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AssessmentOSPI-Developed Performance

Office of Superintendent of Public InstructionSeptember 2015

A Component of the Washington State Assessment System

TheatreThe Arts

Greetings, Sister City! Grade 5

Office of Superintendent of Public InstructionOld Capitol Building

P.O. Box 47200Olympia, WA 98504-7200

For more information about the contents of this document, please contact:

Anne Banks, The Arts Program SupervisorPhone: (360) 725-4966, TTY (360) 664-3631

OSPI provides equal access to all programs and services without discrimination based on sex, race, creed, religion, color, national origin, age, honorably discharged veteran or military status, sexual orientation including gender expression or identity, the presence of any sensory, mental, or physical disability, or the use of a trained dog guide or service animal by a person with a disability. Questions and complaints of alleged discrimination should be directed to the Equity and Civil Rights Director at (360) 725-6162 or P.O. Box 47200 Olympia, WA 98504-7200.

This work is licensed as a Creative Commons Attribution Non-Commercial Share Alike product by the Washington Office of Superintendent of Public Instruction. For more information on this license, please visit http://creativecommons.org/licenses/by-nc-sa/3.0/.

Table of ContentsIntroduction...................................................................................................................................................ii

Overview.........................................................................................................................................................1

Test Administration: Expectations......................................................................................................1

Description of the Performance Assessment..................................................................................2

Learning Standards....................................................................................................................................2

Assessment Task.........................................................................................................................................3

Teacher’s Instructions to Students.................................................................................................3

Accommodations....................................................................................................................................3

Student’s Task..........................................................................................................................................3

Supporting Materials and Resources for Teachers...................................................................10

Preparation for Administering the Assessment....................................................................10

Recommendations for Time Management...............................................................................12

Glossary....................................................................................................................................................13

Greetings, Sister City! Arts Assessment for Theatre, Grade 5 Page i

OSPI-DOSPI-D EVELOPEDEVELOPED P P ERFORM ANCEERFORM ANCE A A SSESSM ENTSSSESSM ENTS FORFOR THETHE A A RTSRTS

IntroductionTo Washington educators who teach theatre:

Welcome to one of our OSPI-developed performance assessments and this implementation and scoring guide. This document is part of the Washington assessment system at the Office of Superintendent of Public Instruction (OSPI).

The assessments have been developed by Washington State teachers and are designed to measure learning for selected components of the Washington State Learning Standards. They have been developed for students at the elementary and secondary levels. Teachers from across the state in small, medium, and large districts and in urban, suburban, and rural settings piloted these assessments in their classrooms. These assessments provide an opportunity for teachers to measure student skills; they can both help teachers determine if learning goals have been met, and influence how teachers organize their curricula. They also provide an opportunity for students to demonstrate the knowledge and skills they have gained.

These assessments:

Provide immediate information to teachers regarding how well their students have acquired the expected knowledge and skills in their subject areas.

Inform future teaching practices.

Provide resources that enable students to participate in measuring their achievements as part of the learning experience.

Included in this document are:▪ directions for administration

▪ assessment task

▪ scoring rubrics

▪ additional resources

Our hope is that this assessment will be used as an integral part of your instruction to advance our common goal of ensuring quality instruction for all students.

If you have questions about these assessments or suggestions for improvements, please contact:

Anne Banks, Program Supervisor, The Arts (360) 725-4966, [email protected]

Greetings, Sister City! Arts Assessment for Theatre, Grade 5 Page ii

GREETINGS , SISTER CITY! TheatreGrade 5

An OSPI-Developed Performance Assessment

OverviewThis document contains information essential to the administration of Greetings, Sister City!, an OSPI-developed arts performance assessment for theatre (Grade 5). Prior to administration of this assessment, all students should have received instruction in the skills and concepts being assessed. Please read this information carefully before administering the performance assessment.

This classroom-based performance assessment may be used in several ways:

As an integral part of instruction.

As a benchmark, interim, or summative assessment.

As a culminating project.

As an integral part of a unit of study.

As a means of accumulating student learning data.

As an individual student portfolio item.

Test Administration: Expectations The skills assessed by this task should be authentically incorporated into

classroom instruction.

