standinginacharacter’sshoes: deeper meaning...

0 ©Mary Hall Surface (April 2011) Standing in a Character’s Shoes: Deeper Meaning Through Monologues

A Professional Development Opportunity for Teachers

Standing in a Character’s Shoes: Deeper Meaning Through Monologues

Part One

For Teachers of Grades 4 – 12

Written and Presented by Mary Hall Surface ©2011 - Mary Hall Surface All Rights Reserved

©Mary Hall Surface (April 2011) Standing in a Character’s Shoes: Deeper Meaning Through Monologues 1

PART ONE TABLE OF CONTENTS

INTRODUCTION 2-3 ACTIVITY ONE: Introduce the Monologue 4-11 STEPS TO CREATING A MONOLOGUE (Graphic) 12 THE CREATIVE PROCESS (Graphic) 13 ACTIVITY TWO: Write a Monologue to Deepen Understanding of a Character in a Poem 14-18 ACTIVITY THREE: Write a Monologue to Deepen Understanding of People and Events in History 19-24 FINAL REFLECTION FOR TEACHERS 25 SUPPORTING MATERIALS and EXAMPLES 26-50 STANDARDS OF LEARNING 51-52 LIST OF SUGGESTED RESOURCES 53 MEET THE PRESENTER 54

This workshop was developed in association with

The John F. Kennedy Center for the Performing Arts © April 2011 Mary Hall Surface


Standing in a Character’s Shoes: Deeper Meaning Through Monologues

A Two-Part Workshop with Mary Hall Surface

Introduction

Purpose: This workshop uses drama to imagine and write monologues to deepen understanding of characters from literature, history, and young writers’ imaginations. How: The workshop introduces the tools that actors use when interpreting a monologue for performance. Actors bring a text to life by seeking to understand the emotions beneath a character’s words–the subtext–and how those emotions change–the turning points. Asking questions and inferring are essential skills for the actor when using these tools. Goals: This workshop will:

Empower you with the tools needed to stimulate a deeper understanding of character, motivation, and relationship in student reading and writing.

Provide you with a structure and process for writing monologues in the language

arts and social studies curriculum. Why write monologues with your students? In the crafting of these monologues, your students will be asked to “step into the shoes” of someone else. Through empathy, a student’s understanding of him/herself and, just as importantly, of others is expanded. I believe this translates into a more open and compassionate classroom and, indeed, world. This is why I do theater and why I bring its tools and treasures to students and teachers. “One of the most important aims of teaching is to prompt students to empathize with other human beings…Empathy encourages students to construct a more profound "we" than daily life ordinarily permits.”

Linda Christensen in Reading, Writing, and Rising Up


When writing monologues, students will:

Try on the feeling of a character in a specific moment. Make connections from their own life (through memory and imagination) to the

life of this character. Grow to empathize with someone who at first may have seemed completely

different or far away from who they are. Build inference skills while deepening their understanding of the emotions and

motivations of characters.

Look beyond the surface facts of a moment in a text or in history, and search for deeper meaning, both as readers and as writers.

Work at the highest levels of thinking.

Bloom’s Taxonomy for Thinking Students will first recall what they know, then use that knowledge along with new information in a way that builds new understanding. They will apply and analyze the information as they synthesize it through the imagining and improvising of a monologue. They will evaluate their efforts and finally create an original monologue.

“The era of “left brain” dominance, and the Information Age that it engendered, are giving way to a new world in which “right brain”

qualities-inventiveness, empathy, and meaning-predominate.” Daniel Pink in A Whole New Mind


Teachers: In the learning activities, I’ve offered some helpful language for you to use in working with your students. That language is in italics.

** Enjoy! **

Activity One: Introduce the Monologue

Purpose:

To define a monologue and the silent partner. To introduce the tools of subtext and turning points–the emotions and motivations

behind the words an actor says, a reader reads, a writer writes, and how they change in key story moments.

Materials Needed: 2 – 3 copies (depending on your class size) each of:

Duncan, Elena and Zareen: “What Three Emotions?” Handouts (see pages 27 - 29).

Duncan, Elena and Zareen Monologues Handouts (see pages 30-32). Katie, Carlos and Alan Monologues for classroom posting (see pages 35-37).

“Discovering Emotional Subtext” Handout (see page 47). Pencils Overview of the Process for Activity One: Step One: Read Pictures for Emotion Step Two: Introduce a Monologue and the Silent Partner Step Three: Introduce Turning Points Step Four: Introduce Emotional Subtext Step Four: Identify Emotional Subtext Step Five: Refine the Monologue Definition Step Six: Reflect

Step Four of this activity uses monologues from Short Scene and Monologues for Middle School Actors, one of two collections I have written for classroom use. (See List of Suggested Resources on 3.)


Activity One: Introduce the Monologue

Step One: Read Pictures for Emotion 1. Divide your class into groups of three. Distribute the handouts “What Three Emotions?” There are three different handouts, each picturing a different student. Give each group only one handout, so that two to three groups will have “Duncan,” two to three groups will have “Elena,” etc., depending on your class size. 2. Meet Duncan, Elena and Zareen. They are students, standing in a school hallway. He/she is talking to someone. Take a close look. Notice how different each character looks in the three pictures. What do you think this person is feeling in each of the three pictures?

Look at his/her face. Look at how he/she is holding her body. What do you think might be happening? Who do you think he/she might be talking to?

Chose one word that you think best describes that emotion and write it in the box under each picture. Take two minutes. 3. Ask one member of each group to share the group’s emotion words with the class. Have students describe what they noticed about the person’s face or gestures that gave them clues about what he/she was feeling. Note how different groups find different emotion words for the same pictures. Step Two: Introduce a Monologue and the Silent Partner 1. The pictures you just viewed were taken of student actors when they were performing a short monologue. Do you have any ideas what a “monologue” is? The word is based on two Greek words: “monos” that means single or alone and “logos” that means word or speech. So a monologue is when one character is speaking without any other characters talking. Monologues can be found in dramatic writing; that is, in plays. They are usually the length of a short paragraph and last for several moments on stage. Playwrights use them to delve into the deepest parts of a character–to give the audience a chance to experience the character in a way dialogue does not. 2. It is helpful to consider the difference between dialogue and monologue to better understand monologue. Pick two students and ask them to improvise a quick dialogue. Let’s imagine that you are two students, in a hallway, talking about what you’re going to do after school. Think on your feet. (Model one or two lines of what they might say.) Student A: So are you going to the game this afternoon? Student B: Sure! Then I’ve got music lessons. Do you take lessons?


