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Teaching Creativity and the Arts 2

Student Name: Emma McMahon

The teaching and learning context: School demographics, resources available, class particulars and students’ previous experiences:

This unit has been devised around the following assumptions: School: A co-‐educational government school in the inner west. Students: Are from diverse backgrounds and have studied drama for one term in Years 7 and 8 looking closely at the pre-‐modern theatre styles: Greek Theatre; Horror and Melodrama. Students are likely to have chosen drama as an elective in Years 9 and/or 10 where they would have explored at least one Shakespeare play/performance (Yr9) and undergone an in-‐depth character study and explored drama as it relates to the cross-‐curriculum priorities and gender (Yr10). Resources: Classes are taught within a well-‐equipped theatre and theatre classroom (classroom next to theatre space). The classroom has a DVD player and monitor. The theatre has a lighting grid; sound equipment and several prop and costume rooms/areas.

VCE Unit 1 Theatre Studies No of students: 18

Length of the unit: One semester (20 weeks)

Overview of rationale and structure of the 3-‐week teaching period, linked with the aims and purpose of the specific Unit. Introduction statement

Unit 1 focuses on the application of acting and other stagecraft*1 in relation to theatrical styles of the pre-‐modern era (identified as prior to 1920). Students work with playscripts from the pre-‐modern theatre era in both their written form and in performance (Areas of Study 1 & 2). Through study of playscripts, contribution to the production of plays, and the application of stagecraft, students develop knowledge and understanding of theatre and its practices. Students also study theatrical and performance analysis and apply these skills to the analysis of a play in performance (Area of Study 3).

For this assessment I have chosen to focus on the first three weeks of the unit plan and have included one lesson plan from each week. The first three weeks of the unit encompass the planning*2 stage of the production process and incorporate key knowledge and key skills from Areas of Study 1 and 2, Outcomes 1 and 2. These initial lessons serve as an introduction to the content and outline the learning that the students can expect to obtain and the assessment tasks expected from them during the unit. These first few lessons are also an opportunity to ascertain prior learning (there maybe some students who have not followed a drama path through the school); introduce the playscripts we will be focusing on and begin our exploration into the history of theatre in the pre-‐modern era.

The key knowledge and key skills I will be addressing in the 3-‐week teaching period are as follows:

emma2015-10-08 10:12:49

--------------------------------------------2.1 Evidence of my knowledge and understanding of the VCAA Theatre Studies study design

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Area of Study 1_Pre-‐modern Theatre/Outcome 1 (on completion of this unit the student should be able to identify and describe the distinguishing features of pre- ‐modern theatre playscripts)

Key knowledge • Characteristics and features of three or more pre-‐modern theatre periods (lessons 2 & 3)• Theatre contexts from the pre-‐modern era (all lessons)• Use and application of theatrical styles, acting skills and stagecraft to shape performance of playscripts from the pre-‐modern era (lessons 2 & 3)• Approaches to creating and manipulating actor-‐audience relationships in the performance of playscripts from the pre-‐modern era (lesson 3)• Theatre terminology and expressions (lesson 2 & 3)

Key skills • Describe characteristics of theatre from the pre-‐modern era (lesson 2 & 3)• Research texts and contexts of playscripts (lesson 2)• Demonstrate knowledge of theatrical styles (lessons 1 & 2)• Describe actor-‐audience relationship (lesson 2)• Research and apply stagecraft other than acting to interpret playscripts (lesson 2)• Use theatre terminology and expressions appropriately (lesson 2)

And from Area of Study 2_Interpreting Playscripts/Outcome 2 (on completion of this unit the student should be able to apply acting and other stagecraft to interpret scripts from the pre-‐modern era) we will touch on the following. Deeper learning of the key knowledge and skills from Study 2/Outcome 2 will continue as the unit progresses and the students delve deeper into their practical exploration.

Key knowledge • Contexts of playscripts from the pre-‐modern era (lessons 2 & 3)• Theatrical styles from the pre-‐modern era (all lessons)• The role of the audience in the pre-‐modern era (lessons 2 & 3)• Acting techniques and stagecraft from a range of theatre from the pre-‐modern era, including ways of creating character, use of expressive skills, and use of

compositional skills (lesson 3)

Key skills 2. Apply expressive skills through acting and other stagecraft (lesson 3)3. Apply compositional skills through acting and other stagecraft (lessons 1 & 3)

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References:1. Stagecraft: “Acting; Design: costume; make-‐up; properties; set and sound; Design: lighting; Direction; Theatre technologies; Production management: publicity, marketing and stage management”. Taken from Theatre Studies Summary of Changes, p.1, h tt p : // www . vcaa . v i c . edu .a u / P ag e s/vc e /st ud i e s/t he atr e /t he atr e i nde x . as px

2. Planning: “The stages of the theatrical production process – planning, development and presentation – are useful ways of organizing the course”. Taken from ‘Advice for teachers”, p.5, h tt p : // www . vcaa . v i c . edu .a u / do c u m en ts/vc e /t hea tr e /t hea tr e st ud i e saft - ‐ 2014 . pd f

Study design (2014-‐2018) taken from h tt p : // www . vcaa . v i c . edu .a u / P ag e s/vc e /st ud i e s/t he atr e /t he atr e i nde x . as px

