unit plan design template - new jersey · web viewtarget course/grade level: 11-12 unit summary...

Visual and Performing Arts Curriculum Exemplar: TheatreAligned to the 2009 New Jersey Core Curriculum Content Standards

ENGAGING STUDENTS • FOSTERING ACHIEVEMENT • CULTIVATING 21ST CENTURY GLOBAL SKILLS

Senior Stories: Unit OverviewContent Area: Visual and Performing Arts: Theatre Unit Title: Senior Stories: How Does History Repeat Itself?Target Course/Grade Level: 11-12Unit Summary This unit permits the student actor or theatre practitioner to explore and make use of specific modern theatre methodologies integrated with historical research and journalism practices. Students begin by exploring Uta Hagen’s acting techniques. Then, following the approach of Anna Deavere Smith, each student interviews a senior citizen, looking for “a defining moment in American history” that helped shape their subjects’ lives. Afterward, students research these events to better understand the various contexts through which their subjects experienced the world. They then engage in the dramaturgical study of their research subjects. Borrowing from Smith, Hagen, and Michael Chekov, they take a process-driven approach to finding/developing a character based on the individuals they interviewed. After this formative “rehearsal process” brings the character to life, each student focuses on a single anecdote from their subjects’ lives and uses these to write short, one-person plays that tell each subject’s story. The unit culminates in a live performance that is recorded and published on the school website. A class blog serves as a digital portfolio of students’ progress, and following their performance, students reflect on their extended theatrical experience and explore similarities and differences in the ways a range of historical events shape both the individual and our collective experience.Primary interdisciplinary connections: Language arts, social studies, technology21st-Century Themes: Global Awareness, Civic LiteracyUnit RationaleSenior Stories can be used to structure a trimester-long theatre course and contains numerous extensions to facilitate its use as a one-semester or longer course. The unit provides artistic opportunities for students to deeply explore and provide evidence of their understanding of an individual’s experience during a specific period of history. It engages students in drama, journalism, and playwriting, using a real-life historical context, and enables them to make use of creative processes employed by professional artists. Students can later apply the techniques and processes they learn to a range of theatrical and other artistic endeavors. In addition, students use a range of technologies to both create and communicate, and they work collegially with their teacher and peers—all 21st-century career skills. After completing the unit, they are asked to consider the role historical events play in our lives by reflecting on, discussing, and responding creatively to such questions as: How does history repeat itself? In other words, in what ways do the impacts of specific historical events

differ, and in what ways are they similar? What does this say about the role of history in our lives? About the human experience? What role does art play in our experience? How does history impact art, and how does art impact history?

Learning TargetsStandards: Visual and Performing Arts 1.1 The Creative Process: All students will demonstrate an understanding of the elements and principles

that govern the creation of works of art in dance, music, theatre, and visual art. Strand C: Theatre

1.3 Performing: All students will synthesize those skills, media, methods, and technologies appropriate to creating, performing, and/or presenting works of art in dance, music, theatre, and visual art. Strand C: Theatre

1.4 Aesthetic Responses & Critique Methodologies: All students will demonstrate and apply an understanding of arts philosophies, judgment, and analysis of works of art in dance, music, theatre, and visual art.

Created for New Jersey school districts through a project of the New Jersey Department of Education, Office of Academic Standards,in partnership with the N.J Association for Supervision and Curriculum Development and the N.J. Principals and Supervisors Association.



Strand A: Aesthetic Response Strand B: Critique Methodologies

Related Content Statements for Standard 1.1, Strand C Theatre and the arts play a significant role in human history and culture. Characters have physical, emotional, and social dimensions that can be communicated through the

application of acting techniques.Related Content Statements for Standard 1.3, Strand C Effective scripted and improvisational performances require informed, supported, and sustained choices by

actors, directors, and designers. Theatre genres are created by combining complex narrative structures, technical theatrical elements, and thematic intent.

Presentation of believable, multidimensional characters in scripted and improvised performances requires application of specific physical choices, sustained vocal technique, and clearly motivated actions.

Related Content Statements for Standard 1.4, Strand A Contextual clues within artworks often reveal artistic intent, enabling the viewer to hypothesize the artist’s

concept.Related Content Statements for Standard 1.4, Strand B Archetypal subject matter exists in all cultures and is embodied in the formal and informal aspects of art. The cohesiveness of a work of art and its ability to communicate a theme or narrative can be directly

affected by the artist’s technical proficiency as well as by the manner and physical context in which it is performed or shown.

Art and art-making reflect and affect the role of technology in a global society.CPI # Cumulative Progress Indicator (CPI)

1.1.C.12.1 Analyze examples of theatre’s influence on history and history’s influence on theatre in Western and non-Western theatre traditions.

1.1.C.12.2 Formulate a process of script analysis to identify how the physical, emotional, and social dimensions of a character are communicated through the application of acting techniques.

1.3.C.12.1 Create plays that include well-structured plots and subplots, clear thematic intent, original characters, and technical theatrical elements appropriate to a variety of theatrical genres.

1.3.C.12.2 Create and evaluate performances by citing evidence of specific physical choices, sustained vocal technique, and clearly motivated actions.

1.4.12.A.2 Speculate on the artist’s intent, using discipline-specific arts terminology and citing embedded clues to substantiate the hypothesis.

1.4.12.B.1 Formulate criteria for arts evaluation using the principles of positive critique and observation of the elements of art and principles of design, and use the criteria to evaluate works of dance, music, theatre, visual, and multimedia artwork from diverse cultural contexts and historical eras.

1.4.12.B.2 Evaluate how an artist’s technical proficiency may affect the creation or presentation of a work of art, as well as how the context in which a work is performed or shown may impact perceptions of its significance/meaning.

