Play games:
I.
Name games
II.
Physical and Vocal warm-ups
III.
Getting use to moving about the space and working together
Your life story:
I.
I want to know something about you so Im inviting you to share a story
about yourself (or your whole life story!)
II.
You are allowed to use any form you like:
Story, oral presentation, solo performance, interpretive dance,
song, mime, shadow theatre, be creative! Have fun! THIS WILL
NOT BE MARKED!
Week 2-3 (10%): Were going to explore some Improvisation (yes this means more
games youre welcome.) L.O. 33-36
We will be covering several important skills while working towards preforming our
completed and staged play. Some of the skills will include: Speech, Acting, Theatre
Studies, and Theatre Tech. Some of specific elements we will work on will include:
I.
II.
III.
IV.
Youre assessment of this unit will consist of youre work within each unit leading up to and
including our performance of the play.
Week 15-19 (30%): Now that weve successfully put on a play (phew!) Lets write our own
stuff! We will be looking at: L.O. 1-13
Basic structure and format of a play: plot, character, objectives, and character
conflict (we will be very familiar with all of this by this point, dont worryHakuna Matata!)
We will be brainstorming ideas and writing our own scenarios to be performed!
And giving and accepting constructive criticism.
****Work thus far in the unit leading up to character sub-unit: The play has been cast, we have read
and discussed the script, and we have began some scene study work.
Lesson 1: Fun with Laban!
Objectives:
Activities:
Evaluation
Acting 2: Create, select and sustain physical details of the character from scripted
material
Laban technique class: Review Laban effort actions from Drama 10
Guided Laban exercise to explore space, weight, time, and flow of their individual
character
Formative: In groups of 2-3 students improvise a meeting between characters
with their exaggerated character bodies. Teacher will observe the work of the
students within these interactions
Objectives:
Activities:
Evaluation:
Objectives:
Activities:
Evaluation:
Objectives:
Activities:
Evaluation:
Objectives:
Activities:
Evaluation:
Objectives:
Activities:
Evaluation:
Now that students have explored interior monologues have students write their
subtext for each spoken line
Perform scene as a whole using subtext inform their performance and
interactions within the scene.
Formative: Observe their use of subtext within their scene, respond to teacher
and student questions and critiques.
Summative: Hand in their scripts with subtext notated in the scene for marking
(based on rubric), they will receive feedback from the teacher as well.
Objectives:
Activities:
Evaluation:
Objective:
Activities:
Evaluation:
S&S Chart for Unit Plan: Play Unit (Character Work: Exploration and discovery of a complex and well-defined CHARACTER)
Grade: Drama 20 ****Work thus far in the unit leading up to character sub-unit: The play has been cast, we have read and discussed
the script, and we have begun some scene study work.
Lesson # 1
Lesson # 2
Lesson # 3
Lesson # 4
Fun With Laban!
Character Support Group.
Ghost of Character Past,
Character id: I WANT, I WANT, I
Title of
Present and Future.
WANT!!!
Lesson
Lessons
Objectives
Activities
Evaluation
- Reviewing scenes
- Discuss importance of objectives for
character (show examples) and mark
them in script
- Do objective driven scene: students
act out scene replacing lines with I
want objectives, saying what they
want from the other character in
replacement of scripted lines
maintaining structure of the scene
Lessons
Objectives
Activities
Evaluation
Grade: Drama 20
Date:
Lesson # 5
Commentary! The
Musical.
Lesson # 6
Read between the lines, man!!
Lesson # 7
Im a m-model, if you know what I mean
Lesson # 8
Im ready for my close up,
Mr. Deville.
Day 1
- Discuss the importance of costume for
character identity
- Review makeup from Drama 10 and sketch
makeup chart.
- Sketch character costume ideas based on
understanding of character work so far
- Students explore costume room for
available pieces that work for their sketch
Day 2:
- Students do a catwalk fashion show and
interview (in character) discussing their
costume choices to interviewer (the teacher).