Activity One: Introduce the Monologue (Continued)

Once the students have exchanged eight to ten lines of dialogue, you can stop them. That’s “dialogue”--two characters talking to each other. In a monologue, only one character is talking. But there is another (imaginary) character on stage-- the silent partner. He/she is there because it makes the writing more dramatic. The character speaking needs or wants something from the silent partner, even if it is just to listen. 3. Distribute Duncan, Elena and Zareen Monologue Handouts (pages 30-32), matching monologue to pictures. Now each group has an example monologue that goes with your “What Three Emotions” picture, written by students like you. You’ll see the emotions that the young writer “read” in the pictures in the three boxes below the monologue. Are they the same or different from the emotion words your group chose? Note how there are multiple ways to read a picture. 4. Read the monologue aloud in your group. Stand up. Try to capture the emotions in your voice and body. Use the pictures as inspiration. Imagine you are talking to the silent partner—the student’s friend. Everyone in the group take a turn. Having the students up and moving encourages them “try out” being the character. Say the words out loud. Imagine how the character feels. Stand in their shoes.

Step Three: Introduce Turning Points 1. Duncan, Elena and Zareen were certainly feeling some strong emotions in the monologues! Three different emotions. Let me read Duncan’s monologue (or ask an expressive student to read it). Listen carefully for the two places in the monologue where Duncan’s emotions change very strongly.

DUNCAN Why don’t you just go away and leave me alone! I never ever want to see you again. [tp] Wait. Don’t go. [tp] I’m sorry. I didn’t mean it. 2. As a class, identify the two specific points in the text where the emotions clearly change: 1) Between “…see you again” and “Wait.” 2) Between “…don’t go” and “I’m sorry.” Actors call these moments in a monologue “turning points.” A turning point usually happens because the character discovers something new about what is happening or what he/she is feeling. Sharp, strong turning points are what make monologues interesting and dramatic.



4. Ask a student to read the Elena monologue and identify the turning points as a class. Ask another student to read the Zareen monologue and identify the turning points as a class. Write “TP” in the place where you hear the turning point in the text.

ELENA Really? Do you like it? [tp] I don’t believe you. I bet you’re just saying that. [tp] Why do you always make fun of me? Why?!

ZAREEN Don’t worry. Just tell me what’s on the test. You won’t get in trouble. [tp] Hurry, the teacher’s coming. Quick! Tell me! [tp] Don’t you understand? I can’t fail!

Step Four: Introduce Emotional Subtext 1. Reading these monologues out loud gave you the chance to stand in the shoes of these characters and experience how they feel. Actors call the emotions “beneath the words” of a character the “subtext.” To discover these emotions, the actor must imagine what a character feels and why. Key Questions an actor asks:

What do I know about this character? What can I infer about this character? What can I draw from my own memory and imagination to enrich and deepen

my understanding of this character? How can I use my voice and body to communicate the subtext through the

text? 2. Ask students to look again at their “What Three Emotions” handout. You dug deeply into those pictures to discover the emotional subtext. The only thing you knew was that it was a student (WHO) in a classroom (WHERE.) You had to read “between the lines” to imagine what might be happening and who they might be talking to.

It can be helpful to have a student stand opposite the reader as the silent partner and physically turn toward or away from the reader at the turning points.



This three emotion, two-turning point monologue is the model of the structure that we will be using to write monologues together. We will be using tools that actors use--the finding of turning points and emotional

subtext--to explore the emotions and motivations (the “whys”) of characters from literature, history and your own imagination.

We will “step inside their shoes” to imagine what is happening to them and how they feel.

Have you ever felt like Duncan, Elena or Zareen? This is called “empathy”

– when you can feel the feelings of someone else. Our goal is to become deeper readers and more vivid, dramatic writers.

Step Five: Identify Emotional Subtext 1. Duplicate two to three copies of each of the three monologues on pages 35-37 and post them on the walls around your classroom. Divide the class into groups of three, giving each group one “Discovering Emotional Subtext” Handout (p. 47). Duplicate the emotion list (p. 34) on the back of handout for ready reference. 2. Now we’re going to stand in some more characters’ shoes and dig down deeply to discover the emotional subtext. Let’s meet Katie, Carlos and Alan. Ask each group to find one of the new monologues posted in the classroom. The turning points are where you see “TP” in the text. But what are the emotions the character is feeling under the three parts of the monologue? As a group, decide what one emotion word best describes that feeling. Try having each member of your group read one part of the monologue. Can you feel what the character is feeling? If you need some ideas for emotion words, look at the list on the back of your handout. Record the three emotion words you chose on your graphic organizer. 3. Also identify and record on the “Discovering Emotional Subtext” Handout:

WHO is speaking? WHERE are the characters? WHAT is happening? SILENT PARTNER: To whom is the character speaking?



4. Once each group has chosen three emotions, ask them to move to another monologue, so that all groups have a chance to analyze all three monologues. 5. Now organize the class so that two groups come together to share their emotion words. Are they the same? Similar, but different? Very different? If very different, ask students to defend their choices. Provide copies of the monologues for reference. 6. Conclude by asking several students to share the monologues out loud with the class. As students are sharing, create a list of specific things the students do well to communicate the emotional subtext and turning point using the chart–Communicating Emotion. (See page 38) This allows students to construct criteria for effectively presenting their writing “on-stage.” Keep this list as a reference for students to not only implement the ideas themselves, but also offer useful suggestions for strengthening the communication of their peers. (Examples: What if you… crossed your arms, covered your ears, spoke more slowly, paused longer…) Step Six: Refine the Monologue Definition Did you notice that all six of the monologues we have explored are set in one place (no change of locale during the monologue) and happen all at one time (no “five minutes later” in the middle of the monologue.) And no one was talking to him/herself (that’s a soliloquy–“To be or not to be….”) And all had three emotions and two turning points.

A monologue is a short dramatic text:

In which only one character is speaking. Set in one place (no change of locale during

the monologue). Happening all at one time (no “five minutes

later” in the middle of the monologue). Directed to someone (not talking to

him/herself). Provides deep insight into the character’s

feelings and motivation.


A Three Emotion, Two-Turning Point Monologue

1 Place

Xxxxx x xxxx xxxx xxx xx

Emotion 1

Turning Point

1 Place 1 Time

Emotion 2 Emotion 1

Turning Point



Step Seven: Reflection

Why do actors search for the turning points and subtext in a play? Why should you as a reader? As a writer?

How did you know what Katie/Alan/Carlos was feeling? What did you infer?

Did you ever ask yourself why the characters felt the emotions?

When you shared a monologue, how did you communicate the subtext and the

turning points?