Areas of study to be covered:

The attached unit plan for semester one covers the three areas of study outlined in the Unit 1 Theatre Studies study design. Those areas of study are:1. Pre-‐modern theatre2. Interpreting playscripts3. Analysing a play in performance

On completion of each area of study students should be able to:

• identify and describe the distinguishing features of pre-‐modern playscripts (Outcome 1)• apply acting and other stagecraft to interpret playscripts from the pre-‐modern era (Outcome 2)• analyse a performance of a playscript (Outcome 3)

emma2015-10-08 10:13:47

--------------------------------------------2.1 Evidence of my knowledge and understanding of the VCAA Theatre Studies study design

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Suggested range of assessments to be used in the unit (and possible examples):

Summative assessment ( of learning) There are four summative assessment tasks set for this unit, which are attached as appendices. They are as follows:

1. History Report (20%)2. Written performance analysis (20%)3. Performance (Acting/Directing) (30%)4. Portfolio* (30%)

*I initially thought that to produce a portfolio might be too much work in one semester on top of the other assignments but on reflection decided that it worked as long as the assessments were spread out and some class time was provided to work on it. I also liked the fact that the portfolio’s learning outcomes pertained to all areas of study/outcomes in Unit 1.

As specified by the VCAA ‘Guide for teachers’ I have tried to provide in class time to work on assignments where possible. Please see the attached assessment sheets for examples of how these gauge student achievement of the intended learning outcomes.

Formative Assessment ( as learning) Self-‐assessment will also be integral to this unit through the form of an ongoing praxis enquiry journal/diary (either written or online). This will enable students to begin their journey as reflexive theatre practitioners and gain insight into their learning and development throughout the unit. It will also help students to become accustomed to recording their thoughts and ideas, which will help with the final portfolio expected of them at the end of the unit. This piece of work will not be graded.

Formative assessment (for learning) relating to group work and stagecraft will be ongoing.

NB: The study design states that at least one assessment task must be performance-‐based and at least one task must be written.

emma2015-10-08 10:16:16

--------------------------------------------2.3 Evidence of my knowledge of assessment.

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Semester 1, Term 1 & 2, Theatre Studies Unit 1, Year 11

WeekAreas of

Study

Stages (of production

process*)Focus Monday Tuesday Wednesday Thursday

13:30: 5 & 6 Double/Prac Warm ups. Getting to

know each other exercises. Begin to

recall/explore earliest theatre (ceremony and ritual) through group

ensemble work

(SEE LESSON PLAN 1)

Friday HOMEWORK RESOURCES

1

Pre-‐m

oder

n th

eatr

e

PLAN

NIN

G

Overview of following:-‐ Unit-‐ Assessments-‐ History pre-‐modern theatre periods

9:00:1 & 2Double/Prac

Warm ups. Unit Outline/Intro. Assessments

outline. Ascertain prior knowledge.Invite to Google

Classroom and/or Moodle unit

9:50: 2Single/Theory Overview Pre-‐

modern theatre. Timeline. Outline

ongoing praxis enquiry diary/log

Watch some/all of this version of Medea on

youtube https://www.yo utube.com/wat ch?v=OdtDeZZ4

RPk

reflection diary notes

3

2

6

7

Greek Theatre.

Introduce play #1

(Medea)


Begin to recall/explore Greek Theatre Conventions

Comedy; Tragedy.Plays and

playwrights of this period;

Introduce Medea playscript.

Start shared Padlet for terminology &

expressions.

( SE E LESSO N PLA N 2 )

9:50: 2Single/Theory

Looking at first playscript Medea: Short read thru. Plot; Characters

Add links to study notes on Google

Classroom

h tt p :// www .s pa r k n o t e s. com /lit/ mede

a

h tt p :// www . g r ade s ave r. com / medea

13:30: 5 & 6 Double/Prac

Warm ups; Creating pace exercise, etc as practical exploration of

chorus work. (see YouTube links) Medea

active read thru in pairs (Jason & Medea)

Contribute to Greek Theatre

Wordwall/ Padlet.

Watch modern Interpretations

5min video h tt p s:// www . y o u t ube . com / wa t ch?v= M l X i 8L f K v

- ‐ 0

Write up reflection in

diary

Creating Chorus exercises from National Theatre on pace h tt p s:// www .y ou t ube . com /w a t ch?v=y6an j5 T_ I 5k Leading: h tt p s:// www .y ou t ube . com /w a t ch?v=P0 l eU lr 9H_ M .Building choreography: h tt p s:// www .y ou t ube . com /w a t ch?v=mKd9E RhV5S I

Medeacon't.

Practical exploration of Roman

theatre styles and

difference to Greek

Theatre

9:00:1 & 2Double/Prac More

practical exploration of

Medea with focus on different styles of presenting/how

else might we interpret Greek

plays (in a contemporary context. Etc)


Watch 30min doco on Medea/Greek

conventions/Kabuk i interpretation

https://www.youtu be.com/watch?v=l

5-‐M6OBvAdE.Notes in praxis

journal.

9:00:1 & 2 Double/Prac Ancient Roman Theatre

Exploring the influence of Greek theatre on Roman Theatre. It’s playwrights,

stock characters and staging. Physical

exploration of stock characters. Can we think

of modern day examples/characters?