Summative: Students will turn in sketches for
marking and comments with pre-defined
rubric.
In this 2-week unit we will explore the key components and practical application of character development.
Prior to this unit we have explored scene study, script work and analysis, and improvisation necessary to
begin our work on character building. Following this unit we will be able to immerse ourselves in play
development, blocking scenes, set and costume design and ongoing objectives and relationship for the
performance of our play.
Break down of Character Unit:
Character Support Group- Explore Character choices within an Improv Scene (1 lesson)
Ghost of Character Past, Present, and Future- Who are you, really? (1 lesson)
Evaluation: 10% - Submit character background write-ups
Subject: Drama 20
Lesson Objectives:
Main- Acting 2: Create, select and sustain physical details of the character from scripted material.
Supplementary- Improv 36: Integrate improvisational skills learned, in planned and spontaneus improv.
Acting 7: Demonstrate the ability to play a character from the characterspoint of view
Acting 10: Critique the work of self and others through observation of specific detail
Materials:
Laban Effort Action Chart, pen/pencil, paper
Time:
Introduction/Warm-ups:
Play Captains Coming to get them moving
o Sub motifier: Any game that has them physically active and listening to
instructions will work well.
Teacher guided physical warm up and stretch
5 min
5 min
10 min
Check in:
Review Laban Effort Actions with the class from Drama 10
15 min
Activities:
Teacher lead Laban exercise allowing students to explore the various elements of
space, weight, time, and flow and how they work in conjucntion with one-another.
Introduce character focus- have students explore different elements of character body
as they may pertain to their own character.
Challenge students to go fully into exaggerated character body and to begin interacting
with the other characters and the space around them.
Guided Day in the life of exercise where students go through a day for this
character from waking to sleeping.
Have students slowly dial down their exagerrated character bodies into subtle physical
attributes of the character.
Have students write down their discoveries and laban action elements, what worked
and what could use some more exploration, and what they learned about their
character from the day in the life exercise
Closure:
Have students return to the circle and share the most exciting thing they discovered
about their character and, if they know, what type of character body they have
(wringer, floater, slasher, etc.)
Student Evaluation:
Formative:
- Students do day in the life exercise which
teacher observes and makes note of
Misc/Business:
10 min
5 min
15 min
5 min
5 min
5 min
EFFORT
PRESS
FLICK
WRING
DAB
SLASH
GLIDE
Thrust (punch)
Float
TIME
Sustained
Sudden
Sustained
Sudden
Sudden
Sudden Sustained
Sudden
Sustained
SPACE
Direct
Indirect (flexible)
Indirect
Direct
Indirect
Direct
Direct
Direct Indirect
FORCE
Strong
Light
Light
Light
Strong
Light
Strong Light
Light
As in pressing, flicking can be performed in kneeling, sitting, or lying positions and be used as a
transition from one position to another.
g. Repeated flicking produces a fluttering movement. When the whole body is involved, there is a
sense of intense lightness and buoyancy. In pressing there is a battle with outside resistance, in
flicking we can yield to the feeling of lightness, thereby indulging in the weight.
h. Flicking is flexible in the use of space and may be multi-directional. It is crisp and light.
i.
The lightness and speed of flicking is sometimes referred to as fine touch. Other fine touch
actions include light stirring, floating, gliding, dabbing, wafting, and tapping.
Examples of wringing where concrete resistance by an object is offered are: washing, knotting,
twisting or untangling ropes. Where no concrete resistance exists, strong counter-tension is
necessary and can be felt throughout the body.
4. Dabbing: Sudden, Direct, Light. The basic effort of dabbing is usually performed with free flow but
can, when necessary also be performed with bound flow.
a. This action is clearly felt in the hands as in a painter dabbing at a canvas or in typing. Try
dabbing with the right side leading across the body, diagonally backwards, over the opposite
shoulder. Repeat with the left side leading.
b. Dab with the feet. It is easy to quickly point the heels or toes. Try in all directions and in all
zones.
c. Try with the knees, hips, shoulders, head, elbows, chin, back, and chest. Take plenty of time to
experience dabbing in all these parts of the body. Try simultaneous and alternate movements.
d. Try the action with steps. Knees can dab upwards and toes or heels downwards.
e. When dabbing at a concrete object 9canvas, typewriter), we experience resistance. However,
dabbing in the air requires our muscles to produce the necessary counter-tension which can be
felt throughout the body even if only one finger is involved in the action.
