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Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

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Page 1: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre
Page 2: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Reading, Writing, Speaking and Listening in the Arts

Close Reading in Musical Theatre

Page 3: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Workshop Goals

• Understand the increased text complexity demands of the CCSS and the value of teaching students to read closely in ELA and the arts

• Make connections between the CCSS, VAPA standards, and close reading

• Experience a close read• Practice the steps for planning a close read

Today we will…

Page 4: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

CCSESA Arts Initiative’s Vision

“Visual and performing arts are an integral part of a comprehensive curriculum and essential for learning in the 21st century.”

CCSESA (2014)Integrating Arts Learning with the

Common Core State Standards

Page 5: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

CCSESA Arts Initiative

1. Enriched and affirming learning environments2. Empowering pedagogy3. Challenging and relevant curriculum4. High-quality instructional resources5. Valid and comprehensive assessment

(continues)

Eight Principles

Page 6: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

CCSESA Arts Initiative

6. High-quality professional preparation and support

7. Powerful family and community engagement8. Advocacy-oriented administrative and

leadership systemsCCSESA (2014)

Integrating Arts Learning with the Common Core State Standards

Eight Principles (continued)

Page 7: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

CCSESA Arts Initiative Website

http://www.ccsesaarts.org/

Page 8: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Warm Up

• What do the following books have in common?- Oliver Twist

by C. Dickens- Little House on the Prairie

by L. Ingalls Wilder- The Adventures of Huckleberry Finn

by M. Twain• Record your thoughts and be

prepared to share.

Page 9: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Surprise!

640 LLexile Measure

760 LLexile Measure

680 LLexile Measure

Retrieved from http://www.lexile.com/analyzer/

Page 10: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

College and Career Readiness

Read and comprehend complex literary and informational texts independently and proficiently.

CCR Reading Anchor Standard 10

Page 11: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Three-Part Model for Measuring Text Complexity

© C

opyr

ight

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0. N

ation

al G

over

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Ass

ocia

tion

Cent

er fo

r Bes

t Pra

ctice

s an

d Co

unci

l of C

hief

Sta

te S

choo

l Offi

cers

. All

right

s re

serv

ed. Levels of meaning,

structure, language conventionality and clarity, and knowledge demands

Readability measures and other scores of text complexity

Reader variables (such as motivation, knowledge, and experiences) and task variables (such as purpose and the complexity generated by

the task assigned and the questions posed)

Page 12: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Upward Shift in Lexile Ranges

Fisher (2014)

Page 13: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

What Makes Text Complex?

• Levels of Meaning or Purpose • Structure• Language Conventionality and Clarity• Knowledge Demands

Qualitative Dimensions

Page 14: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

CCSS Appendix A: Text Complexity

• Browse the four qualitative factors of text complexity from Appendix A.

• Consider the continuum of difficulty within each factor.

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Close, Attentive Reading

“Students who meet the Standards readily undertake the close, attentive reading that is at the heart of understanding and enjoying complex works of literature. They habitually perform the critical reading necessary to pick carefully through the staggering amount of information available today in print and digitally.”

National Governors Association Center for Best Practices and Council of Chief State School Officers (2010)

Common Core State Standards for ELA/Literacy

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Study the CCSS for ELA/Literacy

Study the CCSS for ELA/Literacy: Reading Standards for your grade level/span or content area.• Highlight standards that require close reading of

text and/or citing evidence from text.• Calculate the percentage of reading standards

that require close reading of text.• Share your highlights with a partner and “support

your claim.”

Reading Standards

Page 17: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Integrating the Arts

“When the arts are integrated, learning is experienced in a variety of ways, allowing every student to be successful in various content areas.”

Donovan & Pascale (2012)Integrating the Arts Across Content Areas

Page 18: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Integrating the Standards

• Read the VAPA Standards in the Component Strand 1.0 Artistic Perception—Theatre for your grade level/span.

• Highlight the words and phrases that tell what students are expected to know and do for each standard.

VAPA and CCSS Reading Strand

Page 19: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Quick and Easy Access to CA’s CCSS Standards

• On Your iPhone® or iPad®Available on the App Store

• On Your Android™Available on Google Play™ (Google Play is a trademark of Google Inc.)