(SEE LESSO N PLA N 3 )

Journal/Diary: Jot down the

similarities and differences

btwn Greek and Roman Theatre

(some class time given for

this task)

Lots of great 10min'History of Theatre' videos by betapicts on youtube. h tt p s:// www .y ou t ube . com /w a t ch?v=bRy6K mOvZ fU

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4

Medieval theatre and Commedia dell'Arte * the focus

period might change

depending on the

performance booked for excursion


Roman theatre/Commedia dell'Arte. Recalling

knowledge re Roman stock

characters and how they relate to stock

characters in Commedia dell'Arte


Medieval theatre

13:30: 5 & 6 Double/Prac

Commedia dell'Arte

The World of Commedia dell'Arte (National Theatre) https://www.y outube.com/w atch?v=h_0TA XWt8hYLots of great short appropriate videos on youtube for all the eras

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Commedia dell'Arte (con't)

Elizabethan Theatre


Commedia dell'Arte


Elizabethan Theatre: Introduce

set text #2 (A Shakespeare play)

13:30: 5 & 6 Double/Prac Elizabethan Theatre

Reading: Much Ado About

Nothing

6Elizabethan

Theatre (con't)


Elizabethan Theatre Iambic pentameter

exercise p.10(2)


Elizabethan Theatre

13:30: 5 & 6 Double/Prac Elizabethan Theatre

7

Anal

ysin

gAna

lysi

ng a

pla

y in

per

form

ance

Performance prep/view/analysis

No class Labour Day


Performance prep:

13:30: 5 & 6 Double/Prac Performance Analysis

Excursion: Performance (whenever available but

assuming this week) http://www.mtc.com.au

http://malthousetheatre.com.a u/

8

Performance Analysis

con't.Introduce

non-‐ Western theatre styles


Time to work on performance

analysis assignment

9:50: 2Single/Theory Non-‐Western

styles (Kabuki and Noh Theatre; Indigenous)

13:30: 5 & 6 Double/Prac Prac exploration Non-‐

Western styles (Kabuki and Noh Theatre;

Indigenous)

Assignment 1: performance analysis DUE

9

9 Restoration Theatre


Restoration Theatre


Time in class to start on history

report (Assignment 2)

13:30: 5 & 6 Double/Prac Restoration Theatre

Assignment 2: history report

10Victorian Theatre


Victorian Theatre


Time in class to work on history

report

Parent Teacher Interviews

13:30: 5 & 6 Double/Prac Victorian Theatre

Over the holidays:

Read: The Importance of Being Earnest'

Finish History report

School Holidays/Easter

1

Pre-‐m

oder

n th

eatr

e

Inte

rpre

ting

play

scrip

ts

Anal

ysin

g a

play

in p

erfo

rman

ce

DEV

ELO

PMEN

T

Victorian Theatre/The

Importance of Being Earnest

9:00:1 & 2Double/Prac Rehearsals


Rehearsals

13:30: 5 & 6 Double/Prac Rehearsals Assignment 2:

history report DUE

2





Rehearsals

13:30: 5 & 6 Double/Prac Rehearsals

3





Time to work on portfolio


4





Time to work on portfolio


10

5

PERF

ORM

ANCE





BUMP IN

13:30: 5 & 6 Double/Prac NB: Senior Sport (11 &

12) May loose some students…

6





BUMP IN

13:30: 5 & 6 Double/Prac BUMP IN

7



9:00:1 & 2Double/Prac Rehearsals/

PERFORMANCE WEEK


Dress Rehearsals/PERFORMANCE

WEEK

13:30: 5 & 6 Double/Prac SHOWTIME

SHOWTIMEAssessment 3

on show performance

8No class

Queens Birthday


Own performance analysis/ reflection

13:30: 5 & 6 Double/Prac continue own

performance analysis/ reflection

Report Writing Day

9

No class Y10 & Y11 study

day

No class Y10 & Y11 Exams

Y10 & Y11Exams

No class Y10 & Y11 Exams

Y10 & Y11Exams

10

9:00:1 & 2Double/Prac Class time to

finish portfolios


Class time to finish portfolios

Parent Teacher Interviews

13:30: 5 & 6 Double/Prac Portfolios due Assessment 4

PORTFOLIO DUE

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Lesson Plan Number: 1

Topic: Getting to know you/Earliest theatre exploration (ceremony and ritual)

This practical class is intended to set the tone for the entire unit and serve as an introduction to the earliest theatrical styles of ceremony and ritual.Previous classes have set the scene in terms of work requirements and expectations for the unit and now, through warm ups and drama games students can begin to get to know their peers, relax and gain confidence.

After ensemble-‐type warm-‐ups and a brief group discussion on our interpretations of ceremony and ritual, students will work in pairs to create a tableau that is a physical interpretation of the topic.

Location / Setting:

Theatre

Length of Class:

100mins

Date/Week:

Term 1/Week 1/Class 3

Organisation/ Student Groups:

Year 11 Theatre Studies students. 18 students

Classroom management strategy:

Students are familiar with the Ramon Lewis classroom management style but as year 11 students they have more autonomy and are encouraged to regulate their own behaviour. If student/s are disruptive and continue to be disruptive after two warnings, the student will be asked to leave the class and requested to come to talk to me when the class has finished/during recess/lunch.