1.4.12.B.3 Determine the role of art and art-making in a global society by analyzing the influence of technology on the visual, performing, and multimedia arts for consumers, creators, and performers around the world.

Unit Essential Questions How is the playwriting and dramatic

Unit Enduring Understandings Journalism techniques and the use of multimedia technology




process influenced, both positively and negatively, when the subject is a living person?

How can specific acting techniques influence the process through which living people become characters in theatrical performances?

How can historical and other real-life events shape creative production and performance?

How can creative performances based on historical and other real-life events influence individuals and society?

can impact the playwriting process and structure of dramatic literature.

Method acting is one approach to acting. The critical processes of observing, describing, analyzing,

interpreting, and evaluating leads to judgments regarding the relative merits of artworks and can help artists improve their work.

Although historical periods are distinct in many ways, there are similarities in the way that historical events shape the lives of individuals across time.

Theatre can be used to interpret events and make sociopolitical statements that can influence other people.

Unit Learning TargetsStudents will ... Examine Uta Hagen’s contributions to theatre history and the concept of the Fourth Wall. Apply acting techniques to maintain the existence of the Fourth Wall. Self-critique their own creative efforts, apply the principles of positive critique to their peers’ work, and use

feedback to improve their work. Discuss acting techniques supporting the existence of the Fourth Wall and how they help the actor and

playwright engage the audience. Reflect on their exploration of acting techniques. Examine Anna Deavere Smith’s use of journalistic techniques to develop characters for her unique theatrical

performances. Discuss the role of individual and collective experiences in depicting American identity. Prepare for interviewing by drafting questions, role-playing, and discussing interviewing skills and decorum. Conduct planned interviews with senior citizens. Examine Michael Chekov’s techniques for exploring and finding the center of their characters. Research the historical, life-shaping events their subjects identified. Use the information from their interviews, in combination with Smith’s and Chekov’s techniques, to explore

who their characters are and to physically transform into their characters by embodying their physical and emotional attributes.

Discuss and reflect on the character study process. Learn and practice a variety of exercises for strengthening posture, controlling breathing, locating vocal

range, and refining diction. Develop, stage, and perform a roughly five-minute one-person play based on (1) an anecdote shared during

their interviews, (2) their character studies, and (3) their research on the identified historical moment. Engage in a cyclical process of performance and revision to refine and improve both their scripts and their

performances. Work closely with a peer review partner to share and improve draft scripts and performances. Appropriately apply exercises for strengthening posture, controlling breathing, locating vocal range, refining

diction, and enhancing performance. Assess their own scripts and performances, as well as those of a peer. Discuss the value of individual character development techniques. Compare and contrast the approaches of Hagen, Smith, and Chekov, and analyze how each affects character

believability.




Reflect individually on their experiences of the unit. Evaluate and respond creatively to the question of the role that history and “breaking” global events play in

our lives.Evidence of Learning

Summative AssessmentAfter an extended exploration of acting techniques, their interview subjects, the character they develop based on their subjects, and the historic event or moment that helped shape their subjects’ lives, students pull all of their learning together to develop a roughly 5-to-7-minute one-person performance—a monologue—based on an anecdote their subjects shared during their interviews. They use the character they developed to tell this story, striving to tell it in a way that brings the role of the identified historical moment to life while also keeping the story personal.Equipment needed: Teacher computer/projection set-up, student computer/Internet access, digital camcorder(s), digital still cameras, individual tape recorders (plus blank 90-minute cassettes and ear-buds/earphones)Teacher Resources: See Senior Stories Summative Assessment for student instructions.See Playwriting Rubric and Acting Rubric for performance expectations.Formative Assessments Introductory blog entries and

responses to reading Class discussion of chapter Completed Step 1, Part A, of the

Fourth Wall Exercise Peer critiques of written

exercises in circle Revised Step 1, Part A, of the

Fourth Wall Exercise Performance (Step 1, Part B) of

the Fourth Wall Exercise Self- and peer assessments (Step

1, Part B) Class discussion of challenges

and rewards of Step 1 of the Fourth Wall Exercise

Blog responses to Step 1 of the Fourth Wall Exercise

Completed Step 2, Part A, of the Fourth Wall Exercise

Revised Step 2, Part A, of the Fourth Wall Exercise

Performance (Step 2, Part B) of the Fourth Wall Exercise

Self- and peer assessments (Step 2, Part B)

Class discussion of challenges

List of effective interviewing skills

Class discussion of interview decorum

Interviews Post-interview journal entries

and discussion Follow-up communication with

interview subjects Jigsaw discussion of Chekov

concepts Completed My Defining Moment

handouts Completed Discovering Your

Character handouts Teacher-student conferences Character exploration and

development Peer and self-evaluations of

character explorations Class discussion of and blog

reflections on character explorations

Use of exercises for finding and developing aspects of character

Blog reflections on role of vocal range

Revised and final scripts Developing videotaped

performances Use of specific exercises for

strengthening posture, controlling breathing, locating vocal range, and refining diction

Success with locating the vocal ranges of their subjects/characters

Success with adopting the diction and speech patterns of their subjects/characters

Blogged reflections Performance of in-progress plays Use and development of

costumes, make-up, props, and lighting

Use and development of music/sound

Use and development of other media

Dress rehearsals Final performances Technical support of each other’s

performances Self- and peer assessments




and rewards of Step 2 of the Fourth Wall Exercise

Blog responses to Step 2 of the Fourth Wall Exercise handout

Class discussions of Smith Interview questions Analysis and discussion of

biased questions Interviewing role-plays Role-play critiques

Class discussion of expectations for scripts and performances

Written explorations of anecdotes (Part A of My Senior Story) and subsequent revisions

Story maps and draft scripts (Part B of My Senior Story)

Use of feedback, revision, and collaboration

Student-teacher conferences Class discussion of character

development techniques, the approaches of Hagen, Smith, and Chekov, and believability

End-of-unit reflections Class discussion of the role of

history in our lives Creative responses on the role of

history in our lives

Lesson Plans Lesson Timeframe

Lesson 1An Exploration of Self Through the Medium of Theatre

9 days

Lesson 2Using Techniques From Journalism and Theatre to

Investigate and Develop a Character 7 days

Lesson 3Developing and Performing Short Original Plays

14 days

Lesson 4Post-Performance Reflection

4 days

* A “day” is based on an 80-minute class period. The timing allotted for performance days is based on 20 students.