This assessment task is to be administered in a safe, appropriately supervised classroom environment following district policy and procedures.

All industry and district safety policies and standards should be followed in the preparation and administration of OSPI-developed performance assessments in dance, music, theatre, and visual arts.

Greetings, Sister City! Arts Assessment for Theatre, Grade 5 Page 1

Synopsis ofGreetings, Sister City!

Each student gives a vocal presentation of a haiku poem that she/he has either written, or chosen from a selection offered by the teacher. The student memorizes the poem, rehearses it, and performs it for a partner, who offers feed-back. The student uses the feedback to refine the poem. Her/his final performance will be recorded. Students must also respond to questions about their performances.

Accommodations based upon a student’s individualized education program (IEP) or 504 Plan may require additional modifications to this assessment.

Additional modifications to the administration of this assessment may be required to accommodate cultural differences, diversity, and religious mores/rules.

Description of the Performance Assessment Performance prompts ask each student to create and perform a solo, vocal

presentation based on the criteria outlined in the task. The teacher will record (film) the student’s final performance in order to facilitate scoring and document each student’s performance.

Students must also respond to short-answer questions and instructions. Their answers may be written or verbal. All written work must be completed on the response sheets provided. All verbal responses must be recorded to facilitate scoring and to document each student’s performance.

Learning StandardsThis assessment addresses Washington State Learning Standards for Theatre, including the GLEs from the Options for Implementing the Arts Standards through Theatre by Grade Level document.

GLE 1.2.15th Grade

Applies his/her understanding of given circumstances to create a character’s facial expressions, gestures, body movements/stances, stage positions, and blocking in a performance.

GLE 2.3.15th Grade

Applies a responding process to a presentation.

Depending on how individual teachers build their lesson units, additional Washington State Learning Standards can be addressed.


Assessment TaskTeacher’s Instructions to Students1. Say: “Today you will take the Grade-5 Washington OSPI-developed arts

performance assessment for theatre. This assessment is called Greetings, Sister City!”

2. Provide the class with copies of the student’s section of the assessment (which may include the student’s task, response sheets, rubrics, templates, and glossary), along with any other required materials.

3. Tell the students that they may highlight and write on these materials during the assessment.

4. Have the students read the directions to themselves as you read them aloud. We also encourage you to review the glossary and scoring rubrics with the students.

5. Answer any clarifying questions the students may have before you instruct them to begin.

6. If this assessment is used for reporting purposes, circle the scoring points on the first page of each student’s response sheets.

AccommodationsThe following accommodations can be made for students with special needs or whose English language skills are limited:

To complete the response sheets, students may dictate their answers to an instructional aide, who will write them down.

The student may give the written and/or recorded responses in their first language. We request a written and/or verbal English translation for consistency (validity/reliability) in scoring the rubric.

Refer also to the student’s individualized education program (IEP) or 504 Plan.

Student’s TaskThe following section contains these materials for students:

The student’s task: Greetings, Sister City! (Grade 5)


Assessment rubric Response sheets

Student’s Task

Greetings, Sister City!Greetings, Sister City!Your school has been invited to perform at a cultural exchange program with your town’s Japanese sister city. The mayors of your town and its sister city will attend, along with other important city officials.

Your theatre teacher has provided a selection of haiku poems: You may choose one of these poems for your vocal presentation, or you may use a haiku that you have written. You will memorize and create a vocal presentation of the haiku. You will rehearse your vocal presentation for a partner assigned by the teacher. Using the feedback that you receive from your partner, you will refine your performance.

Your theatre teacher and the mayors will decide who will perform at the cultural exchange program based on the vocal presentations. Your final performance of your vocal presentation of the haiku will be recorded. After your final performance, you will respond to questions about your performance.

Your Task

First, create your performance—

Your teacher explains that you must meet the following requirements when performing your haiku:

Select a haiku from those provided by your teacher or use an original haiku that you have written.

Memorize the haiku.