5. Slashing: Sudden, Flexible, Strong. Slashing is usually performed with free flow which tends to fade
out into floating.
a. A good pathway in which to experience the feeling of slashing is from high forward, across the
body to downwards, outwards, and backwards. One arm should lead the effort. Then change to
the other.
b. Try the arms slashing separately in all directions.
c. Now try each leg separately.
d. Continue with all the possibilities mentioned for the other actions, i.e. limbs separately or
together, kneeling, sitting, lying or standing; all directions, including inwards and outwards and
moving in different zones.
e. Use slashing as a transition from one position to another.
f. Large jumps give good opportunities for slashing movements of the legs, arms or trunk. Slashing
aimed at a concrete object encounters resistance.
6. Gliding: Sustained, Direct, Light. Gliding is usually performed with bound flow.
a. Imagine you are smoothing something horizontally, the palms of the hands parallel with the
floor or vertically, with the palms facing forward. Or again, let the palms face inwards as one
removes imaginary cobwebs in front of the body. The most important zone is across the body
diagonally forward high but, as with other efforts, you must take the exercise into all zones, all
directions, using different parts of the body, some simultaneously, some alternately.
b. Alternate legs can glide over the floor as steps or gestures through space.
c. Gliding with the trunk results in a smooth swaying movement.
d. Remember it can also be used as a transition from one position to another. In gliding along a
concrete object we meet with resistance. Gliding in the air brings about a counter-tension felt
throughout the whole body, giving the feeling of controlled boundness. As a result, the
movement can be stopped at any given moment. Bound movements in the air rely on the
antagonistic muscles to control the action. Other actions tending to be bound are those of
wringing and pressing and their derivatives. Thrusting can be performed with bound or free
flow. The action of gliding fights against Space but indulges in Weight and Time.
7. Thrusting or Punching: Sudden, Direct, Strong. Can be performed with bound or free flow.
a. Try to make a fist of the hands and punch forcibly at some imaginary object. The main zone for
this exercise is punching with one arm and fist across the body attacking a target deep (low)
backward
K. McPhail 2011
Subject: Drama 20
Lesson 5: Commentary!
The Musical!
Unit: Play
Topic: Subtext.
Instructional Strategies:
Grouping Strategies: Scene groups based on
Script.
K. McPhail 2011
DAY 1
Introduction/ Anticipatory set/Warm-ups:
-> Teacher guided stretching, physical warm-up, and vocal warm-up.
-> Play Game: Fortunately/Unfortunately.
-> Choose a partner; one is A, one is B. A starts a story that begins with
fortunately. B continues the story with Unfortunately. (Example: A- Fortunately I won
the lottery. B- Unfortunately I lost the ticket. A-Fortunately my brother found it in his
drawer.) And so on. Switch after a while. ** From Improvisation text
Time:
Check in:
-> Refresh main objectives and I want statements with students.
-> Subtext: What the words mean to the character who is speaking, which may
not be what the words say on the surface. ** Definition form Curriculum Support
Resource
5 mins.
Activities:
-> Relate main objections and I want statements to subtext. Discuss subtext in the
context of interior monologue. Introduce activity for the next two days.
-> Go through 3 script examples and get students to discuss amongst the class what
might be the subtext of their characters dialogue.
-> Get students to pick out different scenes that are around 3 minutes in length that
involve two or three characters. (No character should be used twice, exception may
apply. Use discretion.)
-> Students film scene in groups. Two groups together -> One group films the other
groups scene, and then they switch. (Students are to leave a pause after every line, even
if their characters cut each other off.) Edit video if necessary.