• At Your Desktopwww.scoe.net/estandards

• On Your Smartphonewww.scoe.net/estandardsmobile

ELA/Literacy, ELD, and Math

Page 20: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

eStandards Keyword Search

• Select CCSS ELA & Literacy• Select Grade Level Standards• Select All Grades• Enter keyword, select All Strands• Keywords: vocabulary, plot, theme,

pacing, mood, metaphor

Launch the eStandards app

Page 21: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

What Does It Mean to Read Closely?

“Close reading of text involves an investigation of a short piece of text, with multiple readings done over multiple instructional lessons. Through text-based questions and discussion, students are guided to deeply analyze and appreciate various aspects of the text, such as key vocabulary and how its meaning is shaped by context; attention to form, tone, imagery and/or rhetorical devices; the significance of word choice and syntax; and the discovery of different levels of meaning as passages are read multiple times.”

Brown & Kappes (2012)A Primer on Close Reading of Text

Page 22: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Close Reading in Drama

“One way to deeply study works of art in different disciplines is to examine multiple renditions of the same work. Perhaps the most obvious example is drama. Students can study closely a specific act or scene, and then observe how it has been played by different directors and actors. The Core Standards in Literacy require that students can compare the evidence they see in the script, and observe how different productions draw and interpret the script.”

David Coleman (n.d.)Guiding Principles for the Arts, Grades K–12

Page 23: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Features of Close Reading

• Short, worthy passages• Students rereading• Limited frontloading• Text-dependent questions• Read and annotate• After-reading tasks

Fisher & Frey (2013)Rigorous Reading

Page 24: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Types of Text-Dependent Questions

Opinions, Arguments, Intertextual Connections

Inferences

Author’s Craft & Purpose

Vocabulary & Text Structure

Key Details

General UnderstandingsPart

Sentence

Paragraph

Entire text

Across texts

Word

Whole

Segments

Fisher & Frey (2013)

Page 25: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Types Defined

• Browse the “Text-Dependent Questions” document from the Wisconsin Department of Public Instruction.

• Note the definition of each type of text-dependent question.

Page 26: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Instructor Model

“We are going to continue in our study of ‘Transformation’ by closely reading lyrics from the musical Wicked.”

Page 27: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Participate in a Close Read

• Read the lyrics to “Defying Gravity” from the musical Wicked.

• Annotate the text:- Underline major points- Circle unclear words and phrases- In your own words, write notes in the

margins restating the author’s ideas

Page 28: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

General Understanding

• Who is singing these lyrics?• Based on the first and third stanzas, what do you

think has happened?• Without yet knowing who Glinda is, what

can you say about her character’s role in what has happened?

With a partner, discuss:

Page 29: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Key Details

• What concerns does Elphaba have about venturing out on her own?

• What details in the lyrics support your answer?

With a partner, discuss:

Page 30: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Reread: Deeper Focus

• Each person in the circle reads one stanza aloud. Add pauses, inflections, intonations, and emphasis (prosody) to the text.

• How does this change your initial understandings of the lyrics?

• Add to your annotations.

Circle up in groups of six.

Page 31: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Vocabulary

• What does Elphaba mean when she states, “Some things I cannot change; But till I try I’ll never know”?

• What is the tone of the lyrics? What words and phrases support your claim?

• Add to your annotations.

With your table group, discuss:

Page 32: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Structure

• Read the lyrics within the context of the script.

• With your table group, discuss:How does this change or strengthen your understanding of what is happening to the main character, Elphaba?

• Add to your annotations.

Page 33: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Structure

• Read the stage directions within the script and consider Elphaba’s point of view.

• How do the stage directions help make the lyrics in the final stanza so memorable?

Page 34: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Inferences

• To whom is Elphaba referring when she states, “To those who’d ground me; Take a message back from me”?

• What other parts of the lyrics or script support your claim?

• Add to your annotations.

With your table group, discuss:

Page 35: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Opinion

• Choose one line from the lyrics that best conveys what you know so far about Elphaba as a character and her transformation.

• Be prepared to “perform” that line for your group.