Use voice skills when performing your haiku, including the following:o appropriate expression (how the character says words to show meaning

and emotion)o appropriate projection (so that you can be heard by the entire audience)

o clear articulation (speak clearly enough to be easily understood)

o appropriate variety of rate (the variety of speeds at which you speak words to show character)

Use movements to express the ideas of the haiku, including the following:o appropriate hand gestures


o appropriate/effective body movements

o clear facial expression

o accurate posture/stanceAfter you select and memorize the haiku, you will develop and rehearse a performance. You will perform the haiku first in front of the partner assigned by your teacher; the partner will give you feedback. You will then have time both to refine your performance based on the feedback that you received, and to rehearse your haiku again before your final performance in front of the teacher. Your final performance will be recorded.

You must begin and end your performance with a three-second neutral pause to indicate a clear beginning and a clear ending. You may end “off stage” or “off camera.”

Second, show how you fulfilled the requirements—

Your teacher explains that you must also respond to questions about your performance:

You must respond in writing or verbally following the final performance.

You must use the vocabulary of theatre correctly in your responses.


Assessment RubricGreetings, Sister City!

4 points 3 points 2 points 1 point No Score

Perf

orm

ing

(voi

ce sk

ills)

The student demonstrates a thorough understanding of voice skills by meeting all four of the following requirements: Performs the haiku with appropriate

expression. Performs with appropriate projection to

be heard by the entire audience. Articulates clearly when performing the

haiku. Varies his/her rate of speech ap-

propriately when performing the haiku.

The student demonstrates an adequate understanding of voice skills by meeting three of the four require-ments listed at left.

The student demonstrates a partial un-derstanding of voice skills by meeting two of the four requirements listed at left.

The student demonstrates a minimal un-derstanding of voice skills by meeting one of the four requirements listed at left.

The student demonstrates no under-standing of voice skills, having met none of the four require-ments listed at left.

Perf

orm

ing

(mov

emen

t) The student demonstrates a thorough understanding of movement by meeting all four of the following requirements: Uses hand gestures appropriately. Uses body movements effectively. Uses facial expressions clearly. Uses posture/stance accurately.

The student demonstrates an adequate understanding of movement by meeting three of the four require-ments listed at left.

The student demonstrates a partial un-derstanding of movement by meeting two of the four requirements listed at left.

The student demonstrates a minimal un-derstanding of movement by meeting one of the four requirements listed at left.

The student demonstrates no under-standing of movement, having met none of the four require-ments listed at left.

Resp

ondi

ng

The student meets four or five of the following requirements, thereby demonstrating a thorough understanding of how to apply a responding process to a performance: Describes how he/she developed ideas

to create the haiku performance. Describes how she/he used vocal skills

in the performance. Describes how he/she used movement

in the performance. Describes how she/he refined the

performance based on feedback. Uses the vocabulary of theatre

correctly.

The student meets three of the five re-quirements listed at left, demonstrating an adequate understanding of how to apply a responding process to a performance.

The student meets two of the five re-quirements listed at left, demonstrating a partial un-derstanding of how to apply a responding process to a performance.

The student meets one of the five re-quirements listed at left, demonstrating a minimal understanding of how to apply a responding process to a performance.

The student meets none of the five re-quirements listed at left, demonstrating no under-standing of how to apply a responding process to a performance.


Scoring NotesThe following scoring notes should be used as guidelines when scoring this item.

For the responding rubric:

In order to receive any points, the words/ideas must correlate to the student’s actual performance.

First bullet: The student earns credit by explaining how the idea was developed. In other words, the student’s response should address the inspiration for the idea, not just the results. A response in which the student says “I acted like I was a sloth” would not be credited, but one in which the student says “I moved slowly, because sloths are slow animals” would be. Discussing the creative process is also acceptable.

Second bullet: The student earns credit by discussing voice skills (volume, projection, articulation, etc.) and should include “voice words.”

Third bullet: The student earns credit by discussing movement skills and should include “movement words.”

Fourth bullet: The student earns credit for discussing the changes made to a performance, not just for relating what the partner’s feedback was.


Response SheetsStudent’s Name/ID# _____________________________________________ Grade Level _________

(circle number) Creating Score (voice skills) 4 3 2 1 NS

Creating Score (movement) 4 3 2 1 NS

Responding Score 4 3 2 1 NS

Responses

Respond to the following prompts and questions to explain how you met your teacher’s requirements.