Can you imagine a character that you would like to write a monologue for?

TEACHER REFLECTION: Why are we emphasizing emotions?

Young writers most often focus on plot – on what is happening. This workshop is designed to encourage students to explore why the events are happening–what motivates a character. This leads to deeper understanding of both character and of self.

Why was it important to construct a list of ways to effectively communicate the emotions and turning points in monologues using bodies, voices, and gestures?

While this is not an acting workshop, it is useful to ask the students to construct a list of ways to effectively communicate the emotions and turning points in their monologues using their bodies, voices, and faces. The more effectively a student communicates, the more deeply he/she will empathize with his/her character, which enriches the writing process. And the list, in subsequent activities, gives the students (and you!) specific ways to help them strengthen and revise their writing before they ever put pen to paper.

What are your first thoughts on how you might use the writing of monologues in your classroom?


STEP 1: First Response Read the Source for Emotion

STEP 2: Dig Deeper Identify the Known and Infer the Possible

STEP 3: Choose and Sequence Three Best Emotions

STEP 4: Imagine the Monologue

STEP 5: Improvise the Monologue

STEP 6: Share, Reflect, and Revise

STEP 7: Write the Monologue

STEP 8: Share, Reflect, and Revise

STEP 9: Perform the Monologue

Steps to Creating a Monologue


©The John F. Kennedy Center for the Performing Arts Laying a Foundation: Defining Arts Integration


Activity Two: Write a Monologue to Deepen Understanding of a Character in a Poem

Purpose:

To stimulate a deeper understanding of a text and a character through the monologue writing process, by applying the skills learned in Activity One.

To encourage students to make personal connections to the text to enrich their imaginative writing.

To build students’ inference skills. To inspire vivid, emotionally rich writing.

Materials Needed: Copies of The Land of Counterpane by Robert Louis Stevenson (see page 39) Graphic Organizer A: What is the Character Feeling? (see page 48) Graphic Organizer B: Text/History Based Two-Turning Point Monologues (see pages 49-50) (An example of completed Graphic Organizer A is on page 40.) (An example of a completed Graphic Organizer B is on pages 41-42.) Pencils Overview of the Process for Activity Two Step One: First Response: Read the Source (the poem) for Emotion Step Two: Dig Deeper: Identify the Known and Infer the Possible Step Three: Choose and Sequence Best Emotions Step Four: Imagine the Monologue Step Five: Improvise the Monologue Step Six: Share, Reflect, and Revise Step Seven: Write the Monologue Step Eight: Share, Reflect, and Revise Step Nine: Perform the Monologue Step Ten: Reflect

This activity can be taught by dividing the students into groups of three as in Activity One, creating one monologue per group. Students may also work productively in pairs, with each student creating a monologue and working

with their partner for Improvising, Sharing, Reflecting, and Revising.


Activity Two: Write a Monologue to Deepen Understanding of a Character in a Poem (Continued)

We’re now going to apply the tools and process we learned in writing a two-turning point monologue to writing a monologue for a character in a poem. We’re going to stand in that character’s shoes and imagine how he might feel and capture that in our writing. Step One: First Response Read the Source (the poem) for Emotion 1. Read aloud The Land of Counterpane by Robert Louis Stevenson (see page 39). WHO is the character? WHERE is he? What is happening in the poem? What might the character be feeling? Encourage students to make connections with their own lives. How do you feel when you are sick and have to stay in bed? How do you entertain yourself? 2. First Response: Using Graphic Organizer A (See page 48) ask students to capture at least five one-word emotions from their first reading of the poem that describe how the character is feeling. Record those emotions on the top half of the graphic organizer. (Duplicate the emotion list (p. 34) on the back of Organizer A for ready reference.) Step Two: Dig Deeper--Identify the Known and Infer What is Possible 1. Identify the Known Read the poem again. What specifically do we know about the character from the text? Make notes in the “Know” box on Graphic Organizer B (see pages 49-50). Examples: He is sick. He is playing with his toys: soldiers, ships, trees and little houses. He is imagining that his quilt is the countryside. He thinks of himself as the giant looking over the land. 2. Infer the Possible Define Inference. Writers tell us more than what the words actually say. You can “read between the lines,” go beyond the surface details of what we know and discover meanings beyond what the words explicitly say. You can deduce or conclude deeper meanings and emotions. This is called inference. a. What can we infer about the character from the poem? Make notes in the “Infer” box on Graphic Organizer B (see pages 49-50). Examples: The child has a vivid imagination. The child creates the hills of his land with his bent legs.

The child likes/ needs/ wants to be the giant over the land. Why? Because it is fun? Because being sick makes him feel powerless so he pretends to be powerful?



b. Dig deeper! Now that you have inferred more about the character, what now do you think he might be feeling? Using Graphic Organizer A, capture at least five one-word emotions from your deeper reading of the poem that describe how the character is feeling. Record those emotions on the bottom half of the graphic organizer. Step Three: Choose and Sequence Best Emotions 1. Now that you know the character in the poem better, step inside his shoes and feel which three one-word emotions from your Graphic Organizer A best capture how he feels when he must stay in bed. Choose the three emotions that you feel would best reveal his character as the subtext for a monologue? Star or circle them. 2. How could you sequence those three emotions to create the most dramatic turning points? The sharper the turning points (i.e., from happy to jealous, from hopeful to sad), the more dramatic the monologue. Ask students to capture the sequence on Graphic Organizer B (see pages 49-50).

Step Four: Imagine the Monologue Now, keeping the same setting as the poem, imagine a moment in the child’s room in which he might experience your three-emotion, two-turning point sequence. What is happening to him? Examples: He is watching the sun go down. He is waiting for the doctor to arrive. He is saying good-bye to a friend. Who is he talking to? Examples: His mother. One of his toys. Why does he feel this way? Examples:

He longs to be outside. He is frightened by his illness. He does not believe that he is really sick. Make notes in the “Imagine” box on Graphic Organizer B (See pages 49 – 50).

Students will naturally want to imagine the monologue as they are sequencing the emotions. As they imagine, they may test out different sequences, searching for the sharpest turning points. They will be stepping up and down steps “three” and “four” of the Creating a Monologue process several times, experiencing the creative process.


NOW, you are ready to write!