Page 36: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Diverse Text Types

https://www.youtube.com/watch?v=WnXAl1ntt_4

Video: The Wizard of Oz, 1939

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Diverse Text Type

• Using your knowledge of the 1939 film The Wizard of Oz, explain the juxtaposition between the film version of the Wicked Witch of the West and Elphaba from Wicked.

• Add to your annotations.

Page 38: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Intertextual Connections

https://www.youtube.com/watch?v=JqOqo50LSZ0

Video: Dr. Maya Angelou recites “And I Still Rise”

Page 39: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Intertextual Connections

• What comparisons can you make between the poem, the lyrics, and Elphaba’s character?

• What contrasts can you make?

Page 40: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Culminating Tasks

After reading and discussing the lyrics to “Defying Gravity,” create a tableau, collage, or monologue that defines the consequences, positive and negative, of Elphaba’s decision to transform herself.

What is the role of choice in transformation?

Page 41: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Reflect on the Model

• Consider the following prompt:What changed your idea of the lyrics over the course of the close reading model?

• Be prepared to share.

Page 42: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Extension Ideas

• Read an accompanying excerpt from the book Wicked.

• Listen to the song “Defying Gravity”• Watch the Tony Awards performance of “Defying

Gravity” on YouTube• Closely read other related text with same theme• Closely read other parts of the script that

support theme and give deeper meaning • Compare/contrast a unit of study when

transformation is not a choice

Page 43: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Key Considerations

• Different readings have different foci• Questions we ask the readers during the

readings are a scaffold• Direct students to update annotations• Include collaborative conversation• Listen to students to figure out how and when to

move on with lesson• End with a task aligned to the big idea of the

text/unit

Page 44: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Creating a Close Reading

• Choose a short, worthy passage- If there’s a staple, it’s too long!

• Plan for re-reading- Where’s the evidence? - Different foci for each read

• Limit front-loading and preteaching vocabulary- Give students the chance to struggle a bit

• Design text-dependent questions- Part to whole

• Require students to “read with a pencil”- Independently read and annotate

• Incorporate after-reading tasks

Page 45: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Annotation: Some Suggestions

• Underline the major points. • Circle words or phrases that are confusing or

unknown to you.• Use a question mark (?) for questions that |

you have during the reading. Be sure to write your question.

• Use an exclamation mark (!) for things that surprise you, and briefly note what it was that caught your attention.

• (continues)

Page 46: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Annotation: Some Suggestions (continued)

• Draw an arrow ( ) ↵ when you make a connection to something inside the text, or to an idea or experience outside the text. Briefly note your connections.

• Mark EX when the author provides an example.• Numerate arguments, important ideas, or

key details and write words or phrases that restate them.

Page 47: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Ideas for After-Reading Tasks

• Write a monologue• Create a piece of visual art• Represent the topic/subject through a tableau• Reenact a scene• Make a connection to another piece of

music/play/movie• Write a song/poem

Connected to the Arts

Page 48: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Support for During- and After-Reading Tasks

• Literacy Design Collaborative—Writing task templateswww.ldc.org/how-ldc-works/modules/what-task

• Musial Theatre Internationalhttp://www.mtishows.com

• CCSESA Arts Initiative Websitehttp://www.ccsesaarts.org

Page 49: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Connect to the Classroom

Opinions, Arguments, Intertextual Connections

Inferences

Author’s Craft & Purpose

Vocabulary & Text Structure

Key Details

General UnderstandingsPart

Sentence

Paragraph

Entire text

Across texts

Word

Whole

Segments

Fisher & Frey (2013)

Page 50: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Planning for Your Classroom

Review the 5-day lesson Plan for Wicked.

Page 51: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

Planning for Your Classroom

• Locate the scripts for West Side Story and The Little Mermaid.

• Choose one of these songs to plan a close read for your classroom:- West Side Story, “Something’s Coming”- The Little Mermaid, “Part of Your World”

• Participate in a guided planning process.

Page 52: Reading, Writing, Speaking and Listening in the Arts Close Reading in Musical Theatre

• Common Core State Standards Initiativewww.corestandards.org

• California’s Common Core State Standards www.cde.ca.gov/re/cc/

• Smarter Balanced Assessment Consortiumwww.smarterbalanced.org

• Achieve the Corewww.achievethecore.org

CCSS Resources