1. What did you think about and do to create your haiku performance?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

2. What vocal skills did you use in your haiku performance and how did you use them? ____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

3. How did you use movement in your haiku performance?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________

4. After you received feedback from your partner, what changes did you make for your final performance?

____________________________________________________________________________________________

____________________________________________________________________________________________

____________________________________________________________________________________________


Supporting Materials and Resources for Teachers

Preparation for Administering the Assessment

Tools & Materials

Teachers will need the following materials and resources to administer this performance assessment:

copies of the task, including the glossary of terms (one for each student)

copies of the student-response sheets (one set for each student)

one pencil per student

a variety of haiku poems

a marked performance space

an audio/video recording device

Guidelines

This assessment is an individual performance.

Copy the student’s task, rubric, response sheets, and glossary. Make one set for each student.

Props and costumes should not be used in this assessment. Chairs may be used as “sitting devices.”

Provide copies of a variety of haiku poems.

o Each student may select and memorize one of the poems that you provide, or the student may write an original haiku poem prior to the start of the assessment.

o Alternatively, you may assign a haiku poem to each student.

o Sources of appropriate haiku samples include school library/media centers, age-appropriate websites for children, and teacher resource websites.

Students may have written haiku poems for this assessment ahead of time.

Assign to each student a student-partner who will watch the student rehearse the performance and provide feedback to the performer.


Each student’s performance must be recorded for this assessment.

o Video set up should be in a defined space so that the performer can be seen at all times. The camera should be placed so that it records the performance from the audience’s point of view.

o Students need to be coached by the teacher to face the audience while performing. The performer’s face must be seen so that her/his facial expression can be assessed.

o Performers need to have a three-second neutral pause at the beginning and ending of the performance to indicate a clear start and clear end. The student may end “off stage” or “off camera.”

o The student should be prompted to say her/his name, number, and current grade level into the recording device before beginning the performance.

Students who respond in writing must include their names/numbers on their response sheets.

As an alternative to a written response, you may permit video or audio recording:

Video set up should be in a defined space so that the performer can be seen at all times.

The student should be prompted to say her/his name, number, and current grade level into the recording device before beginning the performance.

Coach the students who are being recorded to face the recording device when they are responding.

Students must have a copy of the response sheet when they are being recorded.

The teacher’s role during recording is to read questions. Students may use resources that are visible in the testing classroom, but you may not prompt or coach students during the assessment.

If necessary to meet individual needs, a student may dictate her/his response-sheet answers (to be written down by a teacher or aide). Students may use resources that are visible in the testing classroom, but you may not prompt or coach students during the assessment.

When you are administering the assessment, students may ask questions to clarify the process. You should encourage students to ask questions at any time throughout the administration of the assessment.


Recommendations for Time ManagementStudents may have as much time as they need to complete the task. The timeframes suggested here are meant only as a guide, and you may shorten or lengthen them to suit the individual circumstances of the class and students.

The following is a three-day suggested timeframe:

DAY 1

10 minutes: The teacher provides the class with the task and reads it aloud. The students may ask questions. The teacher answers questions.

15 minutes: Each student selects a haiku, memorizes it, and develops and rehearses a performance. (Students may have previously selected, been assigned, or have written their haiku poems; they may also have memorized the haiku prior to the assessment.)

15 minutes: Each student performs the haiku in front of the partner assigned by the teacher; the partner offers feedback.

DAY 2

10 minutes: The students refine and rehearse their performances, applying the feedback that they received from their partners.

35 minutes: Each student performs her/his haiku for the teacher, who records the performance.

DAY 3

5 minutes: The teacher distributes the response sheets to the students.

15 minutes: The students prepare their verbal or written responses.

5 minutes: The teacher collects all written responses.

20 minutes: The teacher records the verbal responses.

All students who remain productively engaged in the task should be allowed to finish their work. In some cases, a few students may require considerably more time to complete the task than most students; therefore, you may wish to move these students to a new location to finish. In other cases, the teacher’s knowledge of some students’ work habits or special needs may suggest that students who work very slowly should be tested separately or grouped with similar students for the test.