Materials, Resources, Equipment, References/Sources:None. If theatre not available then a large classroom cleared of tables and chair will suffice.

Key knowledge and/ or skill focus for the class come from both Outcomes 1 (1) and 2 (2):

Key knowledge

Theatre contexts from the pre- ‐modern era (1)Theatrical styles from the pre- ‐modern era (2)

Key SkillsDemonstrate knowledge of theatrical styles (2)Apply compositional skills through acting and other stagecraft (2)

Assumed/known prior arts learning of students

Most students will have studied a term on Greek Drama in Year 8, which has given them some insight into ritualistic type performance.

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13

INTRODUCTIONConnecting, Engaging and Modelling Inquiry

MAIN BODYGuiding Inquiry and Practice

CONCLUSION Sharing, Explaining and Reviewing Inquiry

Teacher Responsibility/ Role/ Task/s

Ask students to sit in a circle on the floor (shoes off) and indicate that this is how we will start every class in the theatre. Welcome everyone and explain that we are going to begin by exploring the earliest origins of theatre and ask students to have a guess at what those earliest origins might be. Allow a few mins for discussion but leave open ended. Continue by briefly outlining the structure of the class.

1. Warming up1. Group work2. Discussion3. Small group work4. Tableau

Mention that some people know each other well but others not so well so today is a chance to get to know one another better.

Student Responsibility/ Role/ Task/sListening

Duration Time/s

10/15min s(to allow for settling also)


Ask students to stand up and form a circle. Outline the first exercise (simple name recall with ball/sandbag. 1st

round - ‐as you catch it you say your own name. 2nd round - ‐as you throw it you say your own name and the name of the person you are throwing to. 3rd

round: much faster.

Exercise 1. Teacher participates

Exercise 2: Opening the body: take the class through a series of joint rotation warm ups and stretches

Exercise 3: Opening the body: Small to large. Finding different physical expressions/interpretations of this.Teacher models initially and observes/guides afterwards.

Exercise 3: “Stamping Tribe” Working as an ensemble, students explore rhythm through foot stomping and ritualistic-‐type movement. Teacher models initially and observes/guides afterwards.

Student Responsibility/ Role/ Task/s

Duration Time/s

3mins

10/15min

5min

15mins

10mins


Ask students to come back to sitting in a circle. Asks open-‐ended questions about what they just experienced. ie: how did those exercises make you feel? What purpose do you think they had? How might the last exercise we did link with the earliest theatre? What do we think the earliest forms of theatre were about and why?

Ask students to form groups of four or five (working with a person/s they have not worked with before if possible).Give them a 5min task to create a tableau that gives a physical representation of their groups’ interpretation of a ritual or ceremony.

Students perform their tableau to other groups. Other groups close their eyes and teacher counts down “3,2,1, Freeze” and others open their eyes to see tableau.

All groups perform their tableau in turn before discussion/feedback from peers (teacher to reiterate constructive feedback as taught in earlier drama classes)

Duration Time/s

20mins

5mins

2mins per group x 4

(8/10mins)

10mins

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Listen and participate in exercisesTeacher records any formative assessment notes on students in teacher diary.

Students can jot down any thoughts on the class in their journals


Participate in discussion

Form groups and work collaboratively to create tableau

Perform tableau to peers

Participate in discussion

Fill out journals

5/10mins

Assessment:

Formative assessment based on how well the student works individually, in a group and whether the student participates in discussion. I would also formatively assess and student’s body awareness, focus and physical expression.

Resources:

My ideas for the physical work in this lesson came from the National Theatre Discover channel on YouTube. ‘Creating an Ensemble. https://www.youtube.com/watch?v=2FWAUncAvv4

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Topic: Greek Theatre

In this lesson students will recall their prior learning into Greek theatre (if any), learning about the style, genres, plays and playwrights and gain a picture of what life was like in Greek times (context)

Create a Greek Theatre padlet (teacher) for terminology and expressions

The first playscript will be introduced and students will undertake their first script reading.

Location / Setting:

Theatre classroom

Length of Class:

100 minutes

Date/Week:


Organisation/ Student Groups:

As previous lesson

Classroom management strategy:

As previous lesson

Materials, Resources, Equipment, References/Sources:

• 18 copies of Medea by Euripides• Students asked to bring their laptops

• Create and share Padlets for all students to contribute http://padlet.com/emma_mcmahon/gjdb8ap40a66 and http://padlet.com/emma_mcmahon/Bookmarks

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Key knowledge

• Characteristics and features of three or more pre-‐modern theatre periods (1)• Theatre contexts from the pre-‐modern era (1)• Use and application of theatrical styles, acting skills and stagecraft to shape performance of playscripts from the pre-‐modern era (1)• Theatre terminology and expressions (1)• Contexts of playscripts from the pre-‐modern era (2)• Theatrical styles from the pre-‐modern era (2)• The role of the audience in the pre-‐modern era (2)

Key skills• Describe characteristics of theatre from the pre-‐modern era (1)• Research texts and contexts of playscripts (1)• Demonstrate knowledge of theatrical styles (1)• Describe actor-‐audience relationship (1)• Research and apply stagecraft other than acting to interpret playscripts (1)• Use theatre terminology and expressions appropriately (1)


Students may have prior knowledge of Greek theatre as previously mentioned.

