although students perform with partners for this assessment, each student is to be assessed individually.

Copy the student’s task, rubric, notes page, and glossary of terms. Make one set of copies for each student.

Students may NOT use props and costumes in this assessment.

Students may use chairs, tables, benches, and/or blocks.

Assign a partner to each student (or allow students to choose their own partners).

Assign to each set of partners another pair who will watch the partners’ performance and provide feedback to the performers.

The performance of each pair of students must be recorded for this assessment.

Recording setup must be in a defined space where the performers can be seen at all times. Place the camera so as to record the scene from the audience’s perspective.

Prompt students to state their names/numbers and current grade levels into the recording device before they begin performing.


Coach the students to face the audience when they perform. (The performers’ faces must be seen so that their facial expressions can be assessed.)

Instruct the performers to include a three-second neutral pause at the beginning and at the ending of their performance to indicate a clear start and a clear ending. The students may end off stage or off camera.

When you are administering the assessment, students may ask questions to clarify the process. You should encourage students to ask questions at any time throughout the administration of the assessment.

Recommendations for Time ManagementStudents may have as much time as they need to complete the task. The timeframes suggested here are meant only as a guide, and you may shorten or lengthen them to suit the individual circumstances of the class and students.

The following is a two-day suggested timeframe:

DAY 1

15 minutes: The teacher provides the class with the task and reads it aloud. The students may ask questions. The teacher answers questions.

10 minutes: The students select or are assigned partners; the students create and develop their improvisations.

35 minutes: Each pair of students performs their improvisation for another pair of students, who provide feedback.

DAY 2

10 minutes: The student pairs review and refine their performances, incorporating the feedback that they received.

45 minutes: Each pair of students performs their improvisation; the teacher records each pair’s performance.

All students who remain productively engaged in the task should be allowed to finish their work. In some cases, a few students may require considerably more time to complete the task than most students; therefore, you may wish to move these students to a new location to finish. In other cases, the teacher’s knowledge of some students’ work habits or special needs may suggest that students who work very slowly should be tested separately or grouped with similar students for the test.



Glossary acting skills—the use of voice, movement, improvisation, and characterization.

action—events within the play that move the plot along.

aesthetics—an idea of what is beautiful or artistic; a set of criteria for judging something to be beautiful or artistic.

articulation—the use of all of the articulators (lips, teeth, tongue, soft and hard palettes, larynx, and glottis)to deliver speech or language clearly.

audition—a tryout for a theatrical role.

balance—the arrangement of design elements and actors to create visual stability on stage.

blocking—an actor’s traffic pattern on stage.

business—movements that mime or make use of props, costumes, and make-up to strengthen the personality of a character that the actor is portraying.

character—a person, animal, or thing in a scene, story, or play.

character development—creating from a text a character who uses tactics to overcome obstacles to achieve objectives; portraying this character by choosing physical actions, vocal qualities, and believable emotions that are sustained throughout the performance

conflict—a struggle between two or more opposing forces, events, ideas, or characters in a scene or play.

costumes—the clothing an actor wears to create a character.

creative dramatics—a teacher-led dramatic enactment of story, setting, and/or characters; an experiential process-based activity, not a performance for an audience. The teacher may assume a role.

cue—1. a signal for a performer or technician to perform an action or say a line; 2. a signal from a side-coach to perform an action or say a line.

design—a purposeful plan for the spectacle of a play (such as costumes, set, props, lighting, sound) based on an overall concept.

design concept—the overall visual theme for a combined theatrical design in which features such as lights, sets, costumes, make-up, props, and sound work


together to tell the story. A design concept is a visual way of expressing how the technical elements will illuminate the central theme of the play.

dialogue—a conversation between two characters in a theatrical performance.

diaphragmatic breathing—using the diaphragm muscle to support the breath.

diction—choice and use of words.

drama—a literary composition (a play) intended for a performance before an audience.

dramatic structure—the composition of a theatrical work (such as a play, scene, or improvisation) that includes exposition, inciting incident, rising action, conflict, climax, falling action, and resolution.

elements of theatre—setting, character, conflict, dialogue, plot, and theme.

ensemble—a group of actors working together cooperatively and responsibly to achieve the group’s goal by means of problem solving and creativity.

enunciation—saying the vowels and consonants correctly.

event—something that happens at a certain place and time.

expression—the way the character says words to convey meaning and emotion.

facial expression—movements of the face that show feelings or ideas

focus—1. the intended point of interest on stage; 2. the actor’s ability to concentrate and keep attention fixed on the matter at hand.

genre—a type or category of theatrical work that is defined by a particular style, form, or set of characteristics and is often associated with a specific historical period or culture.

given circumstance—in the text of a play, the information that the playwright gives concerning character, setting, and relationships.

haiku—an unrhymed Japanese verse that consists of three lines, the first containing five syllables, the second containing seven syllables, and the third containing five syllables.

improvisation—a spontaneous performance during which the actors establish a story (including objectives, setting, character, and relationships) with minimal preparation.

improvisational blocking—refusing/denying/ignoring/rejecting an offering.


improvisational theatre—a structured, yet non-scripted scene or play.

inflection/pitch—the use of high and low sounds in speech to convey meaning and emotion.