Glossary acting skills—the use of voice, movement, improvisation, and characterization.

action—events within the play that move the plot along.

aesthetics—an idea of what is beautiful or artistic; a set of criteria for judging something to be beautiful or artistic.

articulation—the use of all of the articulators (lips, teeth, tongue, soft and hard palettes, larynx, and glottis)to deliver speech or language clearly.

audition—a tryout for a theatrical role.

balance—the arrangement of design elements and actors to create visual stability on stage.

blocking—an actor’s traffic pattern on stage.

business—movements that mime or make use of props, costumes, and make-up to strengthen the personality of a character that the actor is portraying.

character—a person, animal, or thing in a scene, story, or play.

character development—creating from a text a character who uses tactics to overcome obstacles to achieve objectives; portraying this character by choosing physical actions, vocal qualities, and believable emotions that are sustained throughout the performance

conflict—a struggle between two or more opposing forces, events, ideas, or characters in a scene or play.

costumes—the clothing an actor wears to create a character.

creative dramatics—a teacher-led dramatic enactment of story, setting, and/or characters; an experiential process-based activity, not a performance for an audience. The teacher may assume a role.

cue—1. a signal for a performer or technician to perform an action or say a line; 2. a signal from a side-coach to perform an action or say a line.

design—a purposeful plan for the spectacle of a play (such as costumes, set, props, lighting, sound) based on an overall concept.

design concept—the overall visual theme for a combined theatrical design in which features such as lights, sets, costumes, make-up, props, and sound work


together to tell the story. A design concept is a visual way of expressing how the technical elements will illuminate the central theme of the play.

dialogue—a conversation between two characters in a theatrical performance.

diaphragmatic breathing—using the diaphragm muscle to support the breath.

diction—choice and use of words.

drama—a literary composition (a play) intended for a performance before an audience.

dramatic structure—the composition of a theatrical work (such as a play, scene, or improvisation) that includes exposition, inciting incident, rising action, conflict, climax, falling action, and resolution.

elements of theatre—setting, character, conflict, dialogue, plot, and theme.

ensemble—a group of actors working together cooperatively and responsibly to achieve the group’s goal by means of problem solving and creativity.

enunciation—saying the vowels and consonants correctly.

event—something that happens at a certain place and time.

expression—the way the character says words to convey meaning and emotion.

facial expression—movements of the face that show feelings or ideas

focus—1. the intended point of interest on stage; 2. the actor’s ability to concentrate and keep attention fixed on the matter at hand.

genre—a type or category of theatrical work that is defined by a particular style, form, or set of characteristics and is often associated with a specific historical period or culture.

given circumstance—in the text of a play, the information that the playwright gives concerning character, setting, and relationships.

haiku—an unrhymed Japanese verse that consists of three lines, the first containing five syllables, the second containing seven syllables, and the third containing five syllables.

improvisation—a spontaneous performance during which the actors establish a story (including objectives, setting, character, and relationships) with minimal preparation.

improvisational blocking—refusing/denying/ignoring/rejecting an offering.


improvisational theatre—a structured, yet non-scripted scene or play.

inflection/pitch—the use of high and low sounds in speech to convey meaning and emotion.

levels—1. the placement of an object or person on the stage from upstage to downstage; 2. the vertical height of an actor or set piece from the stage floor.

lighting—using a variety of instruments to illuminate both the actors and sets on stage.

make-up—cosmetics applied to the face and body to enhance character.

mime—to act out a movement or the use of an object without words or props (totally silent).

monologue—a speech within a play delivered by a single actor alone on stage.

movement—physical action used to establish meaning and emotion to create character, including:

blocking—an actor’s traffic pattern on stage.

business—movements that mime or make use of props, costumes, and make-up to strengthen characterization.

facial expression—movements of the face that show emotions and/or ideas.

gestures—movement of a body part (arm, leg, hand, etc.) which is used to communicate.

posture/stance—the position of the limbs and the carriage of the body as a whole that communicate character.

whole-body movements—locomotive and non-locomotive uses of the body that communicate character.

nursery rhyme—a short song or poem for young children.

objective—the character’s wants, needs, and desires.