Teacher Notes: Before beginning this unit teachers should have a basic understanding of (1) Uta Hagen’s Object Exercises

(from her book, Respect for Acting), (2) the works of Anna Deavere Smith, and (3) Michael Chekhov’s work, On the Technique of Acting. Students will need access to Chapter 14 of Hagen’s work, and chapters 1, 3, 4, and 5 of Chekhov’s work.

This unit was written for collaboration with local senior citizens because central access to seniors is possible in most communities, such as through residential facilities and recreation centers. Prior to launching the unit, the teacher should consider how to handle the interviewing portion of the unit. For example, students can take a field trip to a senior center to complete the interviews, or seniors may be bused to the school for the interviews. In any case, prior contact with the center’s manager will be necessary. In this initial communication, be sure to note that students are looking for senior citizens who are willing to share stories of their lives with them, especially as they relate to historical events. Also note that you would like to pair each student with one senior citizen for the interviews; those senior citizens who are computer savvy may also wish to make themselves available for follow-up communication with students by email or through the class blog. Finally, mention that after the interviews, each student will develop a dramatization based on his or her subject’s life, and students will later perform their dramatizations for the seniors either at school or at the facility. (You may also want to discuss this with your administration, as they may want to arrange a luncheon to take advantage of the opportunity to reinforce positive relations with the seniors.)

This unit may be modified to take advantage of unique communities within the school district. For example, if the community has a veterans hospital or very active American Legion or V.F.W. organization, you could try to arrange the interview with veterans of specific wars; in this case, be sure to include the organizations’


http://www.chekhov.net/mic_main.html

http://www.pbs.org/moyers/journal/11132009/profile.html

http://www.utahagen.com/



auxiliaries (usually female) to show how the selected war affected those at home as well as those involved in battle. Similarly, if your community experienced a wave of migration as a result of a historic event, you could try to arrange interviews through a cultural center serving this community.

Senior Stories also provides opportunities for cross-disciplinary collaboration within the school. Teachers may wish to invite social studies and/or language arts teachers to collaborate on parts of the unit. In addition, visual art teachers may see opportunities for collaboration; for example, students in a photography course or club could photograph the senior citizens, and these photographs could become part of a multimedia set for students’ dramatic performances.

This unit assumes that the teacher has access to one or more digital video cameras for use in the classroom. The camera(s) should be set up in a fixed location to capture students’ developing performances using various techniques. The availability of multiple cameras would be helpful in Lesson 3.

Several video excerpts are used in the course of the unit. Teachers should view these in advance to ensure that the content is appropriate for their particular students. For example, mature content and strong language both play a role in Anna Deavere Smith’s performances.

In this unit, students blog their reflections rather than keep private journals; if students have built-in video cameras on their home computers, they could easily be afforded the option of creating video reflections.

If it is not already a classroom practice, consider instituting a “no volunteers” policy to conduct the discussions in this lesson. To avoid having the discussion led by only a few individuals, call on students at random. This way, every student is accountable for their thinking at every moment, as no one knows when he or she might be called on. If this is a new practice, explain it to students first. Tell them the emphasis should be on listening and thinking, not talking, and that they can jot thoughts down (while still listening) if they feel they will forget something.

A Guide to Student Reflection is provided to help teachers develop reflection questions to suit different moments in the learning process.

Curriculum Development Resources The design of Senior Stories and many of the unit’s supporting materials come from theatre specialist Daniel

Paolucci of the Jersey City ARTS High School Program in the Jersey City Public School District. The unit adapts with permission student materials provided online by the Rice University Theater Department

(http://www.owlnet.rice.edu/~thea301/Rigdon/index.html).


http://www.owlnet.rice.edu/~thea301/Rigdon/index.html



Senior Stories: Lesson Plan 1 Content Area: Visual and Performing Arts: TheatreLesson Title: An Exploration of Self Through the Medium of Theatre Timeframe: 9 days

Lesson Components21 st Century Themes

Global Awareness Financial, Economic, Business, and Entrepreneurial Literacy

X Civic Literacy Health Literacy

21 st Century Skills X Creativity and

InnovationX Critical Thinking and

Problem SolvingX Communication

and CollaborationX Information

Literacy X Media Literacy ICT Literacy Life and Career Skills

Interdisciplinary Connections: TechnologyIntegration of Technology: Video as a tool for self-assessment, bloggingEquipment needed: Teacher computer/projection set-up, student computer/Internet access, digital camcorder

Goals/Objectives Learning Activities/Instructional Strategies Formative Assessment TasksStudents: Examine Uta Hagen’s

contributions to theatre history and the concept of the Fourth Wall.

Apply acting techniques to maintain the existence of the Fourth Wall.

Self-critique their own creative efforts, apply the principles of positive critique to their peers’ work, and use feedback to improve their work.

Discuss acting techniques supporting the existence of the Fourth Wall and how they help the actor and playwright engage the audience.

Reflect on their exploration of acting techniques.