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CONCLUSIONSharing, Explaining and Reviewing Inquiry


Prior knowledge questions: Once class is settled teacher holds up playscript and asks if anyone knows anything about it. If no, can we make any judgements from cover? Modern? Classical? What its about? Etc.

Depending on the discussion, teacher can draw out the inquiry: who was Euripides, what kind of plays did he write?, etc. This could naturally lead to discussion about other Greek playwrights, comedy and tragedy, etc.

Teacher can direct class to form 7 groups of 3 and set each group a different research assignment relating to Greek theatre. Within allotted time groups need to find out about one of the following:

1. Actors and Audience2. Staging; Props; ‘Technologies’3. Make-‐up & costume4. Historical and cultural context

(in brief! Key events and roman lifestyle)

5. Plays and playwrights6. Comedy & Tragedy7. Synopsis of Medea

Duration Time/s

10mins

5mins


Teacher calls time after 15mins

When all groups have presented, teacher hands out individual copies of Medea.

Ask for volunteers to read the characters of Nurse; Tutor; Medea; Chorus Leader; Creon and Jason.Students without a role for initial read through take on speaking role of the Chorus.


Students present their findings to the other groups

Students read through the script starting from the opening line in their various roles (note - ‐ the opening monologue gives the whole synopsis of events leading up to the start of the play so no introduction necessary).

Duration Time/s

30secs

5mins

5mins

4mins per group

(30mins approx.)

20mins


Teacher calls time on reading at an appropriate point and asks for any questions, comments or thoughts relating to the script so far or regarding anything we have discussed and heard so far.

Outlines the Padlet and asks every student to contribute a useful word or labelled image related to Greek theatre before next class.

Teacher records any formative assessment notes on students in teacher diary.


If no questions or time after questions, students can record reflections/findings/questions in their diary.

Duration Time/s

5/15mins

2mins

18

Groups have 15mins to complete their task and will be asked to present their findings to the class.

As class undertakes research, teacher is available for questions but can also create a Padlet for Greek Theatre and invite/share with students.


Contribute to discussion

Get into groups

Work collaboratively

Research

15mins

Assessment: Formative assessment based on the above student responsibilities noted in diary.

19


Topic: Ancient Roman theatre

Exploring the influence of Greek theatre on Romantheatre, its similarities and differences including stock characters and staging.

Brief guide on playwrights and playscripts of the era.

Physical exploration of stock characters. Relating stock characters to modern day examples.

Location / Setting:

Theatre Classroom 1st period Theatre – 2nd period

Length of Class:

100mins

Date/Week:


Organisation/ Student Groups:As previous lesson

Classroom management strategy:As previous lesson

Materials, Resources, Equipment, References/Sources:

• Laptop and lead to connect to overhead monitor• Hand out on stock characters and stock characters activity sheet (see appendix).• Hand out on Roman playwrights and playscripts (see appendix).• h tt p s:// www . you t ube . com / wa t ch?v= - ‐ NTbGawBv c4 (3:49) (good video on differences between Greek & Roman theatre and playwrights)• Link for homework: https:// www.youtube.com/watch?v=wCyhdD7MgHM (4:48) (apart from Chinese music (?) this video is good as covers most areas of stagecraft for

this era)


Key knowledge

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• Characteristics and features of three or more pre-‐modern theatre periods (1)• Theatre contexts from the pre-‐modern era (1)• Use and application of theatrical styles, acting skills and stagecraft to shape performance of playscripts from the pre-‐modern era (1)• Approaches to creating and manipulating actor-‐audience relationships in the performance of playscripts from the pre-‐modern era (1)• Theatre terminology and expressions (1)• Contexts of playscripts from the pre-‐modern era (2)• Theatrical styles from the pre-‐modern era (2)• The role of the audience in the pre-‐modern era (2)• Acting techniques and stagecraft from a range of theatre from the pre-‐modern era, including ways of creating character, use of expressive skills, and use

of compositional skills (2)

Key Skills• Describe characteristics of theatre from the pre-‐modern era (1)• Apply expressive skills through acting and other stagecraft (2)• Apply compositional skills through acting and other stagecraft (2)


Knowledge of Greek theatre styles and conventions (possible previous learning but covered in week 2)

21



CONCLUSIONSharing, Explaining and Reviewing Inquiry

Teacher Responsibility/Role/Task/s

When class is settled ask them to recall what we have learned about Greek theatre so far. Write up answers on one side of whiteboard and prompt class with open-‐ended questions if the content is not being recalled e.g., “Why do you think Greek actors wore masks?” to not only recall prior knowledge but also to get a conversation going that will provide opportunities to talk about the cultural context as it relates to the conventions.

Tell class we are going to watch a short video on the differences between Greek and Roman theatre and ask them to pay special attention to the differences mentioned – noting them down if possible. h tt p s:// www . you t ube . com / wa t ch?v= - ‐ NTbGawBv c4 (3:49)

Ask a volunteer to create a two-‐column Google doc in the Theatre Studies 11 Google classroom and copy down what is written on the WB. Draw a line down the middle of the WB to create two columns (one for Greek and one for Roman) and ask students to recall what

Duration Time/s

10mins

5mins

15mins


Warm up/stretch out in theatre.