levels—1. the placement of an object or person on the stage from upstage to downstage; 2. the vertical height of an actor or set piece from the stage floor.

lighting—using a variety of instruments to illuminate both the actors and sets on stage.

make-up—cosmetics applied to the face and body to enhance character.

mime—to act out a movement or the use of an object without words or props (totally silent).

monologue—a speech within a play delivered by a single actor alone on stage.

movement—physical action used to establish meaning and emotion to create character, including:

blocking—an actor’s traffic pattern on stage.

business—movements that mime or make use of props, costumes, and make-up to strengthen characterization.

facial expression—movements of the face that show emotions and/or ideas.

gestures—movement of a body part (arm, leg, hand, etc.) which is used to communicate.

posture/stance—the position of the limbs and the carriage of the body as a whole that communicate character.

whole-body movements—locomotive and non-locomotive uses of the body that communicate character.

nursery rhyme—a short song or poem for young children.

objective—the character’s wants, needs, and desires.

obstacle—what stands in the way of the character achieving his/her objectives.

offering (offer)—a suggestion (conveyed verbally or by means of movement) that is given by one actor to another to initiate or further an improvisation.

open—maintaining a body position in which the character’s face/frontal body can be seen by the audience in a proscenium or thrust-stage setting.


pantomime—conveying a story by use of expressive body and facial movements without speech, props, costumes, or sounds (instrumental music can be used as background).

pause—the moment of silence within a speech; used to show meaning or emotion and/or to develop character.

performance—a structured presentation of a theatrical work in front of an audience.

phrasing—the use of punctuation, pause, and word- or phrase-emphasis to create meaning and emotion.

play—a form of writing intended for live performance.

plot—a storyline that includes exposition, inciting incident, rising action, climax, and resolution of a conflict.

production—a structured performance created and presented for an audience.

props/properties—objects used by an actor on stage.

projection/volume—the appropriate use of loud and soft sounds to convey meaning and emotion to the entire audience.

pronunciation—the correct way to speak or articulate a word.

rate/cadence—the speed with which words are spoken to convey meaning and emotion.

readers’ theatre—an orchestrated reading that relies primarily on vocal characterization and does not include the elements of visual theatre (such as costuming, sets, or blocking).

rehearsal—the period of time used to prepare a play for performance in front of an audience.

resonance—fullness of voice created by vocal vibrations.

scene—a subdivision of a play, characterized by a single situation or unit of dialogue.

set—the on-stage space and its structures (scenery), within which the actors perform and that represent the setting of the play.

setting—the time, place, and atmosphere in which the scene or play occurs.


side-coaching—comments made by the teacher during an activity that affirm or correct students in the achievement of objectives, especially in creative dramatics.

sound—the process of using music, audio effects, and reinforcement to enhance setting and mood.

stage—the place where the actors perform.

status—the importance (or lack thereof) of a character or object on the stage.

subtext—an implied meaning or unspoken complication that generally runs concurrently with the main plot.

sustainability—an actor’s sustained portrayal of a character—with no noticeable break or lapse—throughout a performance.

stage geography—physical areas of the stage labeled center stage, down center, up center, stage right, stage left, up stage left, down stage left, up stage right, and down stage right.

stage picture—a visual image created by using any combination of set, costume, props, lighting, and character placement.

style—the distinctive characteristics or techniques of an individual artist, group, or period as seen in a work of theatre.

tactics—the possible ways the character can overcome obstacles.

technical design—the plan (based on an overall concept) for costumes, set, props, lighting, sound, make-up, and special effects in a production.

text analysis (script)—the examination of the theatrical elements of a text to gain greater understanding both of the theme and of the character which the actor portrays.

theatre (or theater)—1. the place where plays are presented to an audience; 2. the art of creating performances.

theatre etiquette—appropriate behavior of audience, performers, or technicians in a variety of theatrical settings.

theatre text (script)—any written text used as a script.

theme—the central idea of a play.

three-dimensional character (round)—a character that is developed emotionally, psychologically, and physically.


venue—a place where a performance is held.

vocal placement—resonating the voice in different parts of the body, such as chest, head, nose, throat.

voice—vocal qualities that are used to convey meaning and emotion in order to create character; these include:

articulation—the clear delivery of speech or language utilizing all of the articulators (lips, teeth, tongue, soft and hard palettes, larynx, and glottis.)

breath support—the use of the diaphragm in correct breathing.

enunciation—saying vowels and consonants correctly.

expression—the way the character delivers words to convey meaning and emotion.

inflection/pitch—the use of high and low sounds in speech to convey meaning and emotion.

projection/volume— the appropriate use of loud and soft sounds to convey meaning and emotion to the entire audience.

rate/cadence—the speed with which words are spoken to convey meaning and emotion.

pause—the moment of silence within a speech; used to show meaning or emotion and/or to develop character.

pronunciation—the correct way to speak or articulate a word.

word emphasis—selection of the most important word or words in each phrase or sentence to create meaning, show emotion, and convey character (pointing up the word).

Note: The entire glossary for theatre is included here as a resource for teachers and students.


Documents

Introduction - Web view—using the diaphragm muscle to support the breath. ... —locomotive and non-locomotive uses of the body that ... pause, and word- or phrase-emphasis to create