Teacher NoteIf this unit is used to structure or begin a theatre course, teachers should use the first day of the course to acclimate students to theatre language and the school’s theatre resources, to discuss student behaviors that create a safe environment for theatrical risk-taking, to relay expectations for student learning, and to introduce students to performance through some ice-breaking improvisational activities. For homework, students should: Read Chapter 14 of Respect for Acting

(let them know the next class will start with a discussion of the reading).

Create brief introductory entries on the class blog (e.g., post a photo and an introductory statement, such as what they hope to get out of the course and/or any prior acting experiences), and post a brief response to or question about the reading.

Read Sample Fourth Wall Exercise handout.

Lesson SequenceDay 1Teacher1. Engages students in a brief introductory

Introductory blog entries and responses to reading

Class discussion of chapter Completed Step 1, Part A,

of the Fourth Wall Exercise Peer critiques of written

exercises in circle Revised Step 1, Part A, of

the Fourth Wall Exercise Performance (Step 1, Part

B) of the Fourth Wall Exercise

Self- and peer assessments (Step 1, Part B)

Class discussion of challenges and rewards of Step 1 of the Fourth Wall Exercise

Blog responses to Step 1 of the Fourth Wall Exercise

Completed Step 2, Part A, of the Fourth Wall Exercise

Revised Step 2, Part A, of the Fourth Wall Exercise

Performance (Step 2, Part B) of the Fourth Wall


http://www.21stcenturyskills.org/index.php?option=com_content&task=view&id=254&Itemid=120




discussion of Chapter 14 of Respect for Acting by acknowledging students’ posted responses and probing for prior knowledge and experience.

2. Introduces students to Uta Hagen and relates her contribution to theatre history, using slides 1-4 of UtaHagen.ppt as a guide.

3. Provides an overview of the unit as follows: Students will first experiment with

Hagen’s acting techniques using themselves as subjects.

They will then interview senior citizens use a variety of techniques to develop and refine original performances based on the senior citizens’ lives in relation to historical events.

They will rehearse and perform the resulting character monologues for the student body as well as for their senior citizen subjects.

4. Explains and demonstrates the concept of the Fourth Wall.

5. Shows videotaped examples of students who completed Hagen’s Fourth Wall Exercise, using slides 5-9 of UtaHagen.ppt as a guide.

6. Projects the Fourth Wall Exercise handout, and reviews Step 1, Part A, Alone in Your Room, referring to qualities that make the Sample Fourth Wall Exercise “excellent.”

7. Assists individual students as they work on the handout.

Students8. Complete a first draft of Step 1, Part A, of

the Fourth Wall Exercise handout on the computer, then post the completed entries on the class blog (finishing for homework if necessary).

9. Read their peers’ entries for homework using the class blog, and if desired, expand or refine their own entries.

Days 2-4Teacher10. Distributes the student handout, A Guide to

Peer and Self-Assessment, and opens it on the computer projection screen so that students can follow along as they discuss it.

Exercise Self- and peer assessments

(Step 2, Part B) Class discussion of

challenges and rewards of Step 2 of the Fourth Wall Exercise

Blog responses to Step 2 of the Fourth Wall Exercise handout




11. Assigns peer review pairs for the duration of Lesson 1.

12. Explains that, throughout the lesson, students will be responsible for positively critiquing their own work as well as the work of their peers using A Guide to Peer and Self-Assessment, the Sample Fourth Wall Exercise handout, and the principles of positive critique.

Students13. Arrange desks in a circle.14. Discuss the student handout, A Guide to

Peer and Self-Assessment, and the principles of positive critique; add points contributed by peers to the handout as the discussion proceeds.

Teacher 15. Opens the class blog on the computer

projection screen so that students can follow along as their peers read their entries.

Students16. Take turns around the circle reading their

responses to Step 1, Part A, of the Fourth Wall Exercise handout.

17. Provide feedback to peers as a group using the tools provided (Sample Fourth Wall Exercise and A Guide to Peer and Self-Assessment) and the principles of positive critique (the teacher can elicit feedback by using the probing questions provided on A Guide to Peer and Self-Assessment as needed; if more structure is necessary, the teacher can implement Two Stars and a Wish (i.e., ask students to name two things they liked and one thing they think could be improved in the work at hand).

18. Strengthen their written exercises based on peer and teacher feedback.

19. Share their revised exercises with their peer review partners in pairs and provide each other with Two Stars and a Wish.

20. Update their responses on the class blog. 21. Prepare and rehearse a 2-3 minute

performance based on their completed exercises for homework using Step 1, Part B, of the Fourth Wall Exercise handout.

Day 5-6




Teacher22. Videotapes student performances and

uploads them to the class blog. (This will have to be done by the end of Day 5 to be useful; try to post the few performances that carry into Day 6 immediately after the last student performs.)

Students23. Perform their exercises for the class. 24. Evaluate their own and their peer review

partner’s performances using videos posted on the class blog, A Guide to Peer and Self-Assessment, the Sample Fourth Wall Exercise, Two Stars and a Wish, and the principles of positive critique.

25. Hand in their self- and peer assessments.26. Share their peer reviews with their partners.27. Discuss the challenges and rewards of the

exercise as a class.Teacher28. If time allows, highlight a few well-done

elements of students’ performances using video clips.

Students 29. Blog a reflection on the Step 1 activity for

homework.Day 730. Complete Step 2, Part A, of the Fourth Wall

Exercise handout on the computer and post them on the class blog.

31. Exchange written exercises with their peer review partners and provide feedback using A Guide to Peer and Self-Assessment, the Sample Fourth Wall Exercise, Two Stars and a Wish, and the principles of positive critique.

Teacher32. Confers informally with students as they

work in pairs to monitor their progress and give feedback.

33. Provides mini-lessons to specific students and/or the whole class as needed.

Students34. Revise the exercise based on peer and

teacher feedback.35. Share their revised exercises with their peer




review partners in pairs and provide another round of Two Stars and a Wish.