Step Five: Improvise the Monologue What might the boy in the poem say and do to express the three emotions and two turning points? Working in groups of three, get the students up on their feet, imagining that they are the character. Student 1 improvises words that he/she thinks expresses Emotion 1. Student 2, Emotion 2. Student 3, Emotion 3. Remember the relationship to the silent partner. Students should “write out loud,” trying different words and phrases to best capture the emotions and tell the story of the character. Step Six: Share, Reflect, and Revise Students SHARE the improvised monologues within their group in the process of step five. Now pair groups to share their monologue-in-process. Ask students to REFLECT on whether the words and actions used by each actor/writer capture the emotions and communicate the turning points. Students should make suggestions to REVISE the monologues. Students should reflect back on the subtext and pinpoint specific turning points when critiquing others. Reference the criteria created in Activity One for effectively communicating emotion. Step Seven: Write the Monologue Students are now ready to write. Complete Graphic Organizer B (see pages 49-50) by committing their monologue to paper. The original group of three can write one or each student can now write his/her own. Step Eight: Share, Reflect, and Revise SHARE the written monologues by reading them expressively to the class. Remind students: Use your voice, body, and face to help communicate the subtext and emotions beneath your writing. Ask the class to REFLECT on the monologue, making suggestions for revisions in the text as well as ways to strengthen the “performance.” Ask students to make final written revisions to the text and to build on the suggestions for strengthening the performing of the monologue. Step Nine: Perform the Monologue Your writer/actors will enjoy presenting a final performance of their monologues for the class or larger school community.



Step Ten: Reflect

How did you get to know the character in the poem?

How do you “read between the lines?”

What did you learn about the boy in the poem by standing in his shoes and imagining that he was talking to someone?

What other characters from literature would you like to explore through the

monologue writing process?

TEACHER REFLECTION How does this exercise build inference skills? How does this exercise build empathy for characters? How does this exercise help young writers BEGIN with the place they find hardest to go—the why of what characters say and do? What other texts can you imagine using as a starting place for the monologues writing process?


Activity Three: Write a Monologue to Deepen Understanding of People & Events in History

* * This lesson assumes prior knowledge of the larger context of this source. It is designed for a 7th grade social studies class engaged in the study of the US Civil War. Purpose:

To stimulate a deeper understanding of a historical moment and character through the monologue writing process.

To build the students inference skills through responding to a specific moment in history.

To empathize deeply with a famous character from history. To inspire vivid, emotionally rich, insightful writing.

Materials Needed: Reproduction of The First Reading of the Emancipation Proclamation before the Cabinet. (see page 43) Graphic Organizer A (see page 48) Graphic Organizer B (see pages 49-50). (An example of completed Graphic Organizer A is on page 44.) (An example of a completed Graphic Organizer B is on pages 45-46.) Pencils Overview of the Process for Activity Three: Step One: First Response: Read the Source (the painting) for Emotion Step Two: Dig Deeper: Identify the Known and Infer the Possible Step Three: Choose and Sequence Best Emotions Step Four: Imagine the Monologue Step Five: Improvise the Monologue Step Six: Share, Reflect, and Revise Step Seven: Write the Monologue Step Eight: Share, Reflect, and Revise Step Nine: Perform the Monologue Step Ten: Reflect

This activity can be taught by dividing the students into groups of three, creating one monologue per group. Students may also work productively in

pairs, with each student creating a monologue and working with his/her partner for Improvising, Sharing, Reflecting, and Revising.


Activity Three: Write a Monologue to Deepen Understanding of People & Events in History (Continued)

We’re now going to apply the tools and process we learned in writing a two-turning point monologue for a character in literature to writing a monologue for a historical character. We’re going to stand in that character’s shoes at a specific moment in time and imagine how he might feel and capture that moment in our writing Step One: First Response Read the Source (The Painting) for Emotion 1. Present a reproduction of The First Reading of the Emancipation Proclamation before the Cabinet (see page 43) to the class as a springboard for discussion of the events surrounding this moment, based on the student’s prior knowledge. Ask students to “step into the shoes” of President Lincoln and imagine what he might be feeling at this moment in history. 2. First Response: Using Graphic Organizer A (see page 48) ask students to capture at least five one-word emotions from their first reading of the painting that describe how President Lincoln might be feeling. Record those emotions in the top half of the graphic organizer, with emotion word list (p. 34) on back for ready reference. Step Two: Dig Deeper—Identify the Known and Infer the Possible 1. Identify the Known Read the painting again. What do we know about Mr. Lincoln in this moment in history? Make notes in the “Know” box on Graphic Organizer B (See pages 49-50). Examples: Lincoln was deeply troubled by the injustices of slavery. He was president of a deeply divided country. Lincoln wanted to end the war and reunite his country.

Race to Research! This step inspires your students to know more! Who are the other people in the painting? Was the Emancipation Proclamation popular in the North? Did Lincoln have the support of his Cabinet? Of Congress? Did Lincoln take a big risk “proclaiming” the slaves’ freedom? The questions are endless. Your students will want to know more as they develop their monologues. They may need (and want!) to return to this step as they dig deeper and enjoy bringing history to life.



2. Infer the Possible a. What can we infer about Mr. Lincoln from this moment in history? Make notes in the “Infer” box on Graphic Organizer B (see pages 49-50.) Examples: Lincoln, like any leader under pressure, needed people to confide in. Lincoln found it hard, personally, to juggle political factions.

b. Dig deeper! Now that you have inferred more about Lincoln in this moment in history, what now do you think he might be feeling? Using Graphic Organizer A, capture at least five one-word emotions from your deeper reading of the painting that describe how Lincoln is feeling. Record those emotions on the bottom half of the graphic organizer. Step Three: Choose and Sequence Best Emotions 1. Now that you know Lincoln in this moment better, step inside his shoes and feel which three one-word emotions from your Graphic Organizer A best capture how he feels when poised to read the Emancipation Proclamation to his Cabinet. Ask student to choose the three emotions that you feel would best reveal his character as the subtext for a monologue. Star or circle them. 2. How could you sequence those three emotions to create the most dramatic turning points? Ask students to capture the sequence on Graphic Organizer B (see pages 49-50). Step Four: Imagine the Monologue 1. Enrich the process by asking students to take an imaginative step away from the source. Let’s step even deeper into Mr. Lincoln’s shoes and imagine the moment right before he walked into the room to read the Emancipation Proclamation to his cabinet. Imagine that he is feeling the three-emotions in the same sequence from Step Three, but he is talking to someone not in the painting. What is happening to him? Imagine he is just getting ready to open the door to go in. Who is he talking to? His wife? His son? His African-American butler? Why does he feel this way? This will depend on your three-emotion sequence!


NOW,

you are

ready to write!