obstacle—what stands in the way of the character achieving his/her objectives.

offering (offer)—a suggestion (conveyed verbally or by means of movement) that is given by one actor to another to initiate or further an improvisation.

open—maintaining a body position in which the character’s face/frontal body can be seen by the audience in a proscenium or thrust-stage setting.


pantomime—conveying a story by use of expressive body and facial movements without speech, props, costumes, or sounds (instrumental music can be used as background).

pause—the moment of silence within a speech; used to show meaning or emotion and/or to develop character.

performance—a structured presentation of a theatrical work in front of an audience.

phrasing—the use of punctuation, pause, and word- or phrase-emphasis to create meaning and emotion.

play—a form of writing intended for live performance.

plot—a storyline that includes exposition, inciting incident, rising action, climax, and resolution of a conflict.

production—a structured performance created and presented for an audience.

props/properties—objects used by an actor on stage.

projection/volume—the appropriate use of loud and soft sounds to convey meaning and emotion to the entire audience.

pronunciation—the correct way to speak or articulate a word.

rate/cadence—the speed with which words are spoken to convey meaning and emotion.

readers’ theatre—an orchestrated reading that relies primarily on vocal characterization and does not include the elements of visual theatre (such as costuming, sets, or blocking).

rehearsal—the period of time used to prepare a play for performance in front of an audience.

resonance—fullness of voice created by vocal vibrations.

scene—a subdivision of a play, characterized by a single situation or unit of dialogue.

set—the on-stage space and its structures (scenery), within which the actors perform and that represent the setting of the play.

setting—the time, place, and atmosphere in which the scene or play occurs.


side-coaching—comments made by the teacher during an activity that affirm or correct students in the achievement of objectives, especially in creative dramatics.

sound—the process of using music, audio effects, and reinforcement to enhance setting and mood.

stage—the place where the actors perform.

status—the importance (or lack thereof) of a character or object on the stage.

subtext—an implied meaning or unspoken complication that generally runs concurrently with the main plot.

sustainability—an actor’s sustained portrayal of a character—with no noticeable break or lapse—throughout a performance.

stage geography—physical areas of the stage labeled center stage, down center, up center, stage right, stage left, up stage left, down stage left, up stage right, and down stage right.

stage picture—a visual image created by using any combination of set, costume, props, lighting, and character placement.

style—the distinctive characteristics or techniques of an individual artist, group, or period as seen in a work of theatre.

tactics—the possible ways the character can overcome obstacles.

technical design—the plan (based on an overall concept) for costumes, set, props, lighting, sound, make-up, and special effects in a production.

text analysis (script)—the examination of the theatrical elements of a text to gain greater understanding both of the theme and of the character which the actor portrays.

theatre (or theater)—1. the place where plays are presented to an audience; 2. the art of creating performances.

theatre etiquette—appropriate behavior of audience, performers, or technicians in a variety of theatrical settings.

theatre text (script)—any written text used as a script.

theme—the central idea of a play.

three-dimensional character (round)—a character that is developed emotionally, psychologically, and physically.


venue—a place where a performance is held.

vocal placement—resonating the voice in different parts of the body, such as chest, head, nose, throat.

voice—vocal qualities that are used to convey meaning and emotion in order to create character; these include:

articulation—the clear delivery of speech or language utilizing all of the articulators (lips, teeth, tongue, soft and hard palettes, larynx, and glottis.)

breath support—the use of the diaphragm in correct breathing.

enunciation—saying vowels and consonants correctly.

expression—the way the character delivers words to convey meaning and emotion.

inflection/pitch—the use of high and low sounds in speech to convey meaning and emotion.

projection/volume— the appropriate use of loud and soft sounds to convey meaning and emotion to the entire audience.

rate/cadence—the speed with which words are spoken to convey meaning and emotion.

pause—the moment of silence within a speech; used to show meaning or emotion and/or to develop character.

pronunciation—the correct way to speak or articulate a word.

word emphasis—selection of the most important word or words in each phrase or sentence to create meaning, show emotion, and convey character (pointing up the word).

Note: The entire glossary for theatre is included here as a resource for teachers and students.


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