36. Update their entries on the class blog.37. Prepare and rehearse a 2-3 minute

performance based on their revised exercises for homework.

Days 8-9Teacher38. Videotapes student performances and

uploads individual performances to the class blog by the end of the school day (posting the few performances that carry into Day 9 immediately after the last student performs).

Students39. Perform their exercises for the class. 40. Evaluate their own and their peer review

partner’s performances for homework using videos posted on the class blog, A Guide to Peer and Self-Assessment, the Sample Fourth Wall Exercise, Two Stars and a Wish, and the principles of positive critique.

41. Hand in their self- and peer assessments.42. Share their peer reviews with their partners.43. Discuss the challenges and rewards of the

exercise as a class, and discuss the contribution of the Fourth Wall to the audience’s experience of the performance.

Teacher44. If time allows, highlight a few well-done

elements of students’ performances using video clips.

Students45. Blog a response to the following question

for homework: How does manipulation of the Fourth

Wall help the actor and playwright engage the audience during a performance?

Differentiation This is a highly individualized lesson; individual students should be provided with support based on their

learning needs.Resources Provided Teacher Resource: UtaHagen.ppt Student Handout: Sample Fourth Wall Exercise Student Handout: Fourth Wall Exercise Student Handout: A Guide to Peer and Self-Assessment




Senior Stories: Lesson Plan 2 Content Area: Visual and Performing Arts: TheatreLesson Title: Using Techniques From Journalism and Theatre to Investigate and Develop a Character

Timeframe: 7 days


X Global Awareness Financial, Economic, Business, and Entrepreneurial Literacy







Interdisciplinary Connections: Language arts, social studies, technologyIntegration of Technology: Video as a tool for self-assessment, blogging, still photographyEquipment needed: Teacher computer/projection set-up, student computer/Internet access, a digital camcorder, digital still cameras, tape recorders (and blank 90-minute cassettes), ear-buds/earphones

Goals/Objectives Learning Activities/Instructional Strategies Formative Assessment TasksStudents: Examine Anna Deavere

Smith’s use of journalistic techniques to develop characters for her unique theatrical performances.

Discuss the role of individual and collective experiences in depicting American identity.

Prepare for interviewing by drafting questions, role-playing, and discussing interviewing skills and decorum.

Conduct planned interviews with senior citizens.

Examine Michael Chekov’s techniques for exploring and finding the center of their characters.

Research the historical, life-shaping events their subjects identified.

Teacher NoteThe lesson sequence that follows assumes the class will participate in only one interview session, with follow-up communication between individual students and their subjects. Another approach, if feasible, might be to arrange two interview sessions for students—perhaps one as a field trip and another in which senior citizens are bused to the school—as students are unlikely to collect all of the information they need in one sitting. Lesson SequenceDays 1-2Teacher1. Introduces Anna Deavere Smith by playing

a roughly five-minute video excerpt from the Today Show.

2. Relates how Anna Deavere Smith makes use of journalistic techniques to develop characters for her unique theatrical performances, using slides 1-5 of AnnaDeavereSmith.ppt as a guide.

3. Explains to students that while their subject may differ from those treated by Smith, they will use some of her techniques to

Class discussions of Smith Interview questions Analysis and discussion of

biased questions Interviewing role-plays Role-play critiques List of effective

interviewing skills Class discussion of

interview decorum Interviews Post-interview journal

entries and discussion Follow-up communication

with interview subjects Jigsaw discussion of

Chekov concepts Completed My Defining

Moment handouts Completed Discovering

Your Character handouts Teacher-student

conferences Character exploration and






Use the information from their interviews, in combination with Smith’s and Chekov’s techniques, to explore who their characters are and to physically transform into their characters by embodying their physical and emotional attributes.

Discuss and reflect on the character study process.

Learn and practice a variety of exercises for strengthening posture, controlling breathing, locating vocal range, and refining diction.

investigate and develop a character for a performance.

4. Engages students in a discussion of Smith’s techniques by reflecting on Smith’s own words about her art (it may help to project these; the first statement goes to the elaboration of an individual’s unique experiences, while the second goes to the manner in which our collective experiences combine to create a national identity):

Smith uses a tape recorder to capture people’s words and creates her monologues using their language. She says, “If you say a word often enough, it becomes you.” What do you think she means?

Smith says that as she works, she sometimes thinks, “that if I walked in their words, that I could sort of absorb America.” What do you think she means by walking in someone’s words? How is she defining “America?”

5. Asks students to think about the following questions (it may help to project these) and note examples as they watch a video of Smith’s performances:

How are Smith’s performances both about individuals and about something larger?

How does her use of her character’s language help bring them to life?

How does her choice of what to include in her performances help create a portrait of the American experience?

6. Plays a video of Smith’s performances using part or all of the roughly 24-minute Anna Deavere Smith: Four American Characters (the performances, interwoven with her commentary, are about 6 minutes each, and if time is tight, the first, based on Studs Terkel, will get the point across to most students, while two-four segments will better illustrate her range).

7. Engages students in a discussion of the posted questions, and as students cite examples, points back to Smith’s words, as appropriate:

“If you say a word often enough, it becomes you.”

development Peer and self-evaluations of

character explorations Class discussion of and

blog reflections on character explorations

Use of exercises for finding and developing character

Blog reflections on role of vocal range




“… if I walked in their words, … I could sort of absorb America.”

8. Explains that students will use Smith’s techniques (1) to explore how historical events impact individuals and (2) to examine similarities and differences in those individual experiences across historical events and across time.

9. Explains the logistics of students’ upcoming interviews with senior citizens.

10. Asks whether any students would prefer to interview family members or family friends with interesting backgrounds for this activity. If so, directs them in contacting these individuals and making arrangements for in-person videotaped/recorded interviews on their own time. (These students can play the important role of videographer or photographer during the class’s group interview.)