2. Make notes in the “Imagine” box on Graphic Organizer B (see pages 49-50). **Students may change one of the emotions in their sequence of three if they present a valid argument: Does the silent partner they imagine evoke a profoundly different emotion?**

The Goal: Empathy

This resetting of the emotions forces the students to look more deeply into Lincoln the man – to work to achieve more insight into his motivations, his life and his place in history. Their writing will capture historical content while exploring empathetically and uniquely an iconic American figure. Step Five: Improvise the Monologue What might Lincoln say and do to express the three emotions and two turning points? Working in pairs or groups of three, ask students to improvise a monologue based on the three-emotion, two-turning point sequence. Remember Lincoln’s relationship to his silent partner. Encourage students to “write out loud,” trying different words and phrases to best capture the emotions and tell Lincoln’s story in this imagined moment. Step Six: Share, Reflect and Revise SHARE the improvised monologues (in paired groups or with the whole class.) Ask partner/group/class to REFLECT on whether the words and actions used by the actor/writer capture the emotions and communicate the turning points. Suggest ways to the writer/group that the monologue can be REVISED. Students should reflect back subtext and pinpoint specific turning points when critiquing others. Reference the criteria created in Activity One for effectively communicating emotion. Step Seven: Write the Monologue Students are now ready to write. Complete Graphic Organizer B (see pages 49-50) by committing their monologue to paper.



Step Eight: Share, Reflect, and Revise SHARE the written monologues by students’ reading them expressively to the class. Remind students: Use your voice, body, and face to help communicate the subtext and emotions beneath your writing. Ask the class to REFLECT on the monologue, making suggestions for revisions in the text as well as ways to strengthen the “performance.” Ask students to make final written revisions to the text and to build on the suggestions for strengthening the performing of the monologue. Step Nine: Perform the Monologue Your writer/actors will enjoy presenting a final performance of their monologues for the class or larger school community. Step Ten: Reflect

How did stepping into the shoes of Mr. Lincoln help you to better understand this moment in history?

How can we use what we know about a moment in history to infer what and why a

character might be feeling?

How can we use what we know and infer to imagine a new moment that allows us to see deeper into a character?

How does improvising the monologue support our writing process?

Extend the Learning What would Mr. Lincoln’s silent partner say if he/she had the chance? Follow the

steps to create that monologue, too!



Teacher Reflection: The monologue writing process can provide an insightful, creative form of assessment of your students’ learning. Brainstorm a checklist that could be used for assessment purposes. Does my monologue include:

Word choice appropriate to the place and time.

Sensory detail.

References to other plot points or characters from the source literary text.

References to historical events.

Details from the historical character’s life.

Details about the setting of the monologue.

Others?

______________________________________________

______________________________________________

______________________________________________

______________________________________________

______________________________________________


Final Reflection for Teachers (Workshop Part One): Educational psychologist Benjamin Bloom identified six levels within the cognitive domain, from the simple recall or recognition of facts, as the lowest level, through increasingly more complex and abstract mental levels, to the highest order--creating. As we created monologues today we followed the same sequence and process. We:

READ the Source & IDENTIFIED the known

INFERRED the Possible, then CHOSE, and SEQUENCED best emotions

IMAGINED the Monologue

IMPROVISED the Monologue

WROTE and REVISED the Monologue

REFLECTED How do you see this workshop’s Steps for Creating a Monologue aligning with Bloom’s levels of thinking?

Closure: What do you see as the three greatest opportunities for using monologue

writing in your classroom? What two things do you now know that you did not know how to do at the

beginning of Part 1 of this workshop?

What is one word that describes a discovery you made during this workshop?


Supporting Materials and Examples

ACTIVITY ONE: Introduce the Monologue 27-38 Duncan: What Three Emotions 27 Elena: What Three Emotions 28 Zareen: What Three Emotions 29 Duncan Monologue 30 Elena Monologue 31 Zareen Monologue 32 Discovering Emotional Subtext Handout (Example) 33 Emotion List 34 Katie Monologue 35 Alan Monologue 36 Carlos Monologue 37 Communicating Emotion 38 ACTIVITY TWO: Write a Monologue to Deepen Understanding of a Character in a Poem 39-42 Text of The Land of Counterpane by Robert Louis Stevenson 39 Graphic Organizer A: What is the Character Feeling? (Example) 40 Graphic Organizer B: Text Based Two-Turning Point Monologue (Example) 41-42 ACTIVITY THREE: Write a Monologue to Deepen Understanding of People and Events in History 43-46 Reproduction of The First Reading of the Emancipation Proclamation before the Cabinet by F.B. Carpenter 43 Graphic Organizer A: What is the Character Feeling? (Example) 44 Graphic Organizer B: History Based Two-Turning Point Monologue (Example) 45-46 BLANK GRAPHIC ORGANIZERS 47-50 Discovering Emotional Subtext Handout 47 Graphic Organizer A: What is the Character Feeling 48 Graphic Organizer B: Text/History Based Two-Turning Point Monologue 49-50 STANDARDS OF LEARNING ADDRESSED IN WORKSHOP 51-52 LIST OF SUGGESTED RESOURCES 53 MEET THE PRESENTER 54


Duncan: What Three Emotions?

ANAngeryooo

Emotion 1

Emotion 2

Emotion 3


Elena: What Three Emotions?

ANAngeryoook

Emotion 1

Emotion 2

Emotion 3


Zareen: What Three Emotions?

ANAngeryoook

\

Emotion 1

Emotion 2

Emotion 3


Duncan Monologue

13-year-old Duncan is talking to a friend in the hallway at school.

DUNCAN Why don’t you just go away and leave me alone! I never ever want to see you again. Wait. Don’t go. I’m sorry. I didn’t mean it. ANAngeryoook

Emotion 1

ANGRY

Emotion 2

WORRIED

Emotion 3

MISERABLE


Elena Monologue

13-year-old Elena is talking to a friend in the hallway at school.

ELENA Really? Do you like it? I don’t believe you. I bet you’re just saying that. Why do you always make fun of me? Why?!

ANAngeryoook

Emotion 1

HOPEFUL

Emotion 2

INSECURE

Emotion 3

RESENTFUL


Zareen Monologue

13-year-old Zareen is talking to a friend in the hallway at school.

ZAREEN Don’t worry. Just tell me what’s on the test. You won’t get in trouble. Hurry, the teacher’s coming. Quick! Tell me! Don’t you understand? I can’t fail!

ANAngeryoook

Emotion 1

CALM

Emotion 2

ANXIOUS

Emotion 3

DESPERATE


Discovering Emotional Subtext WHO is speaking? ___Katie____

WHERE are the characters? ____In the bedroom of a cabin she is visiting___

WHAT is happening? __Rene has just seen her copying a poem from a book.