-> Once video is complete, have students go through their scenes and write possible
subtext on their script for the scene they just performed.
Closure/Debrief:
-> Gather students and ask about any issues they may have with what subtext their
characters may have.
DAY 2
Introduction/ Anticipatory set/Warm-ups:
-> Teacher guided stretching, physical warm-up, and vocal warm-up.
-> Play Game: Gibberish.
-> Choose a partner; one is A, one is B. Each thinks up a situation or
problem, and then, using only gibberish (no gestures), try to communicate their problem
to their partner. A begins.
-> Next round. Try communicating either the same or a different problem,
only using numbers. B begins.
-> Next round. Get in groups of four or five. As cave people, one chosen
person will have to explain using gibberish and gestures to explain to the rest of the
group something strange they have just seen. Other group members use gibberish to ask
questions in order to find out more information. *** Improvisation text.
Check in:
10 mins.
10 mins.
5 mins.
5 mins.
5 mins.
20 mins.
15 mins.
5 mins.
10 mins.
20 mins.
K. McPhail 2011
-> See if all of them have their scene subtext written in their script. Ask if they had/have
any troubles with subtext still.
Activities:
-> Get students to look over their script subtext.
-> With their scene partners, they will be dubbing over the video with their
subtext/interior monologue of their scene out loud as the video plays. The video will be
on mute. (If the students find this too difficult or over-whelming. The other option is to
play they video with sound, and then pause it, and have the students reenact the few
lines with their subtext.)
Closure/Debrief:
-> Discuss with the class what they have learned.
Student Assessment/Evaluation:
Formative: Students work within commentary
exercise. Do they understand and can they
implement interior monologue.
5 mins.
40 mins.
5 mins.
Notes:
- There is a rubric to mark students on work.
Lesson References:
- Alberta Education. Curriculum Support: Teacher Resource Manual. Drama High School. 1989.
- Commentary! The Musical image from -> http://4.bp.blogspot.com/wcTZ5rZ0f8Y/UMa3M2P1h4I/AAAAAAAATSA/Zh12Shmvs0M/s1600/commentary.png
- Improvisation. Learning through Drama. By: David W. Booth and Charles J. Lundy. 1985.
Lesson Reflection:
Subject: Drama 20
Lesson Objectives:
Acting
1. Analyze a ascript for explicit character clues
Improv
33. Sustain a single character in a variety of situations
Costume
The student will be able to:
1. Demonstarte understanding of the purpose of costume
3. Recognize the importance of artistic unity in costume design.
6. Demonstrate understanding of the value of sketch as a tool in creating and communicating ideas in costume design.
8. Prepare rough costume plot based on the script
Makeup
The student will be able to:
9. Demonstate understanding of symbolism and psychological implications of color, txture, line and shape
10. Prepare makeup chart for a specific character. (review)
ICT Outcomes:
F3 4.3. Respect ownership and integrity of information
P3 4.2. Support communication with appropriate sounds, images, and music
C5 4.2. Participate in a variety group formats
Materials:
Paper, pencils, pencil crayons, markers, glitter glue, other art supplies, music, camera, costume pieces.
(Etc.)
Time:
Day 1:
Introduction/Warm-ups:
-This is a ____
Students will arrange themselves in a circle. The object of this game is to pass as many objects simalatiously
without getting confused or making mistakes. The objects will be passed starting from the teacher to the students
starting on the teachers right hand side. It will be the teachers job to introduce new objects to the circle.
The interacation will go like this:
Person 1: This a Pen.
Person 2 and Person 1: A What?
Person 1: A pen
Person 2: Oh a pen.
Eventually everyone will be talking at the same time as more objects are introduced to the circle
- Check in
- Review what we have covered in Character design so far
-Discuss the importance of costume for character identity
-Review makeup from Drama 10 and sketch makeup chart with face handout
10 mins
10 mins
Activities:
-Sketch character costume ideas based on understanding of character work so far
(ideal character costume- not necessarily what will be staged)
20 mins
-Students explore costume room for available pieces that work for their sketch
30 mins
Closure:
-Ask the students to return to the circle and go around and share one thing they learned today as a result of the
days activities.