Students:11. Work in small groups to prepare 10

interview questions, following the guidance provided in the Preparing for Interviewing handout.

12. Switch papers with another group, and reflect on the wording and potential bias of their questions, following the guidance provided in the Preparing for Interviewing handout.

13. Share examples of potentially biased questions as a class, and suggest ways to improve such questions.

14. Switch papers back and revise them as needed.

15. Share final questions as a class (after the first group reports out, subsequent groups should add only questions not yet shared, unless worded significantly differently).

16. Work in pairs to prepare a two-minute role-play using any interview question.

17. Perform their role-plays for the class, and use the principles of positive critique to help their peers improve their interviewing skills.

18. Work as a class to develop a list of effective interviewing skills.

Teacher




19. Shares the technology plans for the interviewing session with students, and ensures students can successfully operate either the tape recorders, digital still cameras, and/or video cameras that will be used to capture their interviews.

20. Engages students in a discussion of the appropriate decorum for their interviews (stressing, for example, dress, behavior, language, manners, and so on, as needed).

Day 3Students21. Conduct interviews with senior citizens.22. If technically possible in a field trip

situation, show seniors how to access the class blog before leaving.

23. Briefly record their general impressions of their subjects in their journals for homework, stressing concrete details that help define their subjects as unique individuals.

Teacher24. Divides students in four groups and assigns

the reading of one chapter of Chekov’s On the Technique of Acting to each group for homework (chapters 1, 3, 4, and 5).

Day 4Students25. Share their interview experiences as a class,

focusing things that went well while also problem-solving situations in which students feel they did not get enough information or still have questions.

26. Post digital photographs of their subjects on the class blog.

27. Write thank you notes to their subjects, using one of the following options:

Email subjects individually. Print and mail a whole-class note of

thanks. Print and mail individual thank-you

notes. Post individual thank-you notes on the

class blog (only if the degree of the subjects’ technical proficiency is high).

Teacher




28. Engages students in a discussion of Michael Chekhov’s contribution to theatre history, the Moscow Art Theatre, the Second Moscow Art Theatre, Group Theatre, and Actors Studio, using slides 1-5 of Michael Chekov.ppt as a guide.

29. Explains that students will use both Smith’s and Chekov’s techniques in this lesson to begin developing their characters.

30. Creates jigsaw groups composed of at least one student from each homework group.

Students31. Share key concepts from each of the four

chapters of Chekov’s On the Technique of Acting in their jigsaw groups; at least the following concepts should be covered, as well as any others noted by the teacher (it may be helpful to project these terms as students work):

physical center emotional center

32. Research the “defining moments in American history” their subjects identified, following the guidance provided on the student handout, My Defining Moment, and finishing for homework if necessary.

Teacher33. Assists students, provides mini-lessons as

needed, and monitors students’ developing understanding as they work.

Day 5-7Students34. Begin developing their understanding of

their subjects by completing Step 1 of the student handout, Discovering Your Character, and by referencing their recorded interviews (using ear-buds/earphones).

35. Determine additional information they would like to know about their subjects.

Teacher36. Confers informally with students as they

work and advises them on follow-up communication with their subjects.

37. Assigns peer review partners for the remainder of the unit.

Students




38. Begin developing their understanding of the subject’s “physical center” by completing Step 2 of the student handout, Discovering Your Character, and by referencing any available images of their subjects.

Teacher 39. Engages student actors in a meditative

exercise in which they visualize an imaginary body for their characters.

Students40. Begin developing their understanding of

their subjects’ “emotional center” by completing Step 3 of the student handout, Discovering Your Character, recalling their interviews, and referencing any photographs or video footage taken that day.

41. Walk around the classroom exploring and embodying their characters’ physical and emotional centers, as the teacher films the exploration process and uploads the film to the class blog.

42. Evaluate their own and their peer review partners’ character explorations using videos posted on the class blog, A Guide to Peer and Self-Assessment, Two Stars and a Wish, and the principles of positive critique, paying particular attention to the incorporation of the “center.”

43. Discuss the rewards and challenges of these character study activities as a class.

44. Blog reflections on their character explorations.

Teacher45. Explains that students will now learn a

variety of exercises for strengthening posture, controlling breathing, locating vocal range, and refining diction, which they should routinely practice at least once during each day of the rehearsal process.

46. Initiates a physical warm-up focusing on exercises that strengthen posture.

47. Leads a meditative exercise in which students focus on the rhythm and the depth of their breathing.

48. Leads students in practicing breathing from the diaphragm, while also avoiding shoulder lifting and breathing from the chest.




49. Instructs students to create a human chain on the floor, with each student placing his or her head on another student’s diaphragm, while the other student produces an audible “ha … ha … ha …” sound.

50. Directs student to practice making the same sound while standing.

51. Demonstrates how to create a human siren to explore vocal range, and engages students in a discussion of the relationship between vocal range and character.

52. Chooses a student, demonstrates how to use the human siren to locate the student’s vocal range, and explains that students can repeat this exercise to locate the vocal range of their subjects/characters.

53. Invites individual students to practice locating each other’s vocal ranges.

54. Leads students in diction exercises, such as a series of vocal tongue twisters.

Students55. Rehearse these exercises for the duration of

the class, with the teacher assisting individual students as needed.