SILENT PARTNER: To whom is the character speaking? ____Rene_______________

Turnin WHO is speaking? _____Alan___________

WHERE are the characters? In the drama classroom_____

WHAT is happening? ___Teacher has just told him he cannot have a crown for their performance of

Hamlet.

SILENT PARTNER: To whom is the character speaking? ___drama teacher___

Turnin WHO is speaking? ___Carlos___

WHERE are the characters? ____at school_____

WHAT is happening? _________Rachel just told him she did not do the work for a school project on

which they on partners._

SILENT PARTNER: To whom is the character speaking? ____Rachel_____

Turnin

Emotion 1

ANGRY Emotion 2

CONFUSED Emotion 3 CONCERNED

Turning Point

Turning Point

Emotion 1 BITTER

Emotion 2 ANXIOUS

Emotion 3

REJECTED Turning

Point

Turning Point

Emotion 1

GUILTY Emotion 2

FEARFUL

Emotion 3 LOST

Turning Point

Turning Point


EMOTIONS LIST Angry Annoyed Anxious Arrogant Ashamed Bitter Bored Calm Confident Conflicted Confused Content Curious Depressed Disgusted

Ecstatic Empowered Envious Excited Fearful Guilty Happy Hopeless Impatient Indifferent Inspired Insecure Isolated Jealous

Lazy Lonely Lost Miserable Paranoid Pleased Possessive Proud Rejected Resentful Righteous Sad Serene Wistful Worried

Adjust for your grade level.

This is a great vocabulary building exercise. Ask your students for the opposite of the emotions listed.


Katie Monologue* 14-year-old Katie is in a bedroom of a cabin she is visiting. 14-year-old Rene just saw her copy a poem from a book.

KATIE: Rene! What are you doing in here? Haven’t you heard of knocking? No, don’t say anything. Then you’ll have to admit you were spying on me. Why wouldn’t you spy on me? Who wouldn’t want to see a great songwriter at work – to know how she comes up with all her wonderful lyrics that everybody loves – to learn her secret of how she always wins the school contests. [TP] Wait a minute. I bet you’re thinking that I use these poems and say I wrote them myself. Aren’t you? Go ahead. Admit it! That’s what you’re thinking. Isn’t it? Isn’t it?! [TP] (KATIE starts to cry.) Please don’t tell, Rene. How else can I keep winning? I have to win. That’s what everybody expects from me. To be first. Always. I have to be perfect.

*From Surface, Mary Hall. Short Scenes and Monologues for Middle School Actors. Lyme: New Hampshire: Smith and Kraus, 2000.


Alan Monologue*

12 year old Alan is talking to his drama teacher in their classroom. She has just told him he cannot have a crown for their performance of Hamlet.

ALAN: But I’m the prince! Hello! “Hamlet, Prince of Denmark?” I’ve got to have a crown. Not a cheesy one, but a real one. Claudius gets a crown and he’s a lousy murderer. You gave one to the Player King and Queen and they’re fake royalty. I’m the real thing! Watch. “Suit the action to the words, the words to the action!” Wasn’t that princely? [TP] OK, I’m not always on time to rehearsal. And Horatio and I messed around with the swords, but we were practicing. Really! He wanted to see what it was like to die since he’s the only person in the play who doesn’t. We were “exploring the text”… like you said! [TP] The thing is… see… I told my Dad I’d be wearing a gold one, with jewels. I had to tell him something… to get him to come. He’s never come. Now he’ll think I’m a liar. And we’ll fight. What if I make it myself? Please? *From Surface, Mary Hall. Short Scenes and Monologues for Middle School Actors. Lyme: New Hampshire: Smith and Kraus, 2000.


Carlos Monologue* 14 year old Carlos is talking to a friend, Rachel, at school. She just told him she did not do the work for a school project on which they on partners.

CARLOS: You want us to get a bad grade?! I thought we were partners on this project. Look, I took all these pictures, got them developed, bought the poster board and printed out the map. What were you supposed to do? Just write three little index cards full of facts about the kind of rocks we found. That’s all. It’s due, tomorrow, Rachel! [TP] What did you do last night anyway? You promised you’d work on it when you went to your Dad’s. What happened? (Rachel starts to cry.) [TP] Rachel, hey. Hey, don’t cry. Didn’t you get to see your Dad? You always see him on Thursday. Listen, don’t worry about the rock facts. I’m all over it. OK? It’s OK. * From Surface, Mary Hall. Short Scenes and Monologues for Middle School Actors. Lyme: New Hampshire: Smith and Kraus, 2000.


ACTIVITY ONE: Introducing the Monologue

Communicating Emotion Voice Body Face


ACTIVITY THREE: Write a Monologue to Deepen Understanding of a Character in a Poem The Land of Counterpane By Robert Louis Stevenson When I was sick and lay a-bed, I had two pillows at my head, And all my toys beside me lay, To keep me happy all the day. And sometimes for an hour or so I watched my leaden soldiers go, With different uniforms and drills, Among the bed-clothes, through the hills; And sometimes sent my ships in fleets All up and down among the sheets; Or brought my trees and houses out, And planted cities all about. I was the giant great and still That sits upon the pillow-hill, And sees before him, dale and plain, The pleasant land of counterpane. From “A Child’s Garden of Verses” by Robert Louis Stevenson. This poem is in the public domain.


(This poem is in the Public Domain.) Emotion

SAD

Emotion

HAPPY

Emotion

WISTFUL

Emotion

LONELY

Emotion

EMPOWERED

Emotion

IMPATIENT

Emotion

EXCITED

Emotion

JEALOUS

Graphic Organizer A: What is the character feeling? EXAMPLE

Character Name

Robert

(the Boy)

Emotion

FEARFUL

First Response:

Emotion

RESENTFUL

Dig Deeper:


The child is sick. He is playing with his toys: soldiers, ships, trees, and little houses. He is imagining that his quilt is the countryside. He thinks of himself as the giant looking over the land. (Robert Louis Stevenson was a sickly child.)

Character Name: Robert

Graphic Organizer B EXAMPLE: Text/Poem Based Two-Turning Point Monologue

The child has a vivid imagination. The child creates the hills of his land with his bent legs. The child likes/ needs/ wants to be the giant over the land. The child hides in his imagination because he is frightened. Or maybe he gets strength from his imagination? Now what is the character feeling? Record emotions on Organizer A.

2) Infer the Possible. What can we infer about the character from the source?

Step 2: Dig Deeper. 1) Identify the Known. What do we know about the character from the source?

Step 1: First Response. Read the Source for Emotion. What is the character feeling? Record emotions on Organizer A


Step 7: Write the Monologue

Graphic Organizer B (continued) Step 3: Choose and Sequence Best Emotions:

What three emotions (from Organizer A) best reveal the character? What sequence would create the most dramatic turning points?