Explain we are going to physically explore the stock characters in Roman comedy.

Give out stock characters handout.

Read through each character description in turn and encourage students to think of any modern parallels. Keep the focus on one character at a time (a few mins on each) and re-‐read descriptors as they move around the room in character.


Participate in warm ups ListeningFocus Working-‐in-‐role Characterization

Duration Time/s

5mins

2mins

3mins

2/3mins on each

depending how

major the character

(x10)

30mins approx


Reform in a circle. Initiate discussion on experience. Encourage students to think about actor and audience perspectives.

Ask students to chose a stock character that they might like to explore through further characterisation in our next class. Ask them to research this character/possibilities for this character for homework and come ready to show peers next lesson.

Ask students to watch: https:// www.youtube.com/watch?v=wCyhdD7 MgHM (4:48) and make notes in their journal re Roman stagecraft elements


Listening Homework

Duration Time/s

7mins

3mins

22

they learned from the video. Write up comments on the other side of WB (Roman side) that correspond to stagecraft conventions mentioned in regards to Greek theatre. If a new element in Roman that doesn’t correspond to Greek then add to bottom.

Give out ‘playwrights’ hand out. Ask student x 2 to read out. Ask students if anything surprises them from what they’ve read/heard. Give a few minutes to discuss.


Recall what we learned about Greek theatre so far.

Watch video and take notes on Roman theatre.

Contribute to discussion on new learning.

One student to write up notes in Google classroom.

Two students to read out info on playwrights and their plays.

15mins

23

Resources:

Stock characters in Roman comedy

• The adulescens was the hero, who is young, rich, love-‐struck and not too brave. He tends to bemoan his fate and requires backup. Another character often has

to take action on his behalf. His father is often the senex or old man, whom he fears, but does not respect. He wears a dark wig and his clothes are usually

crimson.

• The senex has several incarnations. As the father he is either too strict or too soft; either one he does out of love for his son. As the lover he embarrasses his son, his slave, and his wife. He tends to be passionately in love with the same woman as his son, a woman who is much too young for the senex. He never gets the girl and is often dragged off by his irate wife. Sometimes he is a friend of the family who helps the adulescens. He is often a miser, who wears a straight undergarment with long doubled sleeves. It is white and he sometimes carries a staff.

• The leno runs the brothel. The love interest of the adulescens may be owned by the leno and work at his brothel, so that the adulescens is often forced to deal with him. The leno is unabashedly amoral and only interested in money. He dresses in a tunic and mantel, and is often bald and carries a moneybag.

• The miles gloriosus, literally braggart soldier, is a character that is especially familiar today. He loves himself more than anything else and sees himself as handsome and brave, while in reality he is very stupid, cowardly, and gullible. He may be interested in the same girl as the adulescens. He wears a tunic with long sleeves and has curly hair.

• The parasitus or parasite lives only for himself. He is often seen begging for meals or being refused them. He lies for his own gain. He dresses in a long, black or gray garment with long, doubled sleeves.

• The servi (slaves) take up about half of the cast and often have the most monologues. They are not the toilers typical of a real Roman home. The servus callidus or clever slave is always talkative, but his other traits vary. Most of the time he is loyal, more so to the adulescens than the senex. He brings tricks and comedy to the play, and tends to drive the plot. He is often the one who finds the truth out at the end of the play. He can be identified by his tendency to use alliteration and meter in his speech. The servi wear tunics and hold or carry scarves.

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• The ancilla is a maid or nurse of no particular age. She is a minor character used to move the plot by presenting information or helping to develop another character. She is a tool of her mistress and may be used as a messenger.

• The matrona (mother), mulier (woman), or uxor (wife) is shrewd. She loves her children, but is temperamental towards her husband. She does not have to be a devoted wife, but sometimes is. She wears a long garment with flowing sleeves and a mantle.

• The meretrix (prostitute) is either mercenary or devoted. The first type is older or more experienced and has seen a lot. The second type is truly in love with the

adulescens. Both are very attractive with a complex hairdo and outfit, which is yellow. She also has a mantel.

• The virgo (young maiden) is the love interest of the adulescens, but does not get much stage time. She is beautiful and virtuous with little personality. She is treated as a prize.

Image of Choregos and actors, Roman mosaic, Pompeii

Taken from Wikipedia https://en.wikipedia.org/wiki/Theatre_of_ancient_Rome

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Stock Characters activity sheet

Modern interpretations of stock characters. Can you think of any characters from movies you have seen that may fit the description of these character types?

Roman Stock Characters Modern Interpretation

Adulescens -‐ the young lover-‐boy

Senex – the old man

Leno – the brothel owner

Miles Gloriosus – Vain and not very bright. All talk of his bravery but a

complete coward.

Example: Gaston on Disney’s version of Beauty & the Beast (1991)

Parasitus – A parasite-‐of-‐a-‐man. Oily and grasping.

Servi – The slaves/the servants

Ancilla – The maid or nurse. Nursie from Blackadder?

Matrona – the mother or wife.