10 mins
10 mins
Check in
- Review costume choices from the last class, prepare for fashion show
5 min
Activities:
-Students do a catwalk fashion show (in character body) and interview (in character voice) discussing their
costume choices to interviewer(the teacher). ie Who are you wearing and why?
-During the time the students are drawing their costumes and looking for costume pieces the teacher will set up a
photo booth for the students to use in coastume/ in character after the catwalk. The teacher will take pictures of
the students in various poses to use in discussion later and receive feedback from both the teacher and
classmates. (either instantaneously or during the next class)
Closure:
-Ask the students to return to the circle and go around and share one thing they learned today as a result of the
days activities.
-Student feedback of what works and does not work for photos of costume.
-Remind students to hand in their costume sketches before leaving class
-Clean up any messes and take down photobooth
Student Evaluation:
-Summative:
Students do a catwalk fashion show (in character body) and
interview (in character voice) discussing their costume
choices to interviewer. ie Who are you wearing and why?
Students will turn in sketches for marking and comments
with predefined rubric.
Lesson Critique:
Misc/Business:
40 min
15 min
10 min
Category
Selection of Costume
Questions
Total:
/9
Plus
(3)
Equals
(2)
Minus
(1)
(Exceeds expectations)
(Meets expectations)
Student provided
concise, detailed answers
with a considerable
amount of depth when
posed questions about
the reason for choosing
their costume pieces.
Student took a
considerable amount of
risks.
The amount of growth
shown by the student
exceeds expectations.
Student provided
answers of sufficient
depth when posed
probing questions
about the reason for
choosing their costume
pieces.
Student took a few
risks in the pieces they
chose.
Student shows a
sufficient amount of
personal growth
Students answers
were lacking in depth
when posed probing
questions about the
reason for choosing
their costume pieces.
Student took no risks
in the costume pieces
they chose.
Student shows
extremely little or no
personal growth.
Student: __________________
Excellent (4)
Good (3)
Satisfactory (2)
Needs
Improvement (1)
Little to no
distinction
between character
and actor, and
does not
demonstrate how
costume evokes
an emotional
response from
audience.
Understand the
Purpose of
Costume
Clear distinction
between character
and actor, and
demonstrates how
a costume evokes
an emotional
response from
audience.
Obvious distinction
between character
and actor, but
missing some
elements. As well,
demonstrates how
a costume evokes
an emotional
response from
audience.
Adequate
distinction
between
character and
actor, and
demonstrates
how costume
can evoke an
emotional
response from
audience.
Artistically Unified
Costume Design
Aesthetic use of
color, shape,
texture, and line of
costumes. As well
as exceptional
creative growth.
Thoughtful use of
color, shape,
texture, and line of
costumes. As well
as strong creative
growth.
Adequate use of
color, shape,
texture, and line
of costumes. As
well as
sufficient
creative growth.
Little to no use of
color, shape,
texture, and line of
costumes. As well
as little to no
creative growth.
Costume
Plot(rough) and
Sketch
Highlighted all
details in script to
influence plot.
Sketch is used
appropriately to
communicate ideas
for costume design.
Sketch is
completed in
exceptional detail.
Highlighted many
details in script to
influence plot.
Sketch is used to
communicate ideas
for costume design.
Sketch is
completed in
detail.
Highlighted a
few details in
script to
influence plot.
Sketch touches
on ideas for
costume design.
Sketch is
completed in
minimal detail.
Highlighted little
to no details in
script to influence
plot. Sketch does
not communicate
ideas for costume
design. Sketch is
incomplete.
Make-up chart
clearly shows
symbolic and
psychological uses
of color, texture,
line, and shape.
Make-up chart
shows strong uses
of color, texture,
line, and shape.
Make-up chart
shows minimal
use of color,
texture, line,
and shape.