Step 4: Imagine the Monologue

Step 5: Improvise the Monologue. Step 6: Share, Reflect, & Revise

Emotion 1 Excited

Emotion 2 Jealous

Emotion 3 Wistful

Turning Point

Turning Point

Who might experience this sequence of emotions? Who is the silent partner? Robert His Toy Soldier

Where might the character be? What is happening to the character? In his bedroom He is talking to one of his toy soldiers. Why might he/she feel this way? He needs to express feelings that he cannot express to others.

1. You see! I knew you could fall right in line with the other soldiers. That’s right. March. March. March. Up to the very top of the hill? How far can you see?

2. Much more than I can see. Can you see all the way across the ocean? To lands far away? Why do you get to march and fight and have adventures when I have to stay is bed! Night and day.

3. (Turning to look out the window) If only I could just go outside to the park. You could come, too. What’s it like out there? How long has it been? Are the leaves falling from the trees? Someday, perhaps…

Turning Point

Turning Point


ACTIVITY FOUR: Write a Monologue to Deepen Understanding of People and Events in History

The First Reading of the Emancipation Proclamation, Painted by F.B. Carpenter; engraved by A.H. Ritchie, c1866. (Library of Congress, Prints and Photographs Division. Reproduction Number: LC-USZ62-2070 DLC) For more information about this painting: http://www.senate.gov/artandhistory/art/artifact/Painting_33_00005.htm

Graphic Organizer A: Go Away/Come Back Exercise

1. ______________________________________

______________________________________

_________________

Go Away!

2. Come back! ___________________________

___________________________

___________________________

Emotion 1

Text Text

Subtext Subtext

Turning Point


1. ______________________________________

______________________________________

_________________

Go Away!

2. Come back! ___________________________

___________________________

___________________________

Emotion 1

Text Text

Subtext Subtext

Turning Point


Emotion

CONFIDENT

Emotion

AFRAID

Emotion

WARY

Emotion

LONELY

Emotion

EMPOWERED

Emotion

COMMITTED

Emotion

WEARY Emotion

DOUBTFUL

Graphic Organizer A: What is the character feeling? Example

Character Name

Lincoln

Emotion

HOPEFUL

First Response:

Emotion

PROUD


Character Name: Lincoln_____ Graphic Organizer B EXAMPLE

Text/History Based Two-Turning Point Monologue

28

Lincoln was deeply troubled by the injustices of slavery He was president of a deeply divided country. Lincoln wanted to end the war and reunite his country. Discovered in research: Lincoln had an African-American Butler.

Lincoln, like any leader under pressure, needed people to confide in. Lincoln found it hard, personally, to juggle political factions. Lincoln may have found people outside of his family and co-workers to reflect with (his butler.) Now what is the character feeling? Record emotions on Organizer A.



Step 1: First Response. Read the Source for Emotion. What is the character feeling? Record emotions on Organizer A


\


1. ______________________________________

______________________________________

_________________

Go Away!

2. Come back! ___________________________

___________________________

___________________________

Emotion 1

Text Text

Subtext Subtext

Turning Point

1. Wait a minute! I was supposed to go first! Sarah always goes first. The teacher always wants to hear her presentation before anybody else’s. Especially before mine!

2. I’m gonna check the other hand-out. I know I was first on the list. (Looking at the list.) Wait, Sarah’s name isn’t even on here! I thought she was in this group! What’s going on? (She looks at the list again.)

Text

Emotion 1 JEALOUS

Emotion 2 CONFUSED

Subtext Turning

Point Turning

Point

Imagine Step 7: Write the Monologue

Turning Point

Turning Point

Graphic Organizer B (continued)

Step 3: Choose and Sequence Best Emotions:

What three emotions (from Organizer B) best reveal the character? What sequence would create the most dramatic turning points?


Step 5: Improvise the Monologue. Step 6: Share, Reflect & Revise

Emotion 1 Confident

Emotion 2 Doubtful

Emotion 3 Confident

Who might experience this sequence of emotions? Who is the silent partner? Lincoln Lincoln’s Butler Where might the character be? What is happening to the character? Right outside the room where the proclamation is signed. He is trying to decide what coat to where for the ceremony. Why might he/she feel this way? He is struggling with the importance/ gravity of the event. The coat becomes a symbol of the struggle.

1. I finished it, Saunders. I have issued a military proclamation to end slavery! Now, which coat should I wear? I must appear strong and determined when I sign that paper. What a great day this is, Saunders!

2. But my enemies --- those Copperheads! They will try to scare citizens in the north, saying hundreds of freed slaves will take their jobs. But if I don’t sign it, the abolitionists will criticize me. I need them to win this war! To restore our dear Union!

3. Most importantly, Saunders, we fight for what is right -- to bring an end to slavery. Just imagine your grandchildren’s future, Saunders! So, no grey or blue coat for me, today. You choose another one for me.

Turning Point

Turning Point


Discovering Emotional Subtext WHO is speaking? ________________

WHERE are the characters? ____________________________________________

WHAT is happening? _________________________________________________

____________________________________________________________________

SILENT PARTNER: To whom is the character speaking? ___________________

Turnin WHO is speaking? ________________



____________________________________________________________________


Turnin WHO is speaking? ________________



____________________________________________________________________


Turnin

Emotion 1

Emotion 2

Emotion 3

Turning Point

Turning Point

Emotion 1

Emotion 2

Emotion 3

Turning Point

Turning Point

Emotion 1

Emotion 2

Emotion 3

Turning Point

Turning Point


Emotion Emotion

Emotion Emotion

Emotion Emotion

Emotion

Emotion

Graphic Organizer A: What is the character feeling?

Character Name

Emotion

First Response:

Emotion

Dig Deeper:


Character Name: ___________________

Now what is the character feeling? Record emotions on Organizer A.



Step 1: First Response. Read the Source for Emotion. What is the character feeling? Record emotions on Organizer A.

Graphic Organizer B Text/History Based Two-Turning Point Monologue


Step 7: Write the Monologue

Emotion 1

Emotion 2

Emotion 3

Turning Point

Turning Point

Who might experience this sequence of emotions? Who is the silent partner? Where might the character be? What is happening to the character? Why might he/she feel this way?

Graphic Organizer B (continued)

Step 3: Choose and Sequence Best Emotions:

What three emotions (from Organizer B) best reveal the character? What sequence would create the most dramatic turning points?