Meretrix – the prostitute

Virgo – the young maiden and love interest of adulescens. More seen as

a trophy.

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Playwrights and plays

Roman Comedy – Plautus and Terence

Although both tragedies and comedies were written during the period of the Republic (500-‐27 BCE), the work of only two comedy playwrights has survived - -‐ ‐ Titus Plautus (254 to 184 BCE) and Publius Terentius Afer, better known in English as Terence (185 to 159 BCE). Plautus is remembered for his farcical comedies. We have 21 of the more than 100 plays he may have written. On the other hand, Terence's six plays, because of their simple style and high moral tone, were used as the literary models by the colleges and universities of the Renaissance.

Plautus

What was the "source" of Plautus' comic plots and characters?Most of his plays were based on New Greek Comedy.

What is Plautus' most often produced play?The Menaechmi, also known as the Twin Menaechmi, or simply The Twins. It is the story of twin brothers who are separated at birth. One travels with his father to Syracuse, the other with his mother to Epidemus. After his 21st birthday, the Syracuse boy sets out in search of his long lost brother. They finally meet after two hours of misunderstandings and mistaken identity.

How did he influence later comedy writers such as Shakespeare and Moliere?Shakespeare and Moliere "borrowed" plots and characters from Plautus' comedies. Shakespeare's The Comedy of Errors is based on The Menaechmi and Moliere adapted Plautus' Pot of Gold into The Miser.

Seven stock characters Plautus used in his comedies:

1. An old man, probably a miser.2. A young man, possibly the miser's son, who rebels against authority.3. Usually a pair of slaves. One smart, the other less smart. The two slaves are the source of most of the humour.

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4. The parasite. The eternal brother in law, he comes for a visit, and stays forever.5. The courtesan. The live in maid who knows how to "put out."6. The slave dealer. Often trades in women. Today we would call him a pimp.7. Miles Gloriosus, the braggart soldier. He talks a mighty battle, but runs at the first sign of conflict.

Roman Tragedy - ‐ Lucius Seneca

Who was the major tragic playwright of the Roman theatre?

Lucius Seneca (ca. 5 BCE -‐ 65 CE), a tutor and advisor to Nero (37-‐68 CE), was the major playwright of the Empire (27 BCE -‐ 476 CE). Nine of his tragedies have survived.

On which Greek author were his plays based? Primarily Euripides, but he also "borrowed" from Aeschylus and Sophocles.

Were his plays ever produced?

Seneca

No. At least we don't think so. His works may have been declaimed, that is - -‐ ‐ recited to an audience, but were probably not staged with realistic effects.

Why is he important to the study of dramatic literature? Because Renaissance (1550 to 1700) playwrights used his tragedies as their primary model.

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Six major characteristics of his dramas include

1. He divided his plays into five acts with choral interludes. The interludes were not part of the play's action.2. He used elaborate rhetorical speeches. His characters debated, they didn't converse.3. He was a moral philosopher. He believed that drama should preach a moral lesson.4. His tragedies involved much violent action. They were filled with murder, torture, dismemberment...5. His tragedies respected the unity of time (plays action unfolds within 24 hours) and place (the plays actions unfolds at one location).6. Each of his characters was dominated by one passion (love, revenge, ambition, etc.), which brought about their downfall.

Though considered to be inferior, Seneca had a strong effect on later dramatists.The Trojan Women, Media, Oedipus, Agamemnon, etc., all based on Greek originals

Information taken from http://www3.northern.edu/wild/th100/chapt11.htm. There is a lot more information on this sight to deepen your knowledge.

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Resources:

There is a wealth of resources available for students and teacher to draw on during this unit. Some are specified week by week in the unit plan provided. A list that will also be helpful includes:

General Theatre Historywww.glencoe.com/ theatre / Timeline / timeline _content.html

Brown, J R 2001, The Oxford Illustrated History of Theatre, Oxford University Press, UK. Hartnoll, P 1998, The Theatre: A Concise History, Thames and Hudson, London, UK.

Greek Theatrehttp://www.xmarks.com/s/site/www.webcom.com/shownet/medea/grklink.html

Elizabethan h tt p : // i n t e r ne ts h ak e s pe ar e . u v i c . ca/L i b rary/SLT/ d ra m a/ i nde x . h t m l ; js e ss i on i d =E 11A305 E 2346 F D2847A E 9 F B11503797 6 h tt p : // www . new z e a l a ndp lay hou s e . c o . n z/ wp / wp - ‐ c on te n t/ up l o a d s/ 2012 / 12 / N Z P - ‐ A Y W I 2013 - ‐ Sec ond aryTea ch i n g Re sS m a l l . pd f

Community Theatre Links/ Excursions/Workshops/Incursionswww.mtc.com.au and http://www.mtc.com.au/education/http : // m althous e . c o m .au and http : // m althous e th eatre . c o m .au/ e du c ation/abou t - ‐ p r o m pt https : // ar ts ce n treme lbou r n e . c o m .au/dis c o ver /fo r - ‐ schools http : // www .th eatre ali ve . c o m .au/ W hats_On

Peformance Analysis (some links to review examples): http://www.theguardian.com/stage/theatre+tone/reviews http://www.australianstage.com.au/reviews/melbourne/ http://www.theatrealive.com.au/Reviews

ICThttps://padlet.com/my/dashboardhttps://education.weebly.com/ or https://moodle.org/ or https://classroom.google.com (I would look at using one of these sites to set up my unit, store files and learning links/resources, create an online forum space (for teacher student collaboration) and deliver/track homework and assessments.