56. Blog a reflection on the role of vocal range in “becoming” a character for the stage for homework.

Extension OpportunitiesMore About Anna Deavere SmithIf time permits, implement the activity described on slide 6 of AnnaDeavereSmith.ppt between steps 5 (introduction of viewing questions) and 6 (viewing of Smith’s performances) of the lesson. Depending on the time available, as well as on the level of the students and course, the article by Richard Schechner, called Anna Deavere Smith: Acting as Incorporation, may provide a useful analytical lens for viewing the performances (her “incorporations”).Smith: Walking in Their Words If time permits, implement the activity described on slide 7 of AnnaDeavereSmith.ppt between steps 7 (conclusion of Smith discussion) and 8 (introduction of unit focus) of the lesson. Chekhov: Psychological Gesture




If time permits, implement the activity described on slides 6-7 of Michael Chekov.ppt between steps 31 (conclusion of key-concept jigsaw) and 32 (beginning of historical research) of the lesson.Uta Hagen: HistoryIf time permits, implement the activity described on slide 13 of Uta Hagen.ppt (Object Lesson #9) between steps 33 (research on defining moments) and 34 (exploration of interview subjects as “characters” in their plays) of the lesson. This may better enable students to understand the role of history in their subjects/characters’ lives. Language Arts ConnectionIn an NPR interview with Anna Deavere Smith about her book, Letters to a Young Artist (http://www.npr.org/templates/story/story.php?storyId=5203584), Smith talks about “civil discourse” and says, “those of us who are artists” should be “coming into the world and allowing oneself, as Whitman wanted to be, to [be] both absorbed by America—he wanted to absorb America and have America absorb him.” Compare and contrast Whitman’s and Smith’s views of America and of art. Imagine how the artists would agree or disagree with each other over their respective visions by developing and staging a conversation between them. Use any personal information you can find about these individuals to create a presentation that is true to their personas.

Differentiation This is a highly individualized lesson; individual students should be provided with support based on their

learning needs.Resources Provided Video Resource: Today Show Teacher Resource: Anna Deavere Smith.ppt Video Resource: Anna Deavere Smith: Four American characters Student handout: Preparing for Interviewing Teacher Resource: Michael Chekov.ppt Student handout: My Defining Moment Student handout: Discovering Your Character


http://www.npr.org/templates/story/story.php?storyId=5203584

http://www.npr.org/templates/story/story.php?storyId=5203584



Senior Stories: Lesson Plan 3Content Area: Visual and Performing Arts: TheatreLesson Title: Developing and Performing Short Original Plays Timeframe: 14 days


Global Awareness Financial, Economic, Business, and Entrepreneurial Literacy







Interdisciplinary Connections: Language arts, social studies, technologyIntegration of Technology: Video as a tool for self-assessment, bloggingEquipment needed: Teacher computer/projection set-up, student computer/Internet access, multiple digital camcorders, tape recorders, ear-buds/earphones

Goals/Objectives Learning Activities/Instructional Strategies Formative Assessment TasksStudents: Develop, stage, and perform

a roughly five-minute one-person play based on (1) an anecdote shared during their interviews, (2) their character studies, and (3) their research on the identified historical moment.

Engage in a cyclical process of performance and revision to refine and improve both their scripts and their performances.

Work closely with a peer review partner to share and improve draft scripts and performances.

Appropriately apply exercises for strengthening posture, controlling breathing, locating vocal range, refining diction, and enhancing performance.

Teacher NoteThe videotaping of student performances is essential to this process. If you only have access to one digital camcorder, you can continue to function as a class, with you fulfilling the roles of videographer and uploader. However, if you have access to more than one digital camcorder, you may want to create filming stations in different corners of the room. This could accelerate the process for students who are working at different paces. In this scenario, students could at least share the role of videographer; they could film each other in their peer review pairs. Sharing the uploading task may also be possible, but beware that an accidental deletion could jeopardize the class portfolio, which is an important record for assessment. Lesson SequenceTeacher:Days 1-51. Introduces the summative assessment to

students, using the handout entitled, Senior Stories Summative Assessment.

2. Introduces Playwriting Rubric and Acting Rubric to students, and engages students in

Class discussion of expectations for scripts and performances

Written explorations of anecdotes (Part A of My Senior Story) and subsequent revisions

Story maps and draft scripts (Part B of My Senior Story)

Use of feedback, revision, and collaboration

Revised and final scripts Developing videotaped

performances Use of specific exercises

for strengthening posture, controlling breathing, locating vocal range, and refining diction

Success with locating the vocal ranges of their subjects/characters

Success with adopting the diction and speech patterns of their subjects/characters






review and discussion of individual criteria. Depending on the needs of the students, this might include:

Asking students to paraphrase criteria. Pointing out criteria with which

students in general are struggling. Providing examples that clarify levels

of performance. Answering students’ questions about

how their final performances will be evaluated.

3. Communicates any requirements for students’ final performances, such as minimum/maximum time limits, use of props and sound, and so on.

4. Introduces and reviews Playwriting Tips and Playwriting Formatting Guidelines, which students will consult at various points in the playwriting process.

5. Notes that students will continue to assess one another’s developing performances in the most recently assigned peer review pairs, using the process established in lessons 1 and 2 (videos posted on the class blog, A Guide to Peer and Self-Assessment, Playwriting Rubric, Acting Rubric, Two Stars and a Wish, and the principles of positive critique).

6. Sets up as many video stations as feasible to support students in developing their performances.

7. Uploads videos to the class blog as they are taken.

8. Monitors students as they work, providing mini-lessons for the whole class or small groups as needed. Some options include:

Engaging students in using correct language for parts of the stage, to support the writing of stage directions (a labeled visual somewhere in the classroom might also be helpful).

Showing the video clip associated with slide 10 of Uta Hagen.ppt (Object Lesson #5), and discussing what it means to “give a thing the qualities of some other thing.”

Showing the video clip associated with slide 11 of Uta Hagen.ppt (Object Lesson

Blogged reflections Performance of in-progress

plays Use and development of

costumes, make-up, props, and lighting

Use and development of music/sound

Use and development of other media

Dress rehearsals Final performances Technical support of each

other’s performances




#6), and discussing what it means to “reveal your intimate self.”