Step 5: Improvise the Monologue. Step 6: Share, Reflect, & Revise

Turning Point

Turning Point


Standards of Learning Addressed in the Workshop

Using the 7th grade standards as a reference

Virginia Grade 7 Standards

English: Oral Language 7.2 The student will identify the relationship between a speaker’s verbal and

nonverbal messages. a) Use verbal communication skills, such as word choice, pitch, feeling, tone,

and voice. b) Use nonverbal communication skills, such as eye contact, posture, and

gestures. c) Compare/contrast a speaker’s verbal and nonverbal messages.

English: Reading 7.5 The student will read and demonstrate comprehension of a variety of fiction,

narrative nonfiction, and poetry. a) Describe setting, character development, plot structure, theme, and conflict. e) Draw conclusions based on explicit and implied information. f) Make inferences based on explicit and implied information.

United States History: 1877 to the Present USII.1 The student will demonstrate skills for historical and geographical analysis,

including the ability to a) analyze and interpret primary and secondary source documents to increase

understanding of events and life in United States history from 1877 to the present;

b) make connections between past and present; c) sequence events in United States history from 1877 to the present; d) interpret ideas and events from different historical perspectives; e) evaluate and debate issues orally and in writing; h) interpret patriotic slogans and excerpts from notable speeches and documents.


DC Public Schools Grade 7 Standards Reading/English Language Arts: Oral Presentation 7.LD-O.6. Present critiques of literary works, films, or dramatic productions using various techniques for effective presentations and matching the message with voice modulation, inflection, tempo, enunciation, and expression. Reading/English Language Arts: Fiction 7.LT-F.6. Describe a character based on the thoughts, words, and actions of the character, the narrator’s description, and what other characters say and do. 7.LT-F.7. Analyze the ways characters change or interact with others over time and give supporting evidence from the text.

Maryland Grade 7 Standards Reading/English Language Arts: Literary Indicator 3: Analyze elements of narrative texts to facilitate understanding and interpretation Objective d: Analyze characterization

Objective g: Analyze internal and/or external conflicts that motivate characters and those that advance the plot

Reading/English Language Arts: Listening Indicator 1: Apply and demonstrate listening skills appropriately in a variety of settings and for a variety of purposes Objective a: Use criteria to evaluate oral presentations such as purpose, delivery techniques, content, visual aids, body language, and facial expressions

Reading/English Language Arts: Writing Indicator 2: Compose oral, written, and visual presentations that express personal ideas, inform, and persuade

Objective e: Use writing-to-learn strategies such as reflective and metacognitive writing to set goals, make discoveries, and make connections among learned ideas

Social Studies: Skills and Processes Topic F: Analyze Social Studies Information

Indicator 1: Interpret information from primary and secondary sources Indicator 2: Evaluate information from a variety of sources Indicator 3: Synthesize information from a variety of sources


List of Suggested Resources Beers, Kylene. When Kids Can’t Read: What Teachers Can Do. Portsmouth, New Hampshire: Heinemann, 2003. Some excellent strategies that involve imagination and making connections. Christensen, Linda. Reading, Writing, and Rising Up: Teaching About Social Justice and the Power of the Written Word. Milwaukee, Wisconsin: Rethinking Schools, Ltd. 2000. A personal favorite. Hart, Anne. Writing 45-Minute One-Act Plays, Skits, Monologues, & Animation Scripts for Drama Workshops: Adapting Current Events, Social Issues, Life Stories, News & Histories. Lincoln, NE: Universe, Inc., 2005. A very practical guide that can help you build on the workshop activities to create full scripts. Johnson, Maureen Brady Namely ME: A Monologue Book Based on the Meaning of Names. Lyme, New Hampshire: Smith and Kraus, 2009. A fun collection that can inspire other “bases” for monologue writing. Miller, Carole and Juliana Sexton, Into the Story: Language in Action Through Drama. Portsmouth, New Hampshire: Heinemann Drama, 2004. Lesson plans for finding deeper meaning through scene work and improvisation in short stories. Silverberg, Larry. The Seven Simple Truths of Acting for the Teen Actor. Lyme, New Hampshire: Smith and Kraus, 2007. A very appealing book for young actors that builds on their self-knowledge and imagination. Surface, Mary Hall. Short Scenes and Monologues for Middle School Actors. Lyme: New Hampshire: Smith and Kraus, 2000. My two books were written after speaking to a national conference of middle school teachers who were desperate for monologues that would work well for their grade levels. It was the development of the material for this first book and the creation of monologues with clear turning points and strong subtext that gave birth to this workshop. _________, More Short Scenes and Monologues for Middle School Students. Lyme: New Hampshire: Smith and Kraus, 2007. By popular demand


Meet the Presenter

MARY HALL SURFACE

Mary Hall Surface is an internationally recognized, award-winning playwright and director who specializes in theater for youth and family audiences. Her plays have been produced at major professional theaters, museums and universities throughout the United States, Europe, Japan, Taiwan and Canada, including fifteen productions with the Kennedy Center’s Theater for Young Audiences and the National Symphony Orchestra. She has been nominated for 9 Helen Hayes

Awards (Washington, DC’s professional theater awards), receiving the 2002 Award of Outstanding Direction of a musical, and has published 12 plays, four cast albums and 2 books of scenes and monologues for middle school actors. For over 20 years, Ms. Surface has brought her enthusiasm for the “power of the playwriting pen” into classrooms throughout the United States, to national arts education conferences, and to teachers nationwide. Mary Hall’s workshops include “A Playful Approach to Writing,” which uses tools from drama to teach story structure and development and “Standing in a Character’s Shoes: Deeper Meaning Through Monologues.” Mary Hall is the co-founder and curriculum developer for SchoolSculptures, an artist residency program in which sculptor Kevin Reese collaborates with communities across the US to create permanent pieces of moving public art. Mary Hall has served as an on-site evaluator for the National Endowment for the Arts, an advisor to American Theatre Magazine and on the artistic commission for ASSITEJ (The International Association of Theatre for Children and Youth).

[email protected] 1. Wait a minute! I was supposed to go first! Sarah always goes first. The teacher always wants to hear her presentation before anybody else’s. Especially before mine!


Text

Subtext

Graphic Organizer A

______________________________________

______________________________________

_________________

Come back! ___________________________

___________________________

Text Text 1. Wait a minute! I was supposed to go first! Sarah always goes first. The teacher always wants to hear her presentation before anybody else’s. Especially before mine!


Text

Subtext

Graphic Organizer A

______________________________________

______________________________________

_________________

Come back! ___________________________

___________________________

Text Text

mailto:[email protected]

standinginacharacter’sshoes: deeper meaning...

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