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Additional resource listhttp : // www . vc aa. v i c . e du.au/ Page s/ vce /studi e s/th eatre /th eatre ind e x.aspx The ‘Resources’ doc provides a number of books and websites relating to pre-‐modern theatre, stagecraft and performance analysis.

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Assessments

Assessment 1

Performance Analysis DUE TERM 1/WEEK 8 (Dates would be provided)

You are required to present a review of the stage production you recently saw. You may choose to present your analysis as a theatre critic/journalist if you wish. However you choose to present your report you will be asked to analyse/consider how the performance interpreted the playscript through acting and at least two other areas of stagecraft.

Your review should be between 350 to 500 words.

The matrix for this assessment is as follows:

Criteria Beginning Developing Accomplished Exemplary Score

Review title included plus the name of the performance and the building where it took place

Note: Descriptors and score would be included to create a clear rubric for students

A critique of the acting is included in the review with a detailed analysis of at least one actor’s performance

Two other areas of stagecraft are critiqued in your review

Your thoughts on the director’s interpretation is included and your overall opinion on the performance

Well presented with minimal spelling errors and grammatical errors

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Comments:

Mark: /20

Learning outcomes: Students should be able to analyse a performance of a playscript (Outcome 3)

Assessment

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Theatre History Report DUE FIRST WEEK BACK AFTER EASTER HOLIDAYS (Dates would be provided)

Choose a period from pre-‐modern theatre (prior to the 1920s) and create a report/presentation that gives a summary of the period you have chosen and details its particular stagecraft styles. You are encouraged to use ICT to present your report, for example, via a website, wiki, PowerPoint, etc. (links are provided in our Unit guide), although this is not compulsory and you may chose to present it as a written report that includes visual elements.

Your report/presentation must include a summary/outline of the pre-‐modern theatre period and its characteristics and features represented through the following areas of stagecraft.

• Acting (including actor-‐audience relationship)• Direction• Design: Costume; make-‐up; properties; set and sound• Design: Lighting• Theatre technologies• Production management: publicity, marketing and stage management

Your report also needs to refer to some of the main plays and playwrights of your chosen period. Please make your reports no more than 1000 words.



A clear summary/outline of the period Note: Descriptors and score would be included to create a clear rubric for students

Report examines all areas of stagecraft (if applicable)

Appropriate use of associated theatre terminology and expressions

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Report includes visual as well as written content

At least three plays and two playwrights are referenced in the report

Well presented with minimal spelling errors and grammatical errors

Comments:

Mark: /20

Learning outcomes: Students should be able to identify and describe the distinguishing features of pre-‐modern theatre playscripts (Outcome 1)

Assessment

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Performance of a playscript

You will be assessed on your acting performance of a playscript in term 2 plus one other area of stagecraft.



Collaboration and commitment (all) Note: Descriptors and score would be included to create a clear rubric for students

Evidence of planning and rehearsal (all)

Physical expression (focus; gesture; posture; gait)

Maintains character throughout the performance

Verbal expression (clarity, pitch, volume) (acting)

Manipulation of design elements

Comments:

Mark: /30

Learning outcomes: Students should be able to apply acting and other stagecraft to interpret playscripts from the pre-‐modern era (Outcome 2)

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Assessment 4

Portfolio

Create a portfolio that focuses on your exploration of the play ‘The Importance of Being Earnest’ by Oscar Wilde. The portfolio can be presented in a print or online format and is a way of documenting and reflecting on your journey from playscript to stage. It should include written and visual content (audio or other elements can also be included if you choose to do your portfolio online) and should include the following:

• A brief background on the play including the context, plot summary and major characters and how your interpretation influenced your/the performance• A more detailed explanation of your character and its role within the play and relationship to other characters (if you chose to direct the play then

your portfolio will omit this section and instead contain details of your experiences and reflections on directing)• Details of your journey (your practical explorations, research undertaken, etc) to conceive this character/perform your role.• A reflection/analysis of your/the performance• At least one other detailed analysis of your second chosen area of stagecraft (ie: make-‐up; publicity, etc) and references made to the other stagecraft

elements included in the performance.

The praxis enquiry journal/diary that you have (hopefully!) kept updated will help inform your portfolio.



Playscripts context, plot summary and major characters

Note: Descriptors and score would be included to create a clear rubric for students

How your interpretation influenced your decisions

Detailed explanation of character included (if applicable)

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Acting/Directing journey explained

Reflection included

Second area of stagecraft detailed

Visual as well as written content included

Minimal spelling errors and grammatical errors

Comments:

Mark: /30

Learning outcomes: Students should be able to identify and describe the distinguishing features of pre-‐modern theatre playscripts (Outcome 1) Students should be able to apply acting and other stagecraft to interpret playscripts from the pre-‐modern era (Outcome 2) Students should be able to analyse a performance of a playscript (Outcome 3)

emmamcmahonprofessionalportfolio.files.wordpress.com… · web viewstudents: are from diverse...

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