Showing the video clip associated with slide 12 of Uta Hagen.ppt (Object Lesson #8), and discussing the role of “conditioning forces.”

Showing the video clip associated with slide 13 of Uta Hagen.ppt (Object Lesson #9), and discussing the role of “history.”

Discussing any rules or other considerations associated with using the lighting, sound, and projection equipment in the school theatre.

Sharing make-up and costume strategies.

9. Reminds students to use specific warm-up exercises as they work (as introduced in Lesson 2, introducing others as needed).

10. Directs student reflection on the creative process by assigning questions for blogging as needed (see A Guide to Student Reflection).

11. Holds conferences with individual students to discuss their scripts and view their performances, providing specific guidance as follows:

Questioning students to deepen their thinking about their characters and scripts.

Reminding students to be selective in the details, props, and other support they include in their performances, rather than choosing too many or too few.

Suggesting ways to prune or expand their scripts to better fit the time allotted and to more pointedly or more fully communicate the intended message.

Suggesting techniques students can use to strengthen their performances.

Requiring revisions/approving final scripts.

Students:12. Develop their performances in a repeating

cycle of performance and revision using the approach outlined in Steps 1- 12 of the student handout, Senior Stories Summative Assessment.

13. Practice appropriate breathing and physical




warm-up exercises prior to rehearsing their performances.

14. Listen closely to key parts of their recorded interviews in concert with the following activities to incorporate voice and speech into the physicalization of their characters:

Use the human siren to locate the vocal range of their subjects/characters.

Use diaphragmatic support, proper mechanical vocal production, and variable breath cycles to reconcile their own voices and those of their characters.

Use diction exercises that are appropriate to the character to enhance their imitation of their characters’ speech patterns.

15. Continue writing, revising, and rehearsing, for homework each day, as needed.

16. Blog their reflections on the process as directed by the teacher.

Days 6-817. Perform their in-progress plays for the

class after the teacher has approved all scripts as “final.”

18. Give and receive feedback for 5 minutes after each in-progress performance.

Days 9-1019. Stage their performances following Steps

13-14 of the student handout, Senior Stories Summative Assessment.

20. Continue developing supporting materials for homework each day, as needed.

Days 11-1421. Conduct dress rehearsals in the school’s

performance space, continuing after school as needed.

22. Provide technical assistance for one another’s performances.

23. Perform in a public space before a live audience (including senior citizens who were interviewed).

Teacher:24. Videotapes final performances, uploads

them to the class blog, and publishes them on the school website.

Differentiation




This is a highly individualized lesson; individual students should be provided with support based on their learning needs.

Resources Provided Teacher Resource: A Guide to Student Reflection Teacher Resource: Playwriting Rubric Teacher Resource: Acting Rubric Student Handout: Senior Stories Summative Assessment




Senior Stories: Lesson Plan 4Content Area: Visual and Performing Arts: TheatreLesson Title: Post-Performance Reflection Timeframe: 4 days


X Global Awareness Financial, Economic, Business, and Entrepreneurial Literacy







Interdisciplinary Connections: Social studies, language arts, technologyIntegration of Technology: Use of A/V Equipment, video uploading, blogging/video journalingEquipment needed: Student computer/Internet access

Goals/Objectives Learning Activities/Instructional Strategies Formative Assessment TasksStudents: Assess their own scripts

and performances, as well as those of a peer.

Discuss the value of individual character development techniques.

Compare and contrast the approaches of Hagen, Smith, and Chekov, and analyze how each affects character believability.

Reflect individually on their experiences of the unit.

Evaluate and respond creatively to the question of the role that history and “breaking” global events play in our lives.

Lesson SequenceDay 1Students1. Self-Assess their work using videos of their

performances, the Playwriting Rubric, and the Acting Rubric, and completing the student Self-Assessment handout.

2. Assess the work of their peer review partners using videotaped performances, the Playwriting Rubric, and the Acting Rubric.

3. Confer individually with the teacher about their performances.

Teacher 4. Celebrates student successes, perhaps by

using video clips and noting one thing each student did well.

Day 25. Engages students in a discussion of their

performances using the following questions (also asking students to support their answers with examples from the class’s performances):

Which techniques (Hagen, Smith, Chekov, voice/speech, etc.) did you enjoy using the most and why? What was

Self- and peer assessments Student-teacher

conferences Class discussion of

character development techniques, the approaches of Hagen, Smith, and Chekov, and believability

End-of-unit reflections Class discussion of the role

of history in our lives Creative responses on the

role of history in our lives






rewarding about using the techniques? What was challenging?

What did you find was similar about the approaches of Hagen, Smith, and Chekov? How do you think they differ?

What role did a focus on believability play in your ability communicate the physical, emotional, and psychological attributes of your character?

Students6. Reflect on their individual experiences of

the unit by completing the End-of-Unit Reflection handout.

Teacher7. Engages students in a discussion of how

different historical events shape both our individual and collective experiences, asking students to support their answers with specific insights from actual Senior Stories:

How does history repeat itself? In other words, in what ways do the impacts of specific historical events differ, and in what ways are they similar?

What does this say about the role of history in our lives? About the human experience?

What role does art play in our experience? How does history impact art, and how does art impact history?

Students8. Develop creative responses to the unit by

completing the student handout, How Does History Repeat Itself? for homework.

Day 3-49. Share their creative responses to the extent

time allows.Differentiation Allow students to respond in alternative ways to the End-of-Unit Reflection handout (e.g., by drawing,

responding on video, interviewing one another on video), but limit all responses to about 30 minutes.Resources Provided Student Handout: Self-Assessment Student Handout: End-of-Unit Reflection Student Handout: How Does History Repeat